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• W4313188110 abstract "An Interview with Reyna Grande Frederick Luis Aldama Reyna Grande’s oeuvre of quiet, deeply penetrating fiction and nonfiction wakes us to the power of the art of storytelling—and not as escape from today’s perpetual stream of media pandemonium but as pause that invites self-reflection on our actions, thoughts, and feelings in the world. From her first novel, Across a Hundred Mountains (2006), to her most recent, A Ballad of Love and Glory (2022), and everything in between, Reyna uses the precision of language and deft use of storytelling technique to distill and reconstruct the building blocks of reality—planetary fictions, autobiographical experience, and historical records—in the skillful shaping of storyworlds that invite transformative experience. That is, Reyna Grande does what many of our literary greats have done and continue to do. Indeed, Reyna stands among our great authors of storyworld building that detail the particular in ways that resonate globally. When I think of Reyna’s work, I think of Gustave Flaubert, Leo Tolstoy, Sergio Pitol, Fernando del Paso, Mario Vargas Llosa, Ursula K. Le Guin, Toni Morrison, Denise Chavez, Maxine Hong Kingston, Michael Ondaatje, and Louise Erdrich, as well as Junot Díaz, Viet Thanh Nguyen, Bernadine Evaristo, and Colson Whitehead. Not surprisingly, Reyna’s fiction and nonfiction have been recognized with dozens of awards and accolades, including the Premio Aztlan, Luis Leal, and American Book Award, among many others. She is a member of the prestigious Macondo Writers Workshop. Reyna’s storytelling craft is the hard-fought realization of her drive to master English, not only navigating US surveillance systems (police and courts) as an undocumented Latina forced from homelands in Guerrero, Mexico, but to become an English-language author after having carved difficult paths through US education systems, from high school through Pasadena City College, UCSC, and Antioch University. Through her dexterous use of language and storytelling technique, Reyna creates fiction and nonfiction that is intimate—and no-holds-barred unsentimental. She drops readers not only [End Page 85] into the devastation of those forced from homelands (herself included) but also what it means to live in the US as displaced, invisible—undocumented. With Reyna, we learn new levels of the body’s hunger, hurt, and exhaustion. We learn of shared traumas of family chaos, violence, and abuse. We learn of transhemispheric networks of connected lives, including those deep histories of prejudice that bring Irish émigrés together with Tejanos and Mexicans. Reyna’s agile, beautifully choreographed prose invites us to hurt with others and to see ourselves—as well as to dance, breathe, discover, and learn. I had the great pleasure and honor of speaking with the humble, graceful presence that is Reyna Grande. Frederick Luis Aldama: Right out of the gate, Reyna, how do you see your fiction and nonfiction intervening culturally, creatively, or politically in the world? Reyna Grande: I see it as paying it forward. Like the great mentors that I had when I was younger and the authors that I read that really inspire me to work really hard for my dreams, I hope my work will do the same. This is what excites and fills me with gratitude—to be able to inspire future generations of artists with my books and teaching. I think here of James Baldwin, who wrote, “You write in order to change the world . . . if you alter, even by a millimeter, the way people look at reality, then you can change it.” FLA: Speaking of paying it forward, you published your memoir The Distance between Us [2012] in an edition for young readers. RG: When I wrote The Distance between Us, I was thinking of an older teen/adult reader. Then the book came out and I learned that teachers were sharing chapters with younger students. I realized then that a lot of these kids had gone through similar hardships and traumas and needed to know that this experience didn’t define them, that they could transform their traumatic experiences into something positive. That’s when I decided I wanted my story to reach these younger kids and to adapt it for young readers. I was fortunate that my publisher supported my..." @default.
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• W4313188110 date "2022-06-01" @default.
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• W4313188110 title "An Interview with Reyna Grande" @default.
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