Alberto Ríos Bio   
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Links to works mentioned in this conversation:

Sheilah Britton, "Discovering the Alphabet of Life"
Alberto Rios, "Nani" and "The Cities Inside Us"

On Writing

Janene Archuleta: How old were you when you knew you wanted to be a writer?

AR: This is a good question, one that I've had to think about many times. The truth is, there never was a moment like that for me. I never had a sudden epiphany that told me, aha! I want to be a writer. Instead, I've just always written. And by writing I mean something far more complex than simply putting a pen to paper. By writing I also mean listening to the world, thinking about it, remembering things, being surprised at the things I remember, and so on. If I had waited for the moment you describe, I still wouldn't be a writer today! 

Laura Whitaker: Do you have a certain reader in mind before you begin to brainstorm?

AR: No, not really. But I do keep this test always in mind: Could I tell this story, or this poem, or this whatever, could I tell it across my kitchen table? That is, I do not think of a certain reader, but I certainly know that a reader is out there. 

Laura Whitaker: Has it ever been hard for you as a writer to get in touch with your voice? Have you ever found yourself writing, using another's words? 

AR: No. This hasn't really been anything I've had to wrestle with. I know what you mean--writers are always talking about their "voice." I think the best advice is to just write and write and write--your voice will be in there somewhere. 

Laura Whitaker: How do you use location, events and symbols to convey what you are feeling and how that helps to develop your story?

AR: Do I use events, locations, and symbols to further the meanings in my stories? I hope that's close to what you asked. Yes, indeed, indeed. That is one big reason I write about the border so much, for example. As a place, it's simply one more point of geography. But a border has many, many meanings as a symbol, and I base much of my writing on that edge. I don't always start out thinking that every last thing I'm using in a story is representative of something else, but very often, after writing for so many years, the things I choose to include do often fit a greater story. I try to relax about these things, and trust that the choices I make will always add up to something greater. When I've tried to purposely choose something, however, I've found that writing is often bullied around by that choice, and I lose some freedom because I know I have to pay attention to that choice. Does that make sense? 

Several students from Dr. Hubbard’s class: What inspired you to write "The Secret Lion"? Was it written from your experience or was it completely fictional? 

AR: "The Secret Lion"--ah, you've asked a good question. No, it's not fictional at all--that is, all the physical parts of the story happened, and those places all exist. The golf course in the hills was called Meadow Hills Country Club--and it was so hidden I truly didn't know it was back there. We did not go to country clubs--enough said. The dialogue and thoughts in the story, however--these were "managed" by me. I remember the whole experience, but I didn't have a tape recorder with me. So, I had to make up much of the thoughtful parts of the story and the dialogue. The story is so important to me, I didn't want it to simply be thought of as a piece of fiction. I recently revised it somewhat and included it in my last book, a memoir about growing up on the border, called Capirotada. In that version, I don't dramatize the story the same way. It might be of interest to some of you to take a look. 

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This interview has been edited for continuity and spelling. The interview was given on October 18, 2001.