An Interview with Esme-Michelle Watkins

14 Feb
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Esme-Michelle Watkins’ story “Xochimilco” was published in Boston Review and the inspiration for this writing exercise.

Esme-Michelle Watkins is an attorney based in Los Angeles. Her work has appeared or is forthcoming in Boston Review, Word Riot, BLACKBERRY: A Magazine, Voices de la Luna, and elsewhere. Her work was recently featured at Mixed Roots Film & Literary Festival. Her story, “Xochimilco,” tells the story of two Los Angeles children who wake up one morning and discover that every item in their living room has been taken. A writing exercise inspired by the story—especially the masterful description of the empty room—can be found here.

In this interview with Michael Noll, Watkins discusses her approach to “Xochimilco.”

Michael Noll

I’m interested in the 6th paragraph of the story. You describe what is missing from the room, and in those descriptions we learn so much about the mother through the things that once filled the room. How did you approach this paragraph? Did you begin with the idea in place of giving each item a warning from the mother–Stay Away drapes and Go Ahead and Try It chandelier?

Esme-Michelle Watkins

One of the challenges in writing a story featuring a child narrator is remaining true to her without the intrusion or taint of an adult subconscious. This particular paragraph was with me from the first draft and survived every rewrite. It marked the moment that my visualization of the Don’t Touch Room merged with Aura’s, and in so doing, created an organic space from which to begin the retelling of La Viglia in the next section. Craft-wise, I hoped to accomplish a thoughtful rendering of the relationship Ellis and Aura had with their parents while giving voice to their formative sense of loss, home and identity. We take our cues from adults as children, and begin to see ourselves by way of a societal script passed down to us, often by seminal figures like parents. In writing Xochimilco, in making Aura come to life, I wanted to seam these ideas together within the confines of a short story– somewhat of a tall order! The most authentic and maybe the most efficient way to tackle each of those motivations was to speak about them simply, by way of Aura’s interpretation of the script handed down to her by Mammì and Daddy. Toward the end of the piece we see Aura reject this script in its entirety, and in turn, her evaluation of home, self and loss evolve with this rejection. Through Aura’s eyes we also come to understand certain of Mammì and Daddy’s complexities–as well as the dynamics of their relationship–without ceding the narrative over to their adult subconscious.

Michael Noll

One of the nice things about how the story begins is that we learn about Mammì through the kids’ eyes before we actually see her—and between their view of her and what we see, we get a rich picture of a complex character. In drafts of this story, did the character Mammì always make a late appearance? Or did you move her around into the story, trying out different entrances?

Esme-Michelle Watkins

Very kind, thank you! I definitely flirted with the idea of Mammì making an entrance before the kids ran outside to devise a plan. In the end I decided to preserve the natural order in favor of conveying important information about Daddy and his background prior to Mammì’s introduction. I wanted readers to start processing the enormity of the possibility that Daddy did this to his own family, that the family’s sense of home and permanence were inextricably tied to his actions. From that vantage point, I think it’s much easier to understand a character like Mammì. I also believe the placement of the scene helps us connect with some of her choices as the story progresses. Altering the sequence might have compromised her depth and vulnerability.

Michael Noll

I’m curious about the title and the decision to emphasize the importance of the Mexican restaurant. The narrator has an Italian mother and an African-American father, and the story boils down to what it means to be mulatto—not only mixed ethnic heritage but having mixed inherited traits—personality, vices. By the story’s end, the narrator will decide that “none of this was me.” Is the word Xochimilco tied to this idea?

Esme-Michelle Watkins

What a fantastic question. That particular choice is somewhat personal to me. Growing up biracial in the 80s and 90s in Los Angeles was somewhat of a crazy experience that I didn’t fully appreciate until I went away to school, tried my hand at living abroad. I grew up in this interesting tripartite relationship with Los Angeles: on the one hand there was this Hollywood aesthetic and huge emphasis placed on material and surface development; there was also a cartoonish, Disneyesque thing happening, where very serious events (take the 92 riot, for instance) were sort of repackaged and discussed among certain Angelinos through a toyish, fictive lens; finally, I came to know LA as a place deeply steeped in Latino culture and history. I’m certain I developed a sense of self through this tripartite amalgam and likely carry it with me today; it was absolutely critical for me to tell the story of a biracial family under the auspices of this relationship. A Mexican restaurant where an affluent family repackaged its truth (think of Mammì’s interaction with Nonna and Nonno at La Viglia) and sold the story to the reader via a youthful slant felt like the perfect way pay homage. It also gave Aura the creative space to reflect on her sense of permanence and all the ways her family dynamic had changed, and by extension, had change her. Also: Xochimilco happened to be a restaurant I went to with my family as a child and loved very much!

Michael Noll

My wife likes to say that we all have our Terry Gross moment—imagining ourselves interviewed on NPR’s Fresh Air. When you imagine yourself on that program (if you imagine yourself there), what do you say about this story? What aspect of it do you dwell on now that it’s written and published and new work has taken its place?

Esme-Michelle Watkins

Oh mien gott, your wife is hilarious! Love it! You know, funny thing is, the story was already discussed in brief by Heidi Durrow on NPR! Heidi is a beautiful writer and the co-founder of Mixed Roots Film & Literary Festival, an art festival dedicated to the stories of multicultural, multiracial folks. I happened to read Heidi’s first novel, The Girl Who Fell From the Sky, and promptly threw it against the wall when I finished because it was so good! In looking for more of her work, I discovered the festival and decided I wanted to become involved. Xochimilco was my first attempt at writing fiction and I passed it along to Heidi for use at the festival. I was subsequently invited to read it in person and decided to the story would be in the best hands possible at Boston Review. I’ve written several short stories since Xochimilco, and am glad to say I’m not finished with Aura and her family. I recently published a flash piece in Word Riot, which focuses on one of Aura’s college experiences and have three forthcoming pieces centered around Aura’s early adulthood. I find myself being pulled back to her voice time and again.

February 2013

Michael Noll is the editor of Read to Write.

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3 Responses to “An Interview with Esme-Michelle Watkins”

  1. Nicole February 19, 2013 at 8:02 p02 #

    I loved the story and the interview with Esme! It hardly seems fair that she looks like that, writes so well and seems so smart. Thank you for introducing me to this author.

  2. Bill Allen February 22, 2013 at 8:02 p02 #

    Nice interview. Great writing exercises.

Trackbacks/Pingbacks

  1. An Interview with Mixed Roots Festival Author Esme-Michelle Watkins - March 15, 2013

    […] publication!  Well, I can’t wait for her to finish her book. In the meantime, check out this interview with Esme at Read to Write. Go […]

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