Speaker 1 00:00:20 You are listening to right on radio on cafe I 90.3, FM and streaming live on the web at dot org. I'm Liz olds tonight on, right on radio. And he talks with Lynn bill lick guard Grover. She is the offer of the recently released book, give Kigame hearts as well as award winning books of fiction, poetry and essays. He's a member of the band of Ojibwe and professor, and they are just of American Indian studies at the university of Minnesota Duluth.
Speaker 2 00:00:57 And I'm Joshua in the last part of the hour. And Liz speaks with Teresa Deauville Butler, latest Havana, mystery death under per sides, double pages born in Havana, Cuba, and her PhD in Latin American literature from the university of New Mexico. She's the author of 13 works of fiction three plays, and is the winner of the rhinestone de LA Victoria Ward. She currently lives in New Mexico, all the, some more. So stay tuned to write on rate.
Speaker 3 00:01:31 All right, so this is Annie Harvey, and I'm here with, uh, Linda Nygaard Grover the author of get you gummy hearts, stories and histories from Masabi Kong. Uh, she is a faculty Ameritus of UMD and member of the boys Fort Ojibwe. Hi, Linda, can you hear us? Okay,
Speaker 4 00:01:49 Fine. Thank you for having me. Thanks so
Speaker 3 00:01:51 Much. It's really great to have you here. So for those who haven't read this book, yet, it is a recent release. Um, would you mind briefly describing, uh, what the book is about? Um, and if you'd like read a little passage of your choice,
Speaker 4 00:02:03 Let's see. Well, get you gummy hearts, stories and histories from Masabi con uh, get you Gammy is, uh, an Ojibwe word and it means, uh, the great lake. It refers to great lake superior. Zola lake superior up here on the Duluth is on the tip is, um, the gummy Anishinabeg the one in this region and, um, stories and histories from Masabi com Masabi Kong is another Ojibwe word. And in English it would translate to the place of the giants. And it it's a in my book anyway, it is referring to the, to the terrain around here, the very large rock formations that overlook Duluth. So, um, it's a mix of it's part memoir, it's part history of the Duluth, an Arrowhead region, but also a history of the great migration of the Ojibwe people. Hundreds of years ago from the east coast up by Newfoundland up to where we live today. It also includes the, has, um, it has some family stories, some stories about Duluth and the region here of the formation of the reservation lands and where people, uh, ended up and where, where we live today. There's, uh, some fiction in here, some creative fiction kind of like fictionalized stories. There is some poetry, so there's a whole lot in this book. So I think I'll, um, I think I'll read a little bit from the beginning.
Speaker 4 00:03:48 Um, when am I gonna start here? Sorry. No, no problem. All right. Um, part of a massive expansive Gabrielle rock that extends Southwest of Duluth and follows the north shore of lake superior into Canada. The point of rocks divides the city of Duluth in half. The area around Duluth has been known by Ojibwe words that describe the terrain. One of these has arnica macing, the place of the small cordage, which refers to the five mile long sandbar, not far from the point of rocks and other than his Masabi calm the place of the giants standing on top of those walls of gastro or looking up at them yet massive rocks and trees from the valleys and lake shore. We are standing among the giants in 1838, newlyweds, Joseph as Susan and Gabriel, uh, Obama Allah Berge traveled from LaPointe Wisconsin on Madeline island to fond a lack the Ojibwe settlement next to the American for post on the St.
Speaker 4 00:04:55 Louis river and then Minnesota, their first child, Angelica was born in 1839 at the Fondulac settlement inside of the Gabrielle Ridge that was there long before Duluth or a state of Minnesota before the lands of the Minnesota Arrowhead were lost under the terms of the 1854 treaty. That baby girl lived to be an old woman, Andrew leaks, children and grandchildren scattered under federal removals and relocations, and became part of the boys sport fond, du Lac and grand Portage bands. She died in the west end neighborhood inside of the Western side of the point of rocks and is buried at the park hill cemetery next to her husband, a civil war veteran during her lifetime. Angela had moved from one end of Duluth to the other, never far from the Gabrielle Ridge and the point of rocks. We, the descendants are of this land and story and this land and story or a bus, we are honored to live in this place of the giants.
Speaker 3 00:06:02 Thank you so much. That was such an excellent way to start off the interview. Um, this is not an interview by any means about me, but I am from Duluth. So, um, I really loved the sense of continuity that this book brings where I delve so much into your life and the history of your family, but additionally to the people that have lived in this region for huge swaths of generations before and after us, and additionally, the way, um, the land figures truly outdate all of us and stand, watch over all of us. Um, you've written several books before, um, about, um, notably seasons, other things. What brought about this book and how it relates to your previous work?
Speaker 4 00:06:46 I think this relates to all of them, all of the work that I've done so far, I have three works of fiction, um, and a book of poetry and another book of essays called Aanuka macing seasons of an Ojibwe year. My research, um, has been on effects of federal Indian policy, especially education policy on the lives of children. Um, my, I started out with, um, um, boarding school research about Indian boarding schools. And from there, you know, of course that nothing operates alone. It's always linked to something else. And so my research on effects of federal policies, but also on those survival and the, you know, and, and many times the, the thriving and the, the sheer tenacity and the, and the love of life of the Ojibwe people is, is interwoven in everything I've done. And so I think that gets you Gammy hearts. That is, uh, just kind of the, the next step in what I'm trying to do to tell, to tell a story about what, what it was, how it is today, how we hope it will be in the future.
Speaker 3 00:07:58 Thank you. Yeah, all of those things interweave, so neatly in the book, um, despite the broad range that it covers. And as you write about Duluth, um, early in the book, you made an observation that stuck with me throughout that American English usually names the place after a person like Duluth was, uh, uh, French American fur trade and kind of dude, um, while native languages will usually name a place after a natural feature. Um, as you wrote about Duluth as yourself, what was your process as you chose the section topics and the key themes that kind of structure, the parts of your book,
Speaker 4 00:08:36 They kind of, um, happened on their own. What would the word be organically? I wanted to, um, I wanted to bring in the, you know, the history and the history that is, that was written down, but also the histories that, that came through many ages, world tradition, and, you know, they do intersect with, with written history at, at a point, but I wanted to have a flow that sense of, of, um, time before and time now. And with that, what is, what is, what does it mean to be Anishinaabe and Ojibwe, and what do the, what do the, um, the very old stories and the, the teachings that, that have been passed down for, you know, against, against all odds by generations before us, how do they, how do they, how do they work? What can, how can we honor them and do right by them in contemporary life and, and providing also for the future?
Speaker 3 00:09:40 Absolutely. And to kind of continue on the theme of the combination of history with the personal, um, and oral storytelling specifically, um, in the book you refer to the tapestry of knowledge. I really liked that phrase, um, that makes up oral storytelling, um, and how that can look like the combination of one's personal story style, and then kind of essential points that make up the essence of what that story is. Um, when you, as an author were working on retelling some traditional stories, like the stories of Nana Boucher and Tacomas that are in this book, um, what goes into your process as you tell those to a broad audience,
Speaker 4 00:10:26 Nana Boucher is, um, he, he is in many of the stories of this region and he's, um, he's a great, um, spirit hero of the Ojibwe people. And he was raised and taught by his grandmother Nokomis. She taught him everything she knew. So how, how to pass on some of the knowledge that comes to these stories. I, um, there are many stories. I don't think that there's, well, I'm sure that there is no single person who knows them all. There are some people who know a few or one or, or a lot, but altogether, I, I kind of think of it as a tapestry to of, um, of a story that is, that is timeless. We don't know when these things happened or how long ago they happened, but we are, um, we are living them against we're living our lives against the backdrop of those teachings. And I believe that in our everyday lives, we are reliving aspects of those teachings also. And so that was in my mind, as I, um, brought in and referenced a couple of the stories that are, that are especially, you know, dear, dear, and meaningful to me.
Speaker 3 00:11:45 Did you ever, when you were working on a story, um, reconnect with someone who had told you at orally in the past, or you focusing more specifically on memory, just curious about your process
Speaker 4 00:12:01 When a story is shared, it is, um, it is from something that a person has heard many times before. And so, yeah, I, you know, I certainly recalled hearing, hearing these things and, you know, a number of times in the past and understanding that, you know, our, our role then is to, you know, be very, be very respectful and, um, and, um, pass them on in the, in the proper way there. Um, some, you know, we hear a lot of, um, often we S we hear the phrase, um, oral tradition when we're talking about the passing of, of knowledge of, um, of how to act of how the world came to be the way it is. We, we hear that term oral history, but, you know, I've, I've come to think of it as the con. We kind of got, gotten, hung up on that concept, which is, uh, which is English language.
Speaker 4 00:13:13 And I don't know if that is actually really doing justice to the passing on of knowledge in this way. And so what is oral tradition? I've wondered something that is, um, more of a colonial term that has kind of bound us into, into, um, uh, something narrower than what these stories were meant to be. And so in writing though, um, one must be one, must take very special care to do justice, to not the stories themselves, to the beings who are included in the stories, and also in the people who shared, shared those stories with you in the first place.
Speaker 3 00:14:00 I just want to touch one more time since I'm so interested in what you're saying. Um, I just want to touch on the idea of, um, kind of a colonialist or like a European Western idea of oral tradition, limiting what it can be. Um, how do you, do you feel like in writing down a story you are at all limiting what it can be, or do you feel like by retelling it in English and trying to make, do you feel like that alters from the, pardon me I'm having trouble articulating this? Um, do you feel like it alters the, uh, I guess the tools of language that you have to speak with, or, um, I'm very interested in that concept because it seems to me like oral tradition was always presented to me as just like rote memorization of something, but this is something that was taught to me by other people of Western and European descent and not necessarily like, um, something I was told by people who grew up learning through oral traditions,
Speaker 4 00:15:06 You know, it's, um, I, it goes far beyond learning by rote, by rot. He wrote, it goes far beyond that because it involves the taking in, of, of, um, taking in of knowledge and events and, um, and the proper sequencing of things. And so in sharing these stories, there are, there are particular things that happen at certain points in these stories, and those must be included. And I think everyone who shares a story has, has their own way of speaking and their, you know, their own, their own way of, um, of presenting this knowledge. But it is not, I think it's much more than listening and memorizing the words. It, it goes far beyond that because we are, you know, we are, we are passing on a, um, beliefs. The, um, ways of being are our very existence is what is, what is, um, what is being shared when a story is shared. So it's a great honor to have a story shared. Um, and with that, then there's a, you know, a great obligation, you know, to, to listen and listen, you know, listen with your, with your ears, but also with your, with your very being, you know, your soul and, um, and giving, giving a great deal of thought to what you, to what you're hearing.
Speaker 3 00:16:38 Excellent. Thank you so much that, um, really clarified and gives me a lot to think about, um, uh, part of the book that largely pertained or more closely pertained to your own family's history, um, that I found so interesting was the, um, that stand, I believe it was called on the north shore,
Speaker 4 00:16:58 The tourist stand.
Speaker 3 00:16:59 Yes. The tourist stand. Yeah. So, um, the, um, there a discussion that follows from that about, um, native art and tourist art and how, um, you encounter an acts in a museum, and you're not sure, like, was this made to sell to people who aren't necessarily native, um, as a gift, or is this something that someone was using for survival? Um, and I think it was excellent food for thought for, um, art as a tourist commodity, and whether that is inherently, I don't know, inauthentic, or if that's actually a very authentic, because it's a space for the creativity and survival of a people who were being marginalized by people who had moved in more recently, um, making the, uh, idea of them being inauthentic entirely negated, because they're what that people needed at that time. Um, and I was just wondering that if as you wrote that piece, and as you had those conversations and learn that family history about the tourist stand, um, did your views on native art, um, or the conversation within your social circle about native art as a commodity change over time? And is that something that kind of continues to ebb and flow or,
Speaker 4 00:18:19 Well, first of all, um, I, I, I believe that what, what we would call tourist art is, I mean, it is native art. Yeah. And, and so, you know, in my old days, I, you know, during, during the times that, like I know the painters of the Renaissance and stuff mean, um, people were sculpting and painting, um, things that were going to be hung on the wall or put on a, on a stand. Um, and that is not how indigenous art was expressed long ago. And so nowadays in more contemporary times, certainly we see, you know, great Indian sculptures and great native, um, painters, artists who ma who make just, you know, art that will be, that will be looked at being all there's. Um, I, I believe that, you know, um, commoditized art for native people started after the, um, after Europeans started coming in here in this part of the country, the fur trade, especially when it was, it was necessary for people in the fair trade to, to be able to, um, access some of the tools and means of survival.
Speaker 4 00:19:32 I mean, the clothing, the, the shelter, the, you know, the canoes around here. And so with that trading of goods, uh, you know, for not necessarily cash money at that time, I think that was the beginning of what you might call it, commoditized type of art. So is the object itself art, you know, certainly it is whether a canoe has decoration and embellishment or not. It is, it is art, you know, is, uh, you know, is a, is a hide scraper art, you know, uh, you know, and of course it is the type of art that was sold in, um, in the tourist business, probably that probably started, you know, got it. It was certainly growing, but it really hit its heyday in like the 19 teens, twenties, thirties, forties. And, um, and that was art created objects created specifically for sale. And yeah, it did, it did certainly have a lot to do with survival and an economy that, you know, moved more into being, um, part of, uh, a cash economy.
Speaker 4 00:20:39 But I, you know, my cousin, Bob Swanson is really knowledgeable about these things. And as a boy, he, and as a, as an elder now, too, he still makes, makes many things that are, that are sold for cash money, some to native people, some to non-native people. And, um, when, when Bob and I were talking, you know, he, you know, he's kind of a, he's kind of a funny guy, kind of a humorous guy. And, and so, so I was asking, well, you know, is there a line somewhere? Cause I was trying to learn so much and he's, you know, and he said, well, did Indian make it well, then it's Indian art. And I, you know, and that was quite funny. So in that article, when there are stories about things that were made from, um, from things that were in the dump from your dump runs from the throwaways of larger American society, that was really a traditional, truly initial obey way of, of acting around, you know, with interacting with the world around you, because what is there is, is there for you to perhaps utilize and to make something beautiful or useful or enjoyable.
Speaker 4 00:21:55 But, um, whether it's something that came from the dump or something that came through from a, you know, a walk into the, into the woods or along the lake shore, the concept really is the same. And so my cousin Bob, as he was talking, he said, yeah, he said, it's, uh, it's creative living. And then he said, and it's fun.
Speaker 3 00:22:16 Yeah. Yeah. That's oh, that's so excellent. Thank you. Um, as someone with literally a public education in Duluth, I'm a big value of this book to me was the way the combination of clearly the historical research you've done in addition to stories of your family, um, dispelling the idea that relocation acts and oppressive boarding schools and other methods that could be broadly categorized as colonialism, um, are only a couple of generations past and that many survivors of these events walk among us. Um, what do you recommend as both a researcher and educator, this topic as productive ways to engage with, um, and make positive changes for the future away from, um, these really tragic oppressive forms?
Speaker 4 00:23:05 I think it's always important to know the history and to cause that helps us to understand a little better, how we came to where we are today and that's for everybody, for, for native people. And non-native people is to, you know, to, to study the history read or, you know, I'm there, they're excellent movies, documentaries, and, and just regular movies, um, that I think, I think can be helpful in this. And I, I don't want to ever like try to erase the past or to rewrite the past it's, um, you know, it, it happened, um, a lot of it was really, really difficult and continues to be difficult and follows us today. And, you know, even, even for, even for native people who don't really, you know, know a whole lot of a whole lot of stuff about this, it is, it is still there.
Speaker 4 00:24:10 And so to, to know that I, um, that's and to, and to give things a great deal of thought. And I know, um, the way, you know, in, in Ojibwe tradition, a person who, a person who thinks a lot and doesn't jump right in is, you know, a child is, um, people think, well, perhaps, perhaps he or she is on their way to, to wisdom by being a person who thinks, thinks a lot about these things. So it's, it's with us today. It's, it's hard. Um, you know, it's very hard and, you know, in, in the last year or so with, um, with news on, you know, the, you know, of course everything's all about the media now, that's where we, that's where we get so much about what's happening in the world. But, you know, the, I mean, finally, um, people learning a little bit about, you know, our education past in the, you know, institutionalized education is something that, you know, I, I think it's a good thing that people are learning about this, but I think, I think in learning about it, you know, also think, and, and know that there is, there is so much to the story that it goes far beyond what any of us really know.
Speaker 3 00:25:28 Yeah. Thank you so much. That definitely gives motivation to research, more, learn, more, develop that awareness. Um, we're running out of time. So I'm just going to wrap up with one more quick question. Um, you talked towards the end of the book about the initial lab value of accepting ambiguity and contrast as part of the big picture balance. Um, I loved that and I found that, so this is a great, um, an excellent essay collection that combines the personal and the more global, but it uses such a different way of thinking than the very immediate personal way of thinking. That's common in a lot of mainstream essay collections that I've read over the past few years. Um, and I just wanted to ask how leaving room for ambiguity informs your creative practice, including your writing,
Speaker 4 00:26:16 Uh, that, that type of what we might call creativity is present in everybody, I think. And so having, having an acceptance and an understanding of that's, that's the way things are, I think, um, I think all, all of us with that, um, I think that gives us, uh, almost a permission to explore and examine to observe. And then maybe if we feel like it, write something or sew something or make something
Speaker 3 00:26:43 That's, that's what I think. Oh, well, thank you so much. That's, that's a really great, um, way to think and a really great place to end. Um, everyone, this has been, uh, Linda LaGuardia Grover, um, the author of getcha gummy hearts, um, which collects, uh, stories from and histories from Masabi Kong and the Duluth area. Um, thank you so much for joining us, Linda. Thank you very much. Take care,
Speaker 1 00:27:20 Theresa, are you there? Oh, great. Uh, this is Liz and we're speaking with Theresa double page today. Uh, her new book, which comes out today, I believe is called, uh, uh, death under the play of these, uh, parodies. Sorry. And, uh, let's start with a little synopsis of what the book is about and, uh, then, uh, reading if you could.
Speaker 5 00:27:49 Okay. Thank you. Uh, this is the first, it's not the reinsure myself sometimes how to pronounce it died, but last I heard was this one that did it though. I'm going to go with that. Um, so this is my fourth mystery after serious enemy stories or , and it takes place in Havana, Miami, but mostly in Havana. And then nobody starts with a very happy surprise. You bumbling their cities and American husband Nolan get a couple of three tickets to get nice. No, but the moment they board the ship start looking suspicious, go with people that she had met in GSA going cabana. It's like too much of a coincidence. She thinks that one of her former professors and the literary agent of her former boyfriend, the guy that you really loved. And then if things get really suspicious, well, this ghost from the past disappeared after the cruiser, I think Havana, we follow Ms. Said, it's set on the CT. That's usually be shipped back down, and then people continue to vanish. So that's it. So my I'm up with rising. Now I can tell you, I also take the readers on a dude of, I know I'm so places that I know quite well, like there's university of provenance, where I was steered into myself, uh, not more than two weeks. Do you spot like
Speaker 1 00:29:40 Uh, do you have a reading or should we just dive right into
Speaker 5 00:29:43 Your perfect? I started with the beginning of the book. They could ship not a wall or call her not work above the terminal building. He had to first, if air, we still heart painted white and bright. She went over to yellow and green, black, all over Kennedy, decent. It looked like a giant joke. We got birds that had inextricably none that don't walk in my yummy one. As you issuance 94 degrees, it's a very British mix of heat and humidity that made once scrolling sides of refrigerator did not give us the option to be attorney before noon. I was well past the line to enter the building wasn't Morgan. It was one of them being an air before deal. Think I remembered that we had no right to complain. We had got into cruise for free. I was just scratching my head about the whole thing.
Speaker 5 00:30:53 It does break down when a young woman shows up, I read him the pet grooming salon, where I worked. Part-time asking for me, do you look like a teenager, but just professionally in a basic suit and introduced herself as a Nautilus trippy standard. I was getting ready to be. If somebody got to standard Buddha, when she presented me with an inbox envelope, tickets to Havana. Now I was born on racing her Marie knowledge in 2008, I actually send to many times to visit my grandmother. I've never taken back. I know in July, 2017, sending to Q what was the last thing on my mind? Well, I asked my surprise to get away. I, their shit, a couple of tickets, I put the narwhal, our most popular ship, the parking on all those tip things. I don't think that's crystalline have started to offer short, exclusive.
Speaker 5 00:32:05 I think we did scuba gear. I to explain they were carrying out your biggest ever promotion or competing with many a, I was one of the lucky winner. What they didn't say was how aware I had to sign up for their Shafir or whatever it was that I had. Well, I used to enter some steaks that's to everything from $500 a week for live prizes, Amelia weekend impart. But that was a long time ago. It has finally dawned on me that most were a waste of time. If not outright scams, I didn't know how not to list people on it, but I guess everybody's information is online nowadays. Please. ATF winning. Don't see anything was up here. I kept my mouth shut. And next day, the,
Speaker 1 00:33:10 That was Theresa a wonderful reading of the beginning of the book, death under the parade. These, um, let's start with the, um, um, story of Havana. You clearly, it is a deep ingrained in your psyche and you love it. It seems like, and it becomes kind of a character in the book, uh, in and of itself. And I'm wondering if you could talk a little bit about your, your love for that city and for Cuba?
Speaker 5 00:33:47 I, of course, well, I was born in Havana and I lived there until I was 30 years old. So, uh, it was my city, uh, when I think, you know, home with this lava, and I know when do I go, what I leave now? I live in New Mexico and I love New Mexico. Do I found a second home here, but how would I do? Obviously it always appears in all my books. I said, Kodak there, I know that you mentioned he puts it's due. I said, it does, ah, not, is it character because it is business and the book and everything happens, dad, I really don't know much about all the parts of Cuba. So I get myself centered centering have I know when I ride, where we make it an embedded in this state, I joke in the central Ivana, which she me the love of this city, but I defended it.
Speaker 5 00:34:42 Firstly, explain more in meta mind, which is that I had to say it nice. So sober. Um, that's where I had, used to live before she moved to Miami, but question places. And one of the places lacking is that it was Donnie kind of spark. And that flows very close to where I used to live and where my mother still lives in central Ivana. And that plays a very important role in this story. So I typed to describe it in as many details as I good. And actually when I went to Beulah up almost a years ago, I took a lot of pictures of lacking to make sure that I was describing it. Right.
Speaker 1 00:35:36 Um, these books, the Havana mystery series are all standalone and yet they also are of a peace with each other. And I'm wondering which characters fall through the books and which are new and each book and what each of the books is about before. Uh, this one,
Speaker 5 00:35:59 I get divorced. The city hasn't this same detective , uh, like dumb ass detective after retiring from the Cuban police. And the other one is Monday muddiness. She's at four, my Cuban cop that in the third, no it's in Miami. So these three books, this seems through the kitchen wing of bones and death of Italy in a village. Did they are the first actually they combined to me serious, serious because they have these two characters. detective and Malaney. Now these one different than the person , this is said, uh, there's no need of a detective in this story. So by do you know? And, uh, my Linux only appears as the owner of a bakery in Miami , but she's not, uh, she doesn't play the detective anymore. So all of the books can be read by themselves has done that. But these ones, if they're beginning off analytic serious, maybe because after she's gone, we have this second language, obviously this have to go back to Cuba to go for her mother.
Speaker 1 00:37:26 It sounds like a Mercedes is going to continue. Would you talk a little bit about her, her story and her dreams and hopes,
Speaker 5 00:37:37 But that I have read a guide by the lake. And I think that they're the kind of, I need to feel fragmented because she's actually based on David at people that I know energy other life and some parts of myself, and I've seen my friends. I only think that expression of all, maybe I . I just accept people that say, yeah, but anyway, it meant that it was boring. Did 1989, you left and she could do a Judean spatial period, the nineties where things were, I began very basic, very hard after the collapse of Europe, don't miss it. You used to find her way around the best you can. She married this American who except to, to Miami forth and they moved to Gainesville and they will get to how she has to adapt to it, put a different color shirt. And that's also something that I tried to reflect in this under the person is that, but also they immigrant experience or somebody that it's not the usual, no we've experienced that took those cadets. But even for somebody that came to with home, NACD's also difficult. Doyle had dreams, a woman says, wants to, to be caught by the American knife, but of course you still have and have very deep. And that's all by the state of the blood, her mother, he sent a very again, but she has to be set for years. The second book, I still don't have it tied to, but that's, my fish comes back to Cuba to look for her mother, to find out where she may be.
Speaker 1 00:39:43 And, uh, I particularly loved her relationship with her grandmother. And I was wondering if you could talk a little bit about that relationship and also the concept of, uh, of extended family. And I'm wondering how that, uh, goes in Cuba if there's extended family situations there.
Speaker 5 00:40:05 Yes. My mean, I, very important in our concept of it. Finally, in most cases, there are three generations living under the same have in Cuba and no, no many possibilities of moving to a new house when you start a family. So the one who raised her because he said his father died and his mother disappeared. So Miami nice. Actually they went to her. She has to go back every year to visit here at, oh, that's something that happened in Cuba. Ladies know that that is strong relationship with they get onsite and some extended family, everybody living together. So yeah, there was something else that I affected, not only with my said, it's like also with her friends you have on. Right,
Speaker 1 00:41:17 Right. Say the title refers to a very beautiful thing that I've never heard of before. Uh, could you talk about the, uh, parade, these and what they are and uh, how often,
Speaker 5 00:41:33 Oh, I didn't, you said you beautiful I'm not even sure. They might just be so easy cause issues get it. I used to see it in south where, um, I used to live before two hops on the sky soak clear at night and it explains once a year in August things through the 13 or so, it was always around the same time. I think, uh, managers went to this guy and they have different colors. It's spectacular. So I used it.
Speaker 1 00:42:16 Well, I was wondering if we can see them up here, if he can only see them further south, I live pretty far north in Minneapolis. So
Speaker 5 00:42:27 I think they are basically mostly where, but it depends on the conditions of the sky, because if it is still cloudy or something up there, I don't know. But he had him in Cuba. A we can see a video because there is no life for . No, but I know I used to almost see the stars every night and mentioned it. I grew up with it was, there was a light show us whenever they happened. I mean, these guys were, I showed them looking at them from the cruise ship or around the, the cardboard. Yeah. You have on it. You've got a pretty good view of the majora shower. Cause then just summer day guys, super clear.
Speaker 1 00:43:19 And how did you come up with the title? How did you draw that into the title? It seems to be a metaphor for, for part of what's going on in the book. So
Speaker 5 00:43:28 Yeah, I definitely just focus. They make your shower is the ghost of comedies to comment the fastest and just lift the kind of debris and death. What we actually see when the earth encounters India or because the earth in conscious that the diversity of the COVID. So it's not the comment itself. It's just the bike that he has left behind that we can see to get a fun shows like that metaphor of the relationship. Then they say this was at one point my of their life. They would dress in that. I say goal was to know in her life, even though they'd been up a long time ago,
Speaker 1 00:44:13 We're tired.
Speaker 5 00:44:16 Anyway.
Speaker 1 00:44:18 It is. It sounds beautiful. Uh, we're tired with Theresa double page about her book death under the parodies. Uh, I understand it's coming out today or it came out yesterday.
Speaker 5 00:44:31 Well I did today. Yes. I'm so happy. Yeah.
Speaker 1 00:44:37 That's really exciting. That's really exciting. So check that out and we're going to talk a little bit about your, uh, plays. Now I'm wondering what your connection is with the theater and how you came to write plays.
Speaker 5 00:44:52 My first day was actually part of a glass project, uh, when I was a graduate student at the university of New Mexico, uh, the professor of, um, uh, New Mexico. So this gave us the option of writing an essay or something creative first to write something key thing. I wrote the , the waiting room and this music is very popular. Well, not only here in Mexico, but in Cuba we have our own version of that. And of course he makes it go in many countries. So I used to meet and you're wonderful. It's in New Mexico, on during her life. So I was inspired by the willing woman and that was my first place. And I didn't know what to do with it. Then I send it, do I get home? See I did in Chicago just to see what happened. And they, after they staged at 10 o'clock, I did that well, after that I wrote, I know that I stuck a mortgage at body, let's say under mortgage, there had to do more with the mortgage crisis in 2008. So after that, I honestly, we're working on a third play and I have a phone right in place. Anyway, even some of my notes, I used to think, as I said, nobody said, it's a play. And then I was more flesh in them.
Speaker 1 00:46:38 You have a written both in Spanish and English, uh, novels. And I'm wondering, um, how you decide, uh, which language to use. And, uh, and so on.
Speaker 5 00:46:54 Let me see easier for me. Of course, there's rising Spanish, uh, novice in these two issues came to me mainly for some Spanish. I don't know why, but like the first one, this comes into the kitchen, even came to me in English and the story or how, how they flow through me. But sometimes story comes from Spanish and hard, but I try, I cannot put it in English. So I don't think I really decided it's just how, how the come to me recently, I have been reading a lot more than English, so it's easier now that this load gets going in English and Spanish, but you notice, I always put some things in Spanish because like quite enough to that.
Speaker 1 00:47:46 Well, I, uh, am sorry to say that we're almost out of time. I just want to ask a last kind of question of how people can find you on the web and, uh, how they can contact you.
Speaker 5 00:48:01 Um, just get asked. Yes, they've generally I said, my websites did, they said the one page or one sponge or the right page. That's come in English. I know so much what I did the whole bridge. Um, I have to face in show Hopper's website under guidance. And my email is my last name. Nobody that's com.
Speaker 1 00:48:33 Great. Well, uh, I've really enjoyed talking to you. We've been talking to Theresa double page about her book death under the per se raids. And, uh, we have, uh, it is today's, uh, the publication date. So we're very excited for you to Raisa and, uh, uh, that's about all we have time for. Thank you very much for spending part of your evening with us.
Speaker 5 00:49:01 Thank you. for inviting me. I haven't enjoyed conversation.
Speaker 1 00:49:08 Yeah, they're not. Thank you very much. Uh, and now that this
Speaker 3 00:49:14 You are listening to right on radio on KFA 90.3 FM and streaming live on the
[email protected]. I'm Annie Harvey. I'd like to thank our special guests tonight. Linda Le garde Grover and Theresa Deville page. Plus our listeners without your support and donations cafe would not be possible. You can find more news and info about radon radio at cafe.org/rate on radio. Plus listen to recent episodes on our podcast, which you can find on Spotify, iTunes, Google podcast, anywhere you can find podcasts. Now stay tuned for Minnesota.
