April 27, 2025 • 37 mins
Check out Amanda's conversation with Adela Najarro!
Adela Najarro is the author of four poetry collections, including Volcanic Interruptions, which earned an Honorable Mention at the 2024 International Latino Book Awards. Her forthcoming collection, Variations in Blue, will be published in March 2025 by Letras Latinas/Red Hen Press.
A California Arts Council Fellow, Najarro is a passionate advocate for Latine/x arts and social justice, serving on the board of Círculo de Poetas and Writers. She holds a doctorate in literature and creative writing from Western Michigan University and an M.F.A. from Vermont College.
Adela's Links: @adelanajarro
CHECK OUT AMANDA'S NEW TV SHOW: The Poet Speaks with Amanda Eke! Now airing on the Archaeology Channel and Roku!
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Did you know The Poet Speaks is also Amanda's touring global workshop? She teaches people all about how to make, create and the history of Spoken Word and Indigenous oral traditions! To make a booking for The Poet Speaks Workshop with your organization, apply for mentorships with Amanda, book interviews, as well as writing consultations, please use this link: https://www.amandaeke.com/services
Music by: Buzu Buzu
https://www.instagram.com/bbuzu/
Adela Najarro is the author of four poetry collections, including Volcanic Interruptions, which earned an Honorable Mention at the 2024 International Latino Book Awards. Her forthcoming collection, Variations in Blue, will be published in March 2025 by Letras Latinas/Red Hen Press.
A California Arts Council Fellow, Najarro is a passionate advocate for Latine/x arts and social justice, serving on the board of Círculo de Poetas and Writers. She holds a doctorate in literature and creative writing from Western Michigan University and an M.F.A. from Vermont College.
Adela's Links: @adelanajarro
CHECK OUT AMANDA'S NEW TV SHOW: The Poet Speaks with Amanda Eke! Now airing on the Archaeology Channel and Roku!
STREAM HERE:
https://heritagetac.org/programs/the-poet-speaks-with-amanda-eke-i28z2vn9bsc?category_id=65263
Be sure to check out The Poet Speaks Podcast on Instagram:
https://www.instagram.com/thepoetspeakspodcast/
And listen to,The Poet Speaks Podcast, on the go on ALL STREAMING PLATFORMS WORLDWIDE!
Apple:https://podcasts.apple.com/us/podcast...
Spotify:https://open.spotify.com/show/1cM1rdF...
Did you know The Poet Speaks is also Amanda's touring global workshop? She teaches people all about how to make, create and the history of Spoken Word and Indigenous oral traditions! To make a booking for The Poet Speaks Workshop with your organization, apply for mentorships with Amanda, book interviews, as well as writing consultations, please use this link: https://www.amandaeke.com/services
Music by: Buzu Buzu
https://www.instagram.com/bbuzu/
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:06):
Join us on the Poetic Odyssey, a celebration of voices, cultures.
Speaker 2 (00:11):
And the power of words. I'm Amanda Ecking.
Speaker 1 (00:15):
Welcome to the poet Speaks, where every syllable ignites inspiration
for get involve with what stories are on these tracks?
Speaker 2 (00:27):
This idea of the bronx, Now, boogie down bronx.
Speaker 3 (00:30):
That's what people say, right, Don't become someone's subway story.
Speaker 4 (00:37):
Medicate me with a lick of the like.
Speaker 1 (00:42):
I am not afraid to love you.
Speaker 4 (00:45):
All of us have a story.
Speaker 2 (00:47):
Microphone magnifying, notick.
Speaker 4 (00:50):
No one want to listen. So I think that's what
made me write.
Speaker 1 (00:54):
In writing the writing Disco.
Speaker 2 (00:57):
You ready amazing poetry always.
Speaker 3 (01:07):
Hello everyone, and welcome back to the poet Speaks podcast. Now.
Our next guest is the author of four poetry collections,
including Volcanic Interruptions, which earned an Honorable mention at the
twenty twenty four International Latino Book Awards. Her forthcoming collection,
Variations in Blue, will be published in March of twenty
and twenty five by Lettres Latina's Red hen Press. California
(01:30):
Arts Council Fellow. She is passionate about advocation for Latina,
Latina ex arts and social justice.
Speaker 4 (01:37):
Everyone.
Speaker 2 (01:37):
Welcome to the Posts Speaks Podcast. Adela Naharo, Adela, how
are you?
Speaker 4 (01:41):
Oh? I'm doing well today. It's a cloudy day in California,
but I can't complain. It's actually beautiful. You know. There's
eucalyptus trees and the gray and that's very nice.
Speaker 3 (01:54):
It sounds eucalyptus. Also sounds so fragrant when I hear
the word. But before we again, please say your name.
Say your name correctly.
Speaker 2 (02:03):
I know I'm may.
Speaker 4 (02:04):
Oh no, no, no, you said it right. Okay, there's
two ways English English American English way, adela naharo. That's fine,
But the way my mother thought it is avela najarro.
Speaker 2 (02:16):
There we go. Okay, you gotta go.
Speaker 4 (02:19):
And I'm used to both your mother tongue.
Speaker 2 (02:21):
That's how your mom said it.
Speaker 4 (02:23):
So there we go, There you go, There you go.
Speaker 3 (02:29):
But speaking of that, I mean, tell us a bit
about your childhood.
Speaker 4 (02:32):
Now.
Speaker 3 (02:33):
I know you just said you're in Cali right now,
but tell us are you born and raised there?
Speaker 2 (02:38):
Tell us about your childhood and where you grew up.
Speaker 4 (02:40):
Yeah, so my family is from Nicaragua. Everybody except us
kids like the cousins, you know, the one you know. So, Okay,
I'm an adult now, but I still think of, oh,
you know, the adults, right, So so when I think
of childhood, the adults were all from Nicaragua and all
the kids were born here. And so my mom and dad,
(03:01):
they both emigrated from Nicaragua to San Francisco, and they met, well,
I think it was at a party, at least that's
what they say. They say that people would throw parties
in their basements and their houses, and and all the
people from Nicadagua would go. And so there was like
a little Nicodaguaan community where they met. And then me
and my brother here we are, you know. And so
then we moved around a lot. I always write about
(03:23):
my mother. I forget where she know. She's in this book.
She's in every single book. And one of one of
her ways of dealing with life's problems was to get
up and move. So if there was a problem, let's
just move, let's move, let's go somewhere else, right, But
we didn't really move a lot because it was always
in the San Francisco area. And then we moved to
(03:44):
the La area, you know, and then we're moving, we're
moving along there. So I don't know. I just remember
that from my childhood, just moving a lot, and my
lovely mother, who passed about a year and a half ago.
Speaker 3 (03:56):
Oh while mayrisol rest in peace. Tell us a bit
about them? Where did at what point? You said, la?
So he moved to all these different places? Where did
poetry find you?
Speaker 4 (04:05):
Then? I was always a creative child. So I've even
written about a story. I haven't published it yet, or
maybe I did. Sometimes you forget, but I was in
fourth grade and I was writing limericks. And I remember
that about this because I fell in love with limericks.
I was I also like jokes, Like I was one
of those like like fart jokes, and all that was
(04:28):
funny for me as a kid, you know, ha ha.
I was that kind of a little girl. So limericks, Oh, limericks, Oh,
those are amazing. And I fell in love with them.
And I took out all the kids poems in the
school library. I mean it's a little tiny library, but
I did all this work and I made a little
book of limericks, and I think the teacher wanted us
to write a few poems. And so then the teacher
(04:51):
was like, okay, children, there's some poems that have been
turned in, and I'm going to read you this one
that's wonderful and blah blah blah. It was another girl's
limerick number one, but number two. She had copied it
from the books, So I remember. I remember. That's why
(05:11):
I remember, like the you know, people ask me, when
do you remember, But that's my poetry memory, and so
I must have been writing before that. I just remember
that because you know, the teacher didn't acknowledge my beautiful, authentic,
original limericks and instead praise those of a cheater. No,
nothing bad happened. I don't remember anything bad happening, but that, Yeah,
(05:35):
that's my first memory. And yeah, I always wrote. I
had another one, real pivotal moment in high school a
creative writing class, the start of the poetry unit, and
the teacher asked us to write poems. She let us
walk around the campus and then we turned in our poems.
And the next day or the next class session, I
walked in the room and she had written my poem
(05:56):
on the chalkboard and I was like, oh, yeah and
uh and then she's like, oh, yeah, this is what
a poem's supposed to be. Like you guys can do it.
And I was like, ah, okay, yeah, you need you
need some positive reinforcement, you know.
Speaker 2 (06:12):
Yeah, I will say those you know, teachers.
Speaker 3 (06:14):
I mean that's I mean for you, for you have
at that age your poem just written on the board
like that, I mean, does that that you know? I
feel like that could inspire that could either inspire a
call to action in that young child or it could
inspire all types of hesitation and just embarrassment. But you
went that you want the first way, it really action
for you. So that's pretty amazing. So tell us now,
(06:36):
now we kind of transition with your career. So you
have and I should call you doctor Adella excuse me,
because you have a doctorate in Literature and Creative Writing
from Western Michigan UNI.
Speaker 2 (06:47):
You also have an MFA from Vermont.
Speaker 3 (06:49):
So tell us a bit about how that kind of
transpired to you know, then going the academia route and
going that you know, what is the long process to
get a PhD.
Speaker 4 (06:59):
Okay, all right, Well, so it's such a cut it's
my story and it's complicated story. So I think I'm
just gonna I'm just gonna start it. So in my twenties,
when I graduated from undergrad with an English major in
creative writing. So the school I went to offered a
creative writing degree and it was in poetry and nonfiction.
(07:19):
And I tried to get a job and I put it.
It didn't happen, and I ended up as an elementary
school teacher. I also ended up in an abusive marriage,
and so I stopped writing during my twenties because of that.
And I got a divorce in my early thirties, and
in a minute, I just started writing, writing the first
(07:42):
you know, first minute, I was out of that relationship
and I was free from it. I was just writing.
I was staying with my father and my grandmother, and
I remember I was writing on scrap peeps of paper
on the on the washing machine, and you know all this.
And so I contacted my undergrad professor and he was like,
(08:03):
you know what, you should go to a master's program.
And I'm like, what's the master's program. I didn't know
mastor's programs existed. I've I mean, my family's from Nicaragua,
like I said, And then we were all the kids
were born here, and there was a big push for
my mom go to college, go to college, go to college.
Well I did that, and then if you didn't know
the abuse was happening, Hey, I was really successful. I
(08:24):
had my college degree, I was married, I was teaching
full time. You know, I looked. I looked good on
the outside, right. So then, but the writing, the writing
has always been the real me. So I contacted my
teacher and you know, he said, go to the MFA.
I didn't know about MFAs because I'm first generation A
person here in this country. My family. Yeah, yeah, some
(08:47):
of us cousins have gone to college, not all of us,
but we're the first ones, right, So my parents, there
was nobody that could help me navigate college or figure
out what college was or like I said, I didn't
even know that programs existed. I know, it's crazy, it's crazy,
but he told me that, and I'm like, oh, well,
that's interesting. So I went to a low residency program
(09:09):
at Vermont College and they're now they still call Vermont College,
but now they're located in LA And the low residency
program was perfect for me at the time because I
could keep working. And what I did is I went
to Vermont for the residency for two weeks two times
a year, and it was the best thing I ever did.
I mean, I worked one on one with different writers
(09:31):
and I would send them a packet of poems and essays.
Because you had to make it had to be academic, right,
so you had to write scholarly essays on poetry. But hey,
I love poetry, so it's fine with me. Let me.
Let me read poems and write scholarly essays around that.
That sounds like fun. And so I got to do
that for five semesters, two and a half years, and
I absolutely loved it, and I was like, I want
(09:52):
to keep doing this. I want to keep doing this.
So I set a little plan in my mind that
I was going to you either go to I was
going to apply to Provincetown they have a year long fellowship,
or the Stegner here in California at Stanford, which is
a two year program, or the PhD because some of
(10:15):
the faculty had worked with in my master's program, they
had a PhD program. And if all of those didn't
work out, I was going to go get another master's,
like a master's in literature or something at San Francisco State, right,
because I was just gonna I don't know, I was
going to figure out a way to stay in school
and keep learning and keep reading. And the one that
came through was the PhD. So they gave me full funding.
(10:36):
They invited me to Michig Western Michigan. I knew two
of the professors on the faculty. They were amazing people,
and so I was just like, Wow, I get to
spend all this time reading and writing and thinking and
sharing my work with my student you know, fellow students
and with the fact and that's what it was. Five
(10:58):
years of that it was the best.
Speaker 3 (11:01):
Yeah, No, that's you know, when you're in that process
of the just the PhD getting it, you know, you
really are just creating new knowledge. So it is such
an amazing track to be on, especially for something that
you love so much. Now, that's really that's really amazing
to hear. Tell me a bit about how you know,
a lot of people have the argument the creative side
(11:22):
of you can be kind of bogged down when you
mix it with the solid dome of academia, especially for writers.
Speaker 2 (11:30):
Right, it's such a creative field.
Speaker 3 (11:32):
That so many people that didn't have formal training have
become so successful, right, And I've just you know, been
able to find as a mode of expression, ritual, et cetera.
Tell us, how was the academic experiences? How has that
shaped your creative mind as a poet though worser or
for better?
Speaker 4 (11:48):
Oh, definitely for better, for better? And and again it's
kind of like I had this abusive marriage episode in
my twenties, right, and when I left that, I totally
changed my point of view towards life. And I was like,
never ever will I do something I don't want to do.
So if I had been in that PhD program and
(12:11):
I didn't like the instructor, or I didn't want to
do something, or it totally seemed ridiculous to me, I
wouldn't have done it. But I also approached it with
the open mind. And it's like, Okay, why why does
everybody say that this person's poetry that is impossible to understand?
Why does everyone say this is amazing? Right? And so
(12:34):
I forced myself to understand that, you know, I went
through and then what had happened was, instead of you know,
judging different types of artwork, I began to see, Oh,
this is the way a certain poem can be understood.
Another poem can be understood in this way, Another poem
(12:56):
can be understod in this way. And I did come
away from the process with the with a very strong
critique in that I don't believe in hierarchies, so I
refuse to say that somebody's work is better than somebody
else's sure, And instead I say, oh, well, that work
is doing these things. And I got that from the PhD, right,
(13:19):
I got that language from the PhD. And so I
could say, you know, give somebody a poem and people
be like, why is this poem heralded as the best
thing ever? Well, let's have a discussion about that. Now.
It doesn't have to be your best poem, but it's
a poem there. And then what I realized though then,
is that this non hierarchical thing, everybody's creative work can
(13:42):
be viewed in that lens, what is this person doing,
Why are they doing it? Why are they doing it?
And I find that to view the world through respect
and love and appreciation, we can expect and love other
people's work, no matter where they're at, whether their award
winning poets or it's just they wrote their first poem yesterday.
(14:05):
You know, why do we have to say that one's
better and that one's not. I totally have an argument. No,
that's not acceptable. No, for sure.
Speaker 3 (14:12):
For sure, Now that whole kind of the competition breeding
something else. The whole competition in the arts, I think
can definitely breed, maybe doesn't breed what the whole kind
of DNA of what of what we're trying to create
is in the first place. So that's that's a very
very good point. Moving along, tell us a bit about
(14:34):
your collection. Volcanic Interruptions. It's such a powerful name, volcanic interruptions.
I can think of many volcanic interruptions that have happened
in my life on my journey.
Speaker 4 (14:45):
Right.
Speaker 3 (14:46):
Received an honorable mention at the twenty twenty four International
Latino Book Awards. Now, tell me a little bit about
how did that recognition impact you and your work, seeing
that you're so close to, you know, advocacy for Latino
Latino people's in the art.
Speaker 4 (15:01):
I've been doing this for, you know, if you go
back to the original story of being in fourth grade. Right,
I've been doing this my whole life. And I have
a PhD. And you know, and I have a book
out and books out and all this, But I still
I don't think very many people know my name maybe
some people do you know, you know what I'm saying, Like,
if somebody said, hey, name a Latino poet right now,
I don't know if my name would appear on the
(15:23):
top ten list, right, And so having awards of this
nature help you in that regard, right And And even
though I said I don't like hierarchies, the hierarchies exist
in art. That's that's just the way it is. And
so I don't know. I mean, I'm hoping that if
my name recognition, my poetry gets a wider audience, then
(15:46):
the things that matter to me, my ideas, can be
in discussion and a wider place. And I hope that
that's what would happen. And little things like winning an
award do that, right, They help you, They help others
see you.
Speaker 3 (16:03):
Yes, absolutely, absolutely, definitely, the those kind of prestigious mentions,
you know, it really does help give you leaps and
bounds to get your work seen by more people that
may have never even seen it before.
Speaker 2 (16:15):
So that's the yeah point.
Speaker 3 (16:16):
Tell us do you view awards like that, you know
at this stage in your career.
Speaker 2 (16:20):
Are they a big part do you.
Speaker 3 (16:22):
Think consciously about the marketing around that you know, I
will say. As an artist, there's our creative side, but
you know, if you do this for a living, there
is the business side that you do have to pay
attention to. How much do you focus on kind of
those you know, achievements and distinguishing you know, awards?
Speaker 4 (16:39):
Okay, I'm aware of it, and I apply, Like the
National Endowment of the Arts has an award every other year, right,
and I even though I forgot to apply last year,
but that's the first time in like twenty years that
I forgot to apply. So I apply every year, you know.
And and why One a that comes with a little
extra money, and that sure would be helpful. But two again,
(17:00):
it's that it's that kind of thing. But do I
spend a lot of my time doing that?
Speaker 3 (17:04):
No?
Speaker 4 (17:05):
Instead, what I spend doing my time is I spend
creating community. So I'm on the board of directors for
Circulo with us and writers, and my book is coming out,
and two of the other women on the board they
had books coming out. So we did a local book
tour lastres Chicas, you know, and we went to Fresno,
(17:28):
we went to La Anaheim, Monterey, Santa Cruz, Lodi, California,
and you know, and we're going to these places just
to build community and to build a network of people,
and to in that way get our voices out there,
are our ideas shared in our poems in the hands
of the reading public.
Speaker 3 (17:48):
Yeah, now that's fascinating that tour that you kind of
just took into your own hands. How important do you
think that is to kind of just take take these
types of things, finding building community within you know each other, right,
you found two other, two other woman poets to kind
of make that tour together.
Speaker 2 (18:05):
How important do you think.
Speaker 3 (18:06):
That aspect of the field is to really take your future,
take take your publicity into your own hands.
Speaker 2 (18:14):
How important do you think that is?
Speaker 4 (18:16):
I I think that's the secret. That's how you do it. Yeah,
I'm gonna apply to all these things. But where my
life is is in these community building activities. Yeah, because
because I had a great time on our book tour,
you know, I Yeah, I had the readings, you know,
the all all of that kind of fun stuff, the
(18:38):
the social media posts and and all this. But what
was what was most not most because it's all part
of the package, right, It was meeting the people, meeting
new people, interacting with new people. It was just really good.
Speaker 2 (18:55):
Yeah, No, I could imagine. I could really imagine that.
Speaker 4 (18:58):
Yeah, and and and so one of the things I've
been finding out too, because on my road to publication,
you know, I applied to poetry contests over and over
and over and finalists this, finalist, that finalist this, and
eventually I got published, you know, but it took a
long time. It was a lot of work. And Volcanic
Interruptions is a published. The publisher is a small local
(19:20):
publisher here in California, and I met her. She worked
at Cabrillo College and I met her and we talked
and I told her I had this idea for a book,
and she said, oh, well, let me see the book.
And then she liked it and she published it. So
that book was published through building community. Wow, you know,
you know. And also Variations in Blue was also published
(19:42):
like that. Let Us Latinas in Notre Dame is the
Institute for Latino Studies at Notre Dame Francisco. Agone runs it,
and I've known him for over twenty years and he
is a loving, generous man, always trying to connect poets together,
Latino poet to get Latino poetry acknowledged on a national level.
(20:04):
And so you know, every time Francisco says, hey, this
is happening, you know, I'm like, okay, sign me up,
sign me up, sign me up, sign me up. And
you know, he selected that collection as part of the
curated series with Red Hand. So that also came from
building community.
Speaker 2 (20:22):
Yeah, you know.
Speaker 4 (20:24):
And so and that's when it it feels real when
it's like that, yeah you know, And I mean, I'm
not going to turn down Hey, Adela, you won a
ten thousand dollars prize for your next manuscript. I'll go, yeah, sure,
thank you very much. But this feels really really authentic
and makes it all worthwhile.
Speaker 2 (20:44):
I mean, now that that sounds beyond amazing.
Speaker 3 (20:47):
I mean that that sounds like a really genuine, like
you said, genuine authentic circle circle moments that were really
just happening all for you at once, all these different
people coming together.
Speaker 2 (20:59):
Now that's amazing.
Speaker 3 (21:00):
I really do wish that for more writers to be
able to experience that that type of community and support.
Speaker 4 (21:06):
For sure, well, if you don't have it, you can
make it.
Speaker 2 (21:10):
There you go, yeah, there you go. Yeah.
Speaker 3 (21:13):
Look that kind of brings me to my next question, Well,
tell us what advice would you give though to emerging
poets who are passionate about, you know, writing and you
know want to use their their writing, you know, as advocacy, right,
whether it be for advocacy for whatever cause, maybe even
just you know, pushing themselves.
Speaker 2 (21:31):
Like you said, if you don't have that community, build it,
But how do you build it?
Speaker 4 (21:35):
Right?
Speaker 2 (21:35):
What would your advice be to those.
Speaker 4 (21:37):
Who are passionate? Well, you know what, one of the
good things I was going to say, I don't know
if everyone has as much poetry as California seems to have,
because when I was in La there was poetry. I'm
in Santa Cruz County there's poetry. San Francisco's filled the poetry.
And by poetry I mean people having open mics and
spoken word nights and at the library, and you know,
(22:00):
all over wherever I've lived, there has always been tons
of poetry opportunities for people. But since for the pandemic,
I mean we all suffered through that. But one of
the benefits of the pandemic is that we're all online now.
And so if there isn't an open mic or a
poetry community that you can join in your town or community,
(22:22):
there is online. There is online, And if you're listening
to this, you know, you can email somebody like myself
or someone like Amanda and ask, hey, you know, what
do you recommend? And I know I could write an
email to whoever you know wrote me and I would say, oh,
how about this one, this one, this one, this one,
(22:43):
this one, you know, and so I would first thing
I would say is go out and meet other writers.
And you know, is it in your community or is
it online. That's the first thing. And then the second
thing I would say is be strong because you have
a right to express what is going on in your
(23:06):
life the way that you want to express that, and
you know, just be strong and stay true to who
you are and write from the heart, right from your experience,
you know. And then the third thing would be, yeah,
it's a good thing to read, right, read books, go
out there, learn, take classes, take writing workshops. I've loved
(23:27):
doing that and I've learned so much.
Speaker 3 (23:29):
Yeah, No, that's amazing. Absolutely, it takes small steps.
Speaker 2 (23:34):
To start that long journey. Yeah, I love that. Absolutely. Absolutely.
Tell us a bit about your role on the board.
Speaker 3 (23:40):
Of Circulo Circulo de Politas and writers, I know, but
you' that and and how of how this organization really
supports Latina LATINX writers and kind of talk about a
bit about what it means for someone to join a
board of an organization and what that.
Speaker 2 (24:00):
Kind of looks like for a writing organization.
Speaker 4 (24:03):
Okay, all right, yeah, so well I just start with
it with the name. So the name itself is in
spanglishas Spanish and writers, right, And that's on purpose because
the United States, the Latino language is Spanglish, is this
mixture of English and Spanish. So so we want to
put that out there, you know. Ah, Okay, So what
(24:24):
does it mean to work on a board, Well, it's saying, hey,
I am an organized entity, you know, and I have power.
You know. I'm not going to wait around for somebody
to come knock on my door and say, hey, will
you come here. I'm already here in the culture space
of the United States, right right. So Circulo happened because
(24:46):
there's a lot of writing groups. There's Macondo, there's Canto Mundo,
there's a few more, There's Cave Canem, there's the one
for Asian Asian Pacific a aa p I, and but
there wasn't one in California, and the poets started bickering.
We're like, oh, those Texas people only like Texas poets.
(25:07):
They don't like California poets. La la la, la la.
And so that Luca Corpi, who says celebrating her eightieth
birthday soon, she's like, stop that, Yeah, stop that, all
of you stop it. Why don't we meet at my
house and let's do something. If you think there's not
anything out there for Latino writers, meet at my house
(25:30):
and we'll make something, you know. So Luca, it was
Luca and Francisco ex Alon. He passed away from stomach
cancer a few years ago. But they were well published,
well received Latino authors, and and you know, they gathered.
They gathered all as Ninos come here, little ones. And
(25:51):
so we met about for five years, just kind of informally,
and you know, we just tried to do it, and
then we realized, you know, if we don't make this
a formal board and a nonprofit and you know, formalize
this organization, it was going to fade away. Yeah, right,
So that happens. Sometimes you get something going and there's energy,
(26:12):
and then it was starting to fade away. So a
few of us got together and said, no, let's make
it a nonprofit and start on the board. So we've
did that and from the very beginning we started in
twenty fifteen, I think five years, we were kind of
like just free floating. We weren't organized, and then in
the fifth year was when we started the nonprofit. So
(26:34):
now we've been around for ten years and it's just
it's just really powerful to have a space in the
culture where we can create and design our own work.
Speaker 2 (26:46):
Yes, yeah, no, I love that. I love how you
describe that.
Speaker 3 (26:49):
You know, you're an entity that's there to create their
own and yeah, no, you do have.
Speaker 2 (26:54):
Cave kind of on the East Coast. I mean you
have that in the city.
Speaker 3 (26:59):
So yeah, that's a pretty amazing thing to be able
to create this organization that supports your own And what
has been the kind of feedback you've gotten then from
the community, Well.
Speaker 4 (27:10):
We keep growing, so so the board, you know, we're
all working and busy, and so on the board that
we decided we're going to do one thing and we're
going to have a one day conference in August every year,
and because of the pandemic, it's now a two day
conference because we have to do one in person and
one online. So but it's a day where we have workshops,
(27:34):
but they're not they're generative. Their generative workshops. In the middle,
we have a tribute to a living writer and then
we end in an open mic and so that's what
we're that's where we're where work is focused on. Except
this year, which is our tenth year anniversary, we were
doing a little bit more few more events, and like Odellia,
(27:55):
one of our board members, she decided she wanted to
do a quarterly right workshop on the four elements, so earthwind, fire,
and so those are free and they're out there and
we're doing them this year.
Speaker 2 (28:10):
Horrible big ups to y'all.
Speaker 3 (28:12):
Tell us a little bit how can folks get involved
as they're listening to this podcast, tell us about how
they can get involved, and they bought us and writers
tell us a little bit about and.
Speaker 4 (28:20):
It's open to everybody. So you can be a published
author with fifteen books and all the awards, or you
can just be going like I don't know if I
can write a poem. You know, we take everybody, and
so you go to our website and it's kind of easy. Okay,
I'm gonna say it in English. Circlo Writers dot Com
(28:41):
c I R c U l O writers dot com
and you go there and you look at the web
page and you can see what we're doing, our events,
our members. One of the nice things we did on
that website is that our members have a picture, a
writing sample, and a b io. So if you don't
(29:02):
have the time or energy to make yourself a website,
you could join us and at least you'll be on
the web. You know, you'll be out there. You'll have
a presence where you can send people and stuff. So
it's kind of nice that way.
Speaker 2 (29:13):
And then we have a newsletter that's actually fantastic.
Speaker 3 (29:15):
A lot of people they need that beginnings of a
portfolio almost, so that's great. I'll actually provide that free
of cost. Okay, well everyone check that out. It'll be
again in the description box below. But let's move on.
You know you're dropping a lot of gems. But I
do want to I want to turn the focus.
Speaker 2 (29:33):
Back on you.
Speaker 3 (29:34):
Share the inspiration behind your latest poetry collection, Variations in Blue,
and tell us when we shall look forward to that
and what themes can readers kind of expect and what
was really just the inspiration behind the latest collection that
you have.
Speaker 4 (29:49):
Okay, think yeah, that's a great question. So it's coming
out March eighteenth. Pre sale orders are now available if
you go to my website, the links are there if
you go to Red Hand Press. You know, should be
easy to find online. So it's called variations in Blue here.
Let me I got it right here to look at
this beautiful cover.
Speaker 2 (30:07):
Yeah, pretty, there you go.
Speaker 4 (30:08):
Isn't that pretty? Isn't that pretty? That's so pretty? Okay,
And so every poem in the book are variations. So
there's little multiple sets and it comes back. I mean,
maybe you can say it's part of the PhD. I
have a funny story about it though, too. But it's
this whole idea that though we are masters of craft
(30:32):
and language and that's what I do and that's where
I play, you can never ever completely communicate one hundred
percent to everybody. There's this seepage in language that just
doesn't what you write is never going to be one
hundred percent one to one connection correspondence between the writer
(30:53):
and the reader. So what I did was like, oh, okay,
well let's just write the same ideas, but variations on him,
variations on him. And in here there's a Nicodaguin poet
his name is Rubin Ladio that Eo, and he is
a famous Nicodaguin poet from the nineteen hundreds around there,
(31:15):
and he wrote a famous book called assul So. So
then I was like, oh, okay, I'm gonna tap into
that cultural heritage, but I'm also going to play on
the blues, right, So this is variations in blue and
lots of lots of different ways. And so the book
is in three parts, and the first part is about
(31:35):
being in a being Nicaraguin heritage but really not belonging
to either culture. So I wasn't born in Nicaragua, so
I can't say I'm Nicaraguin because I wasn't born there,
and that you know everything. Okay. I went once and
they were like, you're American, and I'm like, no, my
parents could have been. They they're both Nicodaguin. No you're
(31:57):
and must have been the way I talked or some right,
So they were like, no, no, you are not Nicoaguan.
And then here, oh, no you're not American. You're you're
not American. Look at the way you talk. So I'm like,
what's going on? So there's always this imagining of you know,
what is Nicaragua, what is life? And that's like the
(32:20):
first part, and I also have a few ecrastic poems
there about Latino art. The second part of the book
and is that I finally am able to publish poems
about the abusive marriage. And the reason being is that
I never ever wanted to be a movie, you know,
(32:42):
to be an abuse movie, I know. And I never
wanted to be Adela and Naharo the abuse poet, right,
I never that was not no. No, I am the
poet who writes about all kinds of things. And so
it just took me a while to heal and learn
about poetry to write about that experience and go in
(33:05):
it and come out, right, go in and come out.
So that's the middle part of the book. And then
the third part of the book begins with a poem
called what Changed, right, And so it's like when I
changed one husband to another, I changed the locks, I changed,
you know, and it's just really fun. It's like can changed.
So then the second part of the book is what Changed,
(33:28):
and it ends with a meditation on Nicaragua and the volcanoes.
So back to the volcanic intereruptions, right, because my life
has been filled with volcanic intereruptions. Right, it hasn't been
calm and easy. It's been very volcanic. But what I
think I've done is I've changed all of that into power.
(33:49):
You know. So this happened to me, but what it did,
But what happened I changed that into understanding about the
human condition.
Speaker 2 (33:58):
Oh can I say that as you can? There we go? Wow,
very very powerful. So those three parts really in envelope.
Speaker 3 (34:08):
I need so many parts of you, where you are,
who you've been, and where you're going.
Speaker 4 (34:12):
Right. Yes, Oh that's a great way to put it.
Speaker 3 (34:15):
Yeah. Yeah, that's a great way to put it. Man, No,
so I love that. Variations in blue. So everyone, March eighteenth,
by the time you listen to this podcast, that'll be
available for everyone to purchase. Correct, yeah, yeah, bailable for purchase,
available for purchase.
Speaker 2 (34:28):
Where where can folks purchase? That was the primary website
or a place to.
Speaker 4 (34:32):
Well, I would go to Red Hand Press Perfect, Red
hand Press, and also my website Adelaneharo dot com. It's
available there or actually I think it just links to
Red hen Perfect.
Speaker 2 (34:43):
All right, everyone go check that out.
Speaker 1 (34:45):
Now.
Speaker 3 (34:45):
That sounds like it's gonna be a heck of a
read and a heck of a collection from a heck
of a lady. All Right, we appreciate Adela. All right,
it's it's been an amazing conversation. We really appreciate you
dropping gems, sharing so much personal stories and a oats
and why you write poetry. But we do have one
last question for you on the Post Week's podcast. Why
(35:05):
do you need to get your words out?
Speaker 4 (35:09):
Because well there's two. One, I have a personal need
to prove that I exist and that my presence on
this planet matters. But two, in my journey to accomplish that,
I've learned that my voice has not been heard nikod
Aguin American Survivor, Transformer of abuse. All of that, it's
(35:35):
my stories and poems, our's poems and stories that need
to be out there and need to be heard to
expand our understanding of what it is to live on
this planet.
Speaker 2 (35:46):
Absolutely absolutely well, y'all heard it here, all right. That's
why she needs to get some words out, all right, Adela.
Speaker 3 (35:51):
Now before we can finish finish, please do tell us
what is the rest of twenty twenty five looking for you?
Like and tell us drop your social media websites for
everyone can check out all of your amazing work.
Speaker 4 (36:03):
Okay, all right, so social media Instagram, Adela Naharo Underscore,
and then Facebook is just my name. One of the
nice things about having unique name is my name. Just
look up my name and you will find me. And
then yeah, I'm going on a year long promotion of
the of the book. So I'm going to conferences, I'm
doing readings and you know, if you're a college professor,
(36:27):
hit me up and adopt this book.
Speaker 3 (36:32):
Yeah, all right, So that's what it's looking like for you.
Have a hopefully you're gonna have a great time on
that tour. Definitely variations of blue. Everyone go check it out.
All the Della's links will be down in the description
box no matter where you are listening to this podcast. Adella,
thank you so much for being a guest today. I'm
a Poet Speaks podcast. Thank you, Amanda, absolutely absolutely, and
(36:53):
again everyone go check out all the Della's amazing work.
All the links will be down below. Everyone, this is
the Post Speaks Podcast. To Chisil, Goodbye.
Join us on the Poetic Odyssey, a celebration of voices, cultures.
Speaker 2 (00:11):
And the power of words. I'm Amanda Ecking.
Speaker 1 (00:15):
Welcome to the poet Speaks, where every syllable ignites inspiration
for get involve with what stories are on these tracks?
Speaker 2 (00:27):
This idea of the bronx, Now, boogie down bronx.
Speaker 3 (00:30):
That's what people say, right, Don't become someone's subway story.
Speaker 4 (00:37):
Medicate me with a lick of the like.
Speaker 1 (00:42):
I am not afraid to love you.
Speaker 4 (00:45):
All of us have a story.
Speaker 2 (00:47):
Microphone magnifying, notick.
Speaker 4 (00:50):
No one want to listen. So I think that's what
made me write.
Speaker 1 (00:54):
In writing the writing Disco.
Speaker 2 (00:57):
You ready amazing poetry always.
Speaker 3 (01:07):
Hello everyone, and welcome back to the poet Speaks podcast. Now.
Our next guest is the author of four poetry collections,
including Volcanic Interruptions, which earned an Honorable mention at the
twenty twenty four International Latino Book Awards. Her forthcoming collection,
Variations in Blue, will be published in March of twenty
and twenty five by Lettres Latina's Red hen Press. California
(01:30):
Arts Council Fellow. She is passionate about advocation for Latina,
Latina ex arts and social justice.
Speaker 4 (01:37):
Everyone.
Speaker 2 (01:37):
Welcome to the Posts Speaks Podcast. Adela Naharo, Adela, how
are you?
Speaker 4 (01:41):
Oh? I'm doing well today. It's a cloudy day in California,
but I can't complain. It's actually beautiful. You know. There's
eucalyptus trees and the gray and that's very nice.
Speaker 3 (01:54):
It sounds eucalyptus. Also sounds so fragrant when I hear
the word. But before we again, please say your name.
Say your name correctly.
Speaker 2 (02:03):
I know I'm may.
Speaker 4 (02:04):
Oh no, no, no, you said it right. Okay, there's
two ways English English American English way, adela naharo. That's fine,
But the way my mother thought it is avela najarro.
Speaker 2 (02:16):
There we go. Okay, you gotta go.
Speaker 4 (02:19):
And I'm used to both your mother tongue.
Speaker 2 (02:21):
That's how your mom said it.
Speaker 4 (02:23):
So there we go, There you go, There you go.
Speaker 3 (02:29):
But speaking of that, I mean, tell us a bit
about your childhood.
Speaker 4 (02:32):
Now.
Speaker 3 (02:33):
I know you just said you're in Cali right now,
but tell us are you born and raised there?
Speaker 2 (02:38):
Tell us about your childhood and where you grew up.
Speaker 4 (02:40):
Yeah, so my family is from Nicaragua. Everybody except us
kids like the cousins, you know, the one you know. So, Okay,
I'm an adult now, but I still think of, oh,
you know, the adults, right, So so when I think
of childhood, the adults were all from Nicaragua and all
the kids were born here. And so my mom and dad,
(03:01):
they both emigrated from Nicaragua to San Francisco, and they met, well,
I think it was at a party, at least that's
what they say. They say that people would throw parties
in their basements and their houses, and and all the
people from Nicadagua would go. And so there was like
a little Nicodaguaan community where they met. And then me
and my brother here we are, you know. And so
then we moved around a lot. I always write about
(03:23):
my mother. I forget where she know. She's in this book.
She's in every single book. And one of one of
her ways of dealing with life's problems was to get
up and move. So if there was a problem, let's
just move, let's move, let's go somewhere else, right, But
we didn't really move a lot because it was always
in the San Francisco area. And then we moved to
(03:44):
the La area, you know, and then we're moving, we're
moving along there. So I don't know. I just remember
that from my childhood, just moving a lot, and my
lovely mother, who passed about a year and a half ago.
Speaker 3 (03:56):
Oh while mayrisol rest in peace. Tell us a bit
about them? Where did at what point? You said, la?
So he moved to all these different places? Where did
poetry find you?
Speaker 4 (04:05):
Then? I was always a creative child. So I've even
written about a story. I haven't published it yet, or
maybe I did. Sometimes you forget, but I was in
fourth grade and I was writing limericks. And I remember
that about this because I fell in love with limericks.
I was I also like jokes, Like I was one
of those like like fart jokes, and all that was
(04:28):
funny for me as a kid, you know, ha ha.
I was that kind of a little girl. So limericks, Oh, limericks, Oh,
those are amazing. And I fell in love with them.
And I took out all the kids poems in the
school library. I mean it's a little tiny library, but
I did all this work and I made a little
book of limericks, and I think the teacher wanted us
to write a few poems. And so then the teacher
(04:51):
was like, okay, children, there's some poems that have been
turned in, and I'm going to read you this one
that's wonderful and blah blah blah. It was another girl's
limerick number one, but number two. She had copied it
from the books, So I remember. I remember. That's why
(05:11):
I remember, like the you know, people ask me, when
do you remember, But that's my poetry memory, and so
I must have been writing before that. I just remember
that because you know, the teacher didn't acknowledge my beautiful, authentic,
original limericks and instead praise those of a cheater. No,
nothing bad happened. I don't remember anything bad happening, but that, Yeah,
(05:35):
that's my first memory. And yeah, I always wrote. I
had another one, real pivotal moment in high school a
creative writing class, the start of the poetry unit, and
the teacher asked us to write poems. She let us
walk around the campus and then we turned in our poems.
And the next day or the next class session, I
walked in the room and she had written my poem
(05:56):
on the chalkboard and I was like, oh, yeah and
uh and then she's like, oh, yeah, this is what
a poem's supposed to be. Like you guys can do it.
And I was like, ah, okay, yeah, you need you
need some positive reinforcement, you know.
Speaker 2 (06:12):
Yeah, I will say those you know, teachers.
Speaker 3 (06:14):
I mean that's I mean for you, for you have
at that age your poem just written on the board
like that, I mean, does that that you know? I
feel like that could inspire that could either inspire a
call to action in that young child or it could
inspire all types of hesitation and just embarrassment. But you
went that you want the first way, it really action
for you. So that's pretty amazing. So tell us now,
(06:36):
now we kind of transition with your career. So you
have and I should call you doctor Adella excuse me,
because you have a doctorate in Literature and Creative Writing
from Western Michigan UNI.
Speaker 2 (06:47):
You also have an MFA from Vermont.
Speaker 3 (06:49):
So tell us a bit about how that kind of
transpired to you know, then going the academia route and
going that you know, what is the long process to
get a PhD.
Speaker 4 (06:59):
Okay, all right, Well, so it's such a cut it's
my story and it's complicated story. So I think I'm
just gonna I'm just gonna start it. So in my twenties,
when I graduated from undergrad with an English major in
creative writing. So the school I went to offered a
creative writing degree and it was in poetry and nonfiction.
(07:19):
And I tried to get a job and I put it.
It didn't happen, and I ended up as an elementary
school teacher. I also ended up in an abusive marriage,
and so I stopped writing during my twenties because of that.
And I got a divorce in my early thirties, and
in a minute, I just started writing, writing the first
(07:42):
you know, first minute, I was out of that relationship
and I was free from it. I was just writing.
I was staying with my father and my grandmother, and
I remember I was writing on scrap peeps of paper
on the on the washing machine, and you know all this.
And so I contacted my undergrad professor and he was like,
(08:03):
you know what, you should go to a master's program.
And I'm like, what's the master's program. I didn't know
mastor's programs existed. I've I mean, my family's from Nicaragua,
like I said, And then we were all the kids
were born here, and there was a big push for
my mom go to college, go to college, go to college.
Well I did that, and then if you didn't know
the abuse was happening, Hey, I was really successful. I
(08:24):
had my college degree, I was married, I was teaching
full time. You know, I looked. I looked good on
the outside, right. So then, but the writing, the writing
has always been the real me. So I contacted my
teacher and you know, he said, go to the MFA.
I didn't know about MFAs because I'm first generation A
person here in this country. My family. Yeah, yeah, some
(08:47):
of us cousins have gone to college, not all of us,
but we're the first ones, right, So my parents, there
was nobody that could help me navigate college or figure
out what college was or like I said, I didn't
even know that programs existed. I know, it's crazy, it's crazy,
but he told me that, and I'm like, oh, well,
that's interesting. So I went to a low residency program
(09:09):
at Vermont College and they're now they still call Vermont College,
but now they're located in LA And the low residency
program was perfect for me at the time because I
could keep working. And what I did is I went
to Vermont for the residency for two weeks two times
a year, and it was the best thing I ever did.
I mean, I worked one on one with different writers
(09:31):
and I would send them a packet of poems and essays.
Because you had to make it had to be academic, right,
so you had to write scholarly essays on poetry. But hey,
I love poetry, so it's fine with me. Let me.
Let me read poems and write scholarly essays around that.
That sounds like fun. And so I got to do
that for five semesters, two and a half years, and
I absolutely loved it, and I was like, I want
(09:52):
to keep doing this. I want to keep doing this.
So I set a little plan in my mind that
I was going to you either go to I was
going to apply to Provincetown they have a year long fellowship,
or the Stegner here in California at Stanford, which is
a two year program, or the PhD because some of
(10:15):
the faculty had worked with in my master's program, they
had a PhD program. And if all of those didn't
work out, I was going to go get another master's,
like a master's in literature or something at San Francisco State, right,
because I was just gonna I don't know, I was
going to figure out a way to stay in school
and keep learning and keep reading. And the one that
came through was the PhD. So they gave me full funding.
(10:36):
They invited me to Michig Western Michigan. I knew two
of the professors on the faculty. They were amazing people,
and so I was just like, Wow, I get to
spend all this time reading and writing and thinking and
sharing my work with my student you know, fellow students
and with the fact and that's what it was. Five
(10:58):
years of that it was the best.
Speaker 3 (11:01):
Yeah, No, that's you know, when you're in that process
of the just the PhD getting it, you know, you
really are just creating new knowledge. So it is such
an amazing track to be on, especially for something that
you love so much. Now, that's really that's really amazing
to hear. Tell me a bit about how you know,
a lot of people have the argument the creative side
(11:22):
of you can be kind of bogged down when you
mix it with the solid dome of academia, especially for writers.
Speaker 2 (11:30):
Right, it's such a creative field.
Speaker 3 (11:32):
That so many people that didn't have formal training have
become so successful, right, And I've just you know, been
able to find as a mode of expression, ritual, et cetera.
Tell us, how was the academic experiences? How has that
shaped your creative mind as a poet though worser or
for better?
Speaker 4 (11:48):
Oh, definitely for better, for better? And and again it's
kind of like I had this abusive marriage episode in
my twenties, right, and when I left that, I totally
changed my point of view towards life. And I was like,
never ever will I do something I don't want to do.
So if I had been in that PhD program and
(12:11):
I didn't like the instructor, or I didn't want to
do something, or it totally seemed ridiculous to me, I
wouldn't have done it. But I also approached it with
the open mind. And it's like, Okay, why why does
everybody say that this person's poetry that is impossible to understand?
Why does everyone say this is amazing? Right? And so
(12:34):
I forced myself to understand that, you know, I went
through and then what had happened was, instead of you know,
judging different types of artwork, I began to see, Oh,
this is the way a certain poem can be understood.
Another poem can be understood in this way, Another poem
(12:56):
can be understod in this way. And I did come
away from the process with the with a very strong
critique in that I don't believe in hierarchies, so I
refuse to say that somebody's work is better than somebody
else's sure, And instead I say, oh, well, that work
is doing these things. And I got that from the PhD, right,
(13:19):
I got that language from the PhD. And so I
could say, you know, give somebody a poem and people
be like, why is this poem heralded as the best
thing ever? Well, let's have a discussion about that. Now.
It doesn't have to be your best poem, but it's
a poem there. And then what I realized though then,
is that this non hierarchical thing, everybody's creative work can
(13:42):
be viewed in that lens, what is this person doing,
Why are they doing it? Why are they doing it?
And I find that to view the world through respect
and love and appreciation, we can expect and love other
people's work, no matter where they're at, whether their award
winning poets or it's just they wrote their first poem yesterday.
(14:05):
You know, why do we have to say that one's
better and that one's not. I totally have an argument. No,
that's not acceptable. No, for sure.
Speaker 3 (14:12):
For sure, Now that whole kind of the competition breeding
something else. The whole competition in the arts, I think
can definitely breed, maybe doesn't breed what the whole kind
of DNA of what of what we're trying to create
is in the first place. So that's that's a very
very good point. Moving along, tell us a bit about
(14:34):
your collection. Volcanic Interruptions. It's such a powerful name, volcanic interruptions.
I can think of many volcanic interruptions that have happened
in my life on my journey.
Speaker 4 (14:45):
Right.
Speaker 3 (14:46):
Received an honorable mention at the twenty twenty four International
Latino Book Awards. Now, tell me a little bit about
how did that recognition impact you and your work, seeing
that you're so close to, you know, advocacy for Latino
Latino people's in the art.
Speaker 4 (15:01):
I've been doing this for, you know, if you go
back to the original story of being in fourth grade. Right,
I've been doing this my whole life. And I have
a PhD. And you know, and I have a book
out and books out and all this, But I still
I don't think very many people know my name maybe
some people do you know, you know what I'm saying, Like,
if somebody said, hey, name a Latino poet right now,
I don't know if my name would appear on the
(15:23):
top ten list, right, And so having awards of this
nature help you in that regard, right And And even
though I said I don't like hierarchies, the hierarchies exist
in art. That's that's just the way it is. And
so I don't know. I mean, I'm hoping that if
my name recognition, my poetry gets a wider audience, then
(15:46):
the things that matter to me, my ideas, can be
in discussion and a wider place. And I hope that
that's what would happen. And little things like winning an
award do that, right, They help you, They help others
see you.
Speaker 3 (16:03):
Yes, absolutely, absolutely, definitely, the those kind of prestigious mentions,
you know, it really does help give you leaps and
bounds to get your work seen by more people that
may have never even seen it before.
Speaker 2 (16:15):
So that's the yeah point.
Speaker 3 (16:16):
Tell us do you view awards like that, you know
at this stage in your career.
Speaker 2 (16:20):
Are they a big part do you.
Speaker 3 (16:22):
Think consciously about the marketing around that you know, I
will say. As an artist, there's our creative side, but
you know, if you do this for a living, there
is the business side that you do have to pay
attention to. How much do you focus on kind of
those you know, achievements and distinguishing you know, awards?
Speaker 4 (16:39):
Okay, I'm aware of it, and I apply, Like the
National Endowment of the Arts has an award every other year, right,
and I even though I forgot to apply last year,
but that's the first time in like twenty years that
I forgot to apply. So I apply every year, you know.
And and why One a that comes with a little
extra money, and that sure would be helpful. But two again,
(17:00):
it's that it's that kind of thing. But do I
spend a lot of my time doing that?
Speaker 3 (17:04):
No?
Speaker 4 (17:05):
Instead, what I spend doing my time is I spend
creating community. So I'm on the board of directors for
Circulo with us and writers, and my book is coming out,
and two of the other women on the board they
had books coming out. So we did a local book
tour lastres Chicas, you know, and we went to Fresno,
(17:28):
we went to La Anaheim, Monterey, Santa Cruz, Lodi, California,
and you know, and we're going to these places just
to build community and to build a network of people,
and to in that way get our voices out there,
are our ideas shared in our poems in the hands
of the reading public.
Speaker 3 (17:48):
Yeah, now that's fascinating that tour that you kind of
just took into your own hands. How important do you
think that is to kind of just take take these
types of things, finding building community within you know each other, right,
you found two other, two other woman poets to kind
of make that tour together.
Speaker 2 (18:05):
How important do you think.
Speaker 3 (18:06):
That aspect of the field is to really take your future,
take take your publicity into your own hands.
Speaker 2 (18:14):
How important do you think that is?
Speaker 4 (18:16):
I I think that's the secret. That's how you do it. Yeah,
I'm gonna apply to all these things. But where my
life is is in these community building activities. Yeah, because
because I had a great time on our book tour,
you know, I Yeah, I had the readings, you know,
the all all of that kind of fun stuff, the
(18:38):
the social media posts and and all this. But what
was what was most not most because it's all part
of the package, right, It was meeting the people, meeting
new people, interacting with new people. It was just really good.
Speaker 2 (18:55):
Yeah, No, I could imagine. I could really imagine that.
Speaker 4 (18:58):
Yeah, and and and so one of the things I've
been finding out too, because on my road to publication,
you know, I applied to poetry contests over and over
and over and finalists this, finalist, that finalist this, and
eventually I got published, you know, but it took a
long time. It was a lot of work. And Volcanic
Interruptions is a published. The publisher is a small local
(19:20):
publisher here in California, and I met her. She worked
at Cabrillo College and I met her and we talked
and I told her I had this idea for a book,
and she said, oh, well, let me see the book.
And then she liked it and she published it. So
that book was published through building community. Wow, you know,
you know. And also Variations in Blue was also published
(19:42):
like that. Let Us Latinas in Notre Dame is the
Institute for Latino Studies at Notre Dame Francisco. Agone runs it,
and I've known him for over twenty years and he
is a loving, generous man, always trying to connect poets together,
Latino poet to get Latino poetry acknowledged on a national level.
(20:04):
And so you know, every time Francisco says, hey, this
is happening, you know, I'm like, okay, sign me up,
sign me up, sign me up, sign me up. And
you know, he selected that collection as part of the
curated series with Red Hand. So that also came from
building community.
Speaker 2 (20:22):
Yeah, you know.
Speaker 4 (20:24):
And so and that's when it it feels real when
it's like that, yeah you know, And I mean, I'm
not going to turn down Hey, Adela, you won a
ten thousand dollars prize for your next manuscript. I'll go, yeah, sure,
thank you very much. But this feels really really authentic
and makes it all worthwhile.
Speaker 2 (20:44):
I mean, now that that sounds beyond amazing.
Speaker 3 (20:47):
I mean that that sounds like a really genuine, like
you said, genuine authentic circle circle moments that were really
just happening all for you at once, all these different
people coming together.
Speaker 2 (20:59):
Now that's amazing.
Speaker 3 (21:00):
I really do wish that for more writers to be
able to experience that that type of community and support.
Speaker 4 (21:06):
For sure, well, if you don't have it, you can
make it.
Speaker 2 (21:10):
There you go, yeah, there you go. Yeah.
Speaker 3 (21:13):
Look that kind of brings me to my next question, Well,
tell us what advice would you give though to emerging
poets who are passionate about, you know, writing and you
know want to use their their writing, you know, as advocacy, right,
whether it be for advocacy for whatever cause, maybe even
just you know, pushing themselves.
Speaker 2 (21:31):
Like you said, if you don't have that community, build it,
But how do you build it?
Speaker 4 (21:35):
Right?
Speaker 2 (21:35):
What would your advice be to those.
Speaker 4 (21:37):
Who are passionate? Well, you know what, one of the
good things I was going to say, I don't know
if everyone has as much poetry as California seems to have,
because when I was in La there was poetry. I'm
in Santa Cruz County there's poetry. San Francisco's filled the poetry.
And by poetry I mean people having open mics and
spoken word nights and at the library, and you know,
(22:00):
all over wherever I've lived, there has always been tons
of poetry opportunities for people. But since for the pandemic,
I mean we all suffered through that. But one of
the benefits of the pandemic is that we're all online now.
And so if there isn't an open mic or a
poetry community that you can join in your town or community,
(22:22):
there is online. There is online, And if you're listening
to this, you know, you can email somebody like myself
or someone like Amanda and ask, hey, you know, what
do you recommend? And I know I could write an
email to whoever you know wrote me and I would say, oh,
how about this one, this one, this one, this one,
(22:43):
this one, you know, and so I would first thing
I would say is go out and meet other writers.
And you know, is it in your community or is
it online. That's the first thing. And then the second
thing I would say is be strong because you have
a right to express what is going on in your
(23:06):
life the way that you want to express that, and
you know, just be strong and stay true to who
you are and write from the heart, right from your experience,
you know. And then the third thing would be, yeah,
it's a good thing to read, right, read books, go
out there, learn, take classes, take writing workshops. I've loved
(23:27):
doing that and I've learned so much.
Speaker 3 (23:29):
Yeah, No, that's amazing. Absolutely, it takes small steps.
Speaker 2 (23:34):
To start that long journey. Yeah, I love that. Absolutely. Absolutely.
Tell us a bit about your role on the board.
Speaker 3 (23:40):
Of Circulo Circulo de Politas and writers, I know, but
you' that and and how of how this organization really
supports Latina LATINX writers and kind of talk about a
bit about what it means for someone to join a
board of an organization and what that.
Speaker 2 (24:00):
Kind of looks like for a writing organization.
Speaker 4 (24:03):
Okay, all right, yeah, so well I just start with
it with the name. So the name itself is in
spanglishas Spanish and writers, right, And that's on purpose because
the United States, the Latino language is Spanglish, is this
mixture of English and Spanish. So so we want to
put that out there, you know. Ah, Okay, So what
(24:24):
does it mean to work on a board, Well, it's saying, hey,
I am an organized entity, you know, and I have power.
You know. I'm not going to wait around for somebody
to come knock on my door and say, hey, will
you come here. I'm already here in the culture space
of the United States, right right. So Circulo happened because
(24:46):
there's a lot of writing groups. There's Macondo, there's Canto Mundo,
there's a few more, There's Cave Canem, there's the one
for Asian Asian Pacific a aa p I, and but
there wasn't one in California, and the poets started bickering.
We're like, oh, those Texas people only like Texas poets.
(25:07):
They don't like California poets. La la la, la la.
And so that Luca Corpi, who says celebrating her eightieth
birthday soon, she's like, stop that, Yeah, stop that, all
of you stop it. Why don't we meet at my
house and let's do something. If you think there's not
anything out there for Latino writers, meet at my house
(25:30):
and we'll make something, you know. So Luca, it was
Luca and Francisco ex Alon. He passed away from stomach
cancer a few years ago. But they were well published,
well received Latino authors, and and you know, they gathered.
They gathered all as Ninos come here, little ones. And
(25:51):
so we met about for five years, just kind of informally,
and you know, we just tried to do it, and
then we realized, you know, if we don't make this
a formal board and a nonprofit and you know, formalize
this organization, it was going to fade away. Yeah, right,
So that happens. Sometimes you get something going and there's energy,
(26:12):
and then it was starting to fade away. So a
few of us got together and said, no, let's make
it a nonprofit and start on the board. So we've
did that and from the very beginning we started in
twenty fifteen, I think five years, we were kind of
like just free floating. We weren't organized, and then in
the fifth year was when we started the nonprofit. So
(26:34):
now we've been around for ten years and it's just
it's just really powerful to have a space in the
culture where we can create and design our own work.
Speaker 2 (26:46):
Yes, yeah, no, I love that. I love how you
describe that.
Speaker 3 (26:49):
You know, you're an entity that's there to create their
own and yeah, no, you do have.
Speaker 2 (26:54):
Cave kind of on the East Coast. I mean you
have that in the city.
Speaker 3 (26:59):
So yeah, that's a pretty amazing thing to be able
to create this organization that supports your own And what
has been the kind of feedback you've gotten then from
the community, Well.
Speaker 4 (27:10):
We keep growing, so so the board, you know, we're
all working and busy, and so on the board that
we decided we're going to do one thing and we're
going to have a one day conference in August every year,
and because of the pandemic, it's now a two day
conference because we have to do one in person and
one online. So but it's a day where we have workshops,
(27:34):
but they're not they're generative. Their generative workshops. In the middle,
we have a tribute to a living writer and then
we end in an open mic and so that's what
we're that's where we're where work is focused on. Except
this year, which is our tenth year anniversary, we were
doing a little bit more few more events, and like Odellia,
(27:55):
one of our board members, she decided she wanted to
do a quarterly right workshop on the four elements, so earthwind, fire,
and so those are free and they're out there and
we're doing them this year.
Speaker 2 (28:10):
Horrible big ups to y'all.
Speaker 3 (28:12):
Tell us a little bit how can folks get involved
as they're listening to this podcast, tell us about how
they can get involved, and they bought us and writers
tell us a little bit about and.
Speaker 4 (28:20):
It's open to everybody. So you can be a published
author with fifteen books and all the awards, or you
can just be going like I don't know if I
can write a poem. You know, we take everybody, and
so you go to our website and it's kind of easy. Okay,
I'm gonna say it in English. Circlo Writers dot Com
(28:41):
c I R c U l O writers dot com
and you go there and you look at the web
page and you can see what we're doing, our events,
our members. One of the nice things we did on
that website is that our members have a picture, a
writing sample, and a b io. So if you don't
(29:02):
have the time or energy to make yourself a website,
you could join us and at least you'll be on
the web. You know, you'll be out there. You'll have
a presence where you can send people and stuff. So
it's kind of nice that way.
Speaker 2 (29:13):
And then we have a newsletter that's actually fantastic.
Speaker 3 (29:15):
A lot of people they need that beginnings of a
portfolio almost, so that's great. I'll actually provide that free
of cost. Okay, well everyone check that out. It'll be
again in the description box below. But let's move on.
You know you're dropping a lot of gems. But I
do want to I want to turn the focus.
Speaker 2 (29:33):
Back on you.
Speaker 3 (29:34):
Share the inspiration behind your latest poetry collection, Variations in Blue,
and tell us when we shall look forward to that
and what themes can readers kind of expect and what
was really just the inspiration behind the latest collection that
you have.
Speaker 4 (29:49):
Okay, think yeah, that's a great question. So it's coming
out March eighteenth. Pre sale orders are now available if
you go to my website, the links are there if
you go to Red Hand Press. You know, should be
easy to find online. So it's called variations in Blue here.
Let me I got it right here to look at
this beautiful cover.
Speaker 2 (30:07):
Yeah, pretty, there you go.
Speaker 4 (30:08):
Isn't that pretty? Isn't that pretty? That's so pretty? Okay,
And so every poem in the book are variations. So
there's little multiple sets and it comes back. I mean,
maybe you can say it's part of the PhD. I
have a funny story about it though, too. But it's
this whole idea that though we are masters of craft
(30:32):
and language and that's what I do and that's where
I play, you can never ever completely communicate one hundred
percent to everybody. There's this seepage in language that just
doesn't what you write is never going to be one
hundred percent one to one connection correspondence between the writer
(30:53):
and the reader. So what I did was like, oh, okay,
well let's just write the same ideas, but variations on him,
variations on him. And in here there's a Nicodaguin poet
his name is Rubin Ladio that Eo, and he is
a famous Nicodaguin poet from the nineteen hundreds around there,
(31:15):
and he wrote a famous book called assul So. So
then I was like, oh, okay, I'm gonna tap into
that cultural heritage, but I'm also going to play on
the blues, right, So this is variations in blue and
lots of lots of different ways. And so the book
is in three parts, and the first part is about
(31:35):
being in a being Nicaraguin heritage but really not belonging
to either culture. So I wasn't born in Nicaragua, so
I can't say I'm Nicaraguin because I wasn't born there,
and that you know everything. Okay. I went once and
they were like, you're American, and I'm like, no, my
parents could have been. They they're both Nicodaguin. No you're
(31:57):
and must have been the way I talked or some right,
So they were like, no, no, you are not Nicoaguan.
And then here, oh, no you're not American. You're you're
not American. Look at the way you talk. So I'm like,
what's going on? So there's always this imagining of you know,
what is Nicaragua, what is life? And that's like the
(32:20):
first part, and I also have a few ecrastic poems
there about Latino art. The second part of the book
and is that I finally am able to publish poems
about the abusive marriage. And the reason being is that
I never ever wanted to be a movie, you know,
(32:42):
to be an abuse movie, I know. And I never
wanted to be Adela and Naharo the abuse poet, right,
I never that was not no. No, I am the
poet who writes about all kinds of things. And so
it just took me a while to heal and learn
about poetry to write about that experience and go in
(33:05):
it and come out, right, go in and come out.
So that's the middle part of the book. And then
the third part of the book begins with a poem
called what Changed, right, And so it's like when I
changed one husband to another, I changed the locks, I changed,
you know, and it's just really fun. It's like can changed.
So then the second part of the book is what Changed,
(33:28):
and it ends with a meditation on Nicaragua and the volcanoes.
So back to the volcanic intereruptions, right, because my life
has been filled with volcanic intereruptions. Right, it hasn't been
calm and easy. It's been very volcanic. But what I
think I've done is I've changed all of that into power.
(33:49):
You know. So this happened to me, but what it did,
But what happened I changed that into understanding about the
human condition.
Speaker 2 (33:58):
Oh can I say that as you can? There we go? Wow,
very very powerful. So those three parts really in envelope.
Speaker 3 (34:08):
I need so many parts of you, where you are,
who you've been, and where you're going.
Speaker 4 (34:12):
Right. Yes, Oh that's a great way to put it.
Speaker 3 (34:15):
Yeah. Yeah, that's a great way to put it. Man, No,
so I love that. Variations in blue. So everyone, March eighteenth,
by the time you listen to this podcast, that'll be
available for everyone to purchase. Correct, yeah, yeah, bailable for purchase,
available for purchase.
Speaker 2 (34:28):
Where where can folks purchase? That was the primary website
or a place to.
Speaker 4 (34:32):
Well, I would go to Red Hand Press Perfect, Red
hand Press, and also my website Adelaneharo dot com. It's
available there or actually I think it just links to
Red hen Perfect.
Speaker 2 (34:43):
All right, everyone go check that out.
Speaker 1 (34:45):
Now.
Speaker 3 (34:45):
That sounds like it's gonna be a heck of a
read and a heck of a collection from a heck
of a lady. All Right, we appreciate Adela. All right,
it's it's been an amazing conversation. We really appreciate you
dropping gems, sharing so much personal stories and a oats
and why you write poetry. But we do have one
last question for you on the Post Week's podcast. Why
(35:05):
do you need to get your words out?
Speaker 4 (35:09):
Because well there's two. One, I have a personal need
to prove that I exist and that my presence on
this planet matters. But two, in my journey to accomplish that,
I've learned that my voice has not been heard nikod
Aguin American Survivor, Transformer of abuse. All of that, it's
(35:35):
my stories and poems, our's poems and stories that need
to be out there and need to be heard to
expand our understanding of what it is to live on
this planet.
Speaker 2 (35:46):
Absolutely absolutely well, y'all heard it here, all right. That's
why she needs to get some words out, all right, Adela.
Speaker 3 (35:51):
Now before we can finish finish, please do tell us
what is the rest of twenty twenty five looking for you?
Like and tell us drop your social media websites for
everyone can check out all of your amazing work.
Speaker 4 (36:03):
Okay, all right, so social media Instagram, Adela Naharo Underscore,
and then Facebook is just my name. One of the
nice things about having unique name is my name. Just
look up my name and you will find me. And
then yeah, I'm going on a year long promotion of
the of the book. So I'm going to conferences, I'm
doing readings and you know, if you're a college professor,
(36:27):
hit me up and adopt this book.
Speaker 3 (36:32):
Yeah, all right, So that's what it's looking like for you.
Have a hopefully you're gonna have a great time on
that tour. Definitely variations of blue. Everyone go check it out.
All the Della's links will be down in the description
box no matter where you are listening to this podcast. Adella,
thank you so much for being a guest today. I'm
a Poet Speaks podcast. Thank you, Amanda, absolutely absolutely, and
(36:53):
again everyone go check out all the Della's amazing work.
All the links will be down below. Everyone, this is
the Post Speaks Podcast. To Chisil, Goodbye.
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