Best Romantic Restaurant

Best of SA 2013: 4/24/2013
Beaches Be Trippin\': Five Texas Coast Spots Worth the Drive

Beaches Be Trippin': Five Texas Coast Spots Worth the Drive

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10 Unconventional Dorm-room Recipes for Improvising Foodies

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Learn to Longboard and Make Walking to Class a Thing of the Past

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Chris Pérez, Selena’s Husband, Faces His Past and Looks Forward, Musically

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Texas Book Festival — San Antonio Edition

Interview with Nan Cuba

Photo: Courtesy photo, License: N/A

Courtesy photo

One of the things I like about the book is that even though it is—it doesn’t read like a psychological novel. I like that you make Sarah, the protagonist, an anthropologist obsessed with the Mexica, the Aztecs, and that you excavate myths we have about Aztlan through her character.

I felt like an anthropologist who usurped another culture for her own needs. I have spent a great deal of life here on the West Side. The last thing I wanted to do was show insensitivity. The same goes for the African American characters.

One thing I found extraordinary for novel coming out of SA, is that you are not writing about the Anglo/Latino divide. I have no idea whether this family is Anglo, Latino — both?

I’m so happy to hear you say that. I hope you pick what seems to serve the story best for you.

Did you do that consciously to allow readers to insert themselves, or is that not part of the story?

It’s not part of the story, I don’t think, but more than that, I have long thought that all artists — writers in particular — should have access to anything. I don’t think they should censure their subconscious. For instance, an Anglo should be able to write from an African American’s perspective, if that’s what the story needs, and vice versa. I have thought about that at great length.

Certainly you have to be competent to produce dialogue for characters who are male or female, young or old…

We need access to all of that. … We all have common emotions, common experiences, and common concerns, and to trust that. When your mind is taking you over to a world that you are not totally accustomed to, you just have to trust that we are all experiencing the same things. So, that’s what I do, that’s what I did with Sarah and her family — just tried to create people that others would relate to.

I don’t want to spoil things, but you’ve got a real twist at the end. At that point, I realized that the anthropologist’s obsession with the Mexica, and the weight of family myth, were both forms of exoticism that had to be escaped.

Wonderfully said.

Texas Book Festival — San Antonio Edition
  • The Texas Book Festival starts a chapter in San Antonio San Antonio sometimes gets knocked for not being literary, or even literate, enough for such a big city with such grand “creative class” ambitions. | 4/10/2013
  • Interview with Char Miller At War Over the Environment: Two Experts on the Politics of Parks and the Natural World with George Bristol and Char Miller | 4/10/2013
  • Interview with Lawrence Wright In his newest book, Going Clear, Austin-based journalist Lawrence Wright profiles Scientology, a new American religion that, while ubiquitous among the... | 4/10/2013
  • Interview with Glenn Frankel You know what they say, writing about filming is like painting about mixology, or something. By many accounts Pulitzer prize-winning Glenn Frankel has reversed... | 4/10/2013
  • Interview with Hipolito Acosta The Shadow Catcher: A U.S. Agent Infiltrates Mexico’s Deadly Crime Cartels | 4/10/2013
  • Interview with Ricardo Ainslie Ricardo Ainslie frequented Juárez during its most violent years, as war between the Sinaloa and Juárez cartels raged and soaked the city in blood. | 4/10/2013
  • Interview with Laurie Ann Guerrero Laurie Ann Guerrero’s collection Tongue in the Mouth of the Dying won the 2012 Andrés Montoya Poetry Prize and was published February 15 by University of... | 4/10/2013
  • Interview with Nan Cuba You Can’t Go Home Again: Fiction about Family Secrets with Nan Cuba and Andrew Porter | 4/10/2013
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