Ramona Gault

New Mexico Author Q & A

After nearly thirty years living in a remote New Mexico village, Charlotte Plantz (aka Claudia Clavel) had a prodigious collection of stories to tell. During that time I was a frequent visitor to Mike and Charlotte’s adobe home and heard the stories as they happened.

The initial question of course is how do a couple of Anglo artists from California fit into a traditional Spanish village? Many small social signals are given when people are getting to know each other.

Charlotte laughs when she says her neighbors must have figured she and Mike were okay when they had huge shouting matches in their yard. (This was during their early years there, when money was tight and many survival decisions had to be made as they worked nonstop to make their small adobe house livable.) “They heard us fighting and must have decided we were normal people!” she says.

In the early colonial days, life in these N.M. villages was really hard. Today, some of the problems have changed, but life remains hard. In the modern era, Spanish settlers and Native Americans were no longer waging gun battles over territory, but many small land holders lost their land to unscrupulous Anglos who knew how to work the new U.S. legal system. Poverty, alcohol and drug abuse, and other ills followed.

Charlotte and Mike got to know the village’s families as babies were born, grew up, and had children of their own. While hosting their own grandsons during the summers, Mike and Charlotte offered village kids acceptance and new experiences, such as tasting Romaine lettuce for the first time and swimming in the Blue Hole in Santa Rosa. They hired locals for construction projects at their home, realizing these men had artistic and craft skills that the wider world had overlooked.

For many months, Charlotte agonized over whether to publish Accidental Anthropologists, even though she’d changed all the names. Finally she sat down with some neighbors and read the book aloud to them.

“Have I gone too far?” she asked.

The response from “Perfecto”: “I tell the same kind of stories when our family gathers. I want my children and grandchildren to know this is the way life is here. It’s part of our culture.”

And “Pilar” said: “I could listen to your stories all day. This was better than watching a telenovela.”

(Disclaimer: I edited early versions of both books.)

Accidental Anthropologists was published in 2014 and continues to sell steadily, especially in N.M. bookstores. Why do you think it's so resilient?

Charlotte: The feedback I continue to receive comes from the fact that it is the only book written about a specific time frame that includes Vietnam vets and their relationship with their neighbors in a Spanish Northern New Mexico village.

Ramona: I know you've gotten some unexpected responses from readers far and wide. Do you want to share any? 

Charlotte: A number of readers have found their way to my door, in spite of my changing the names of people and places, including my pseudonym as author. A San Diego couple emailed via my publisher to ask about place names. They were connecting mileage to cities and villages, to no avail. We began a correspondence. The couple flew out to meet me and we became friends. The Pfaffs visit twice a year, timed around Las Vegas cultural events.

A recent couple found me via my acupuncturist, who has bought around 30 books to give to clients. By now, I’ve agreed to meet folks who enjoy Accidental Anthropologists because I’m curious to know what they have to say about it. 

One of my favorite stories is Chapter 10, “It took a village,” in which you describe how people go up to the cemetery on the hill when they need a break from their problems. Do you think they might be connecting with their ancestors there?

I also loved reading about how you drove in circles around the church as various people approached to find out why you were distraught. Do you want to say anything more about that experience?

Charlotte: The people here stay very connected to those who have passed on. I’m pretty sure parking at the cemetery has that connection. Over the years, Mike and I have experienced the same feeling. We lost all the “drinkers,” and they rest in peace in the little campo santo, so we continue to feel their presence whenever we are near there.

Times have changed in the village. We have lost so many neighbors it’s hard to imagine I would have that same experience (driving around the church). Though those of us who remain still care for one another.

You and Mike faced some pretty scary situations over the years. Do you think fearlessness is necessary in order to be accepted in a different culture? 

Charlotte: The biggest change for us came early on, when I stormed the village over an ugly rumor that I was on the “take” from a movie company. I knocked on every door in the village and gave a frantic speech about honesty. From that day forward my neighbors nearly bowed when they met me; I had everyone’s respect for standing up to gossip. The people here have great respect for fearlessness. I continue to wear that like a shawl!

Accidental Anthropologists opened my eyes to how our society judges disadvantaged people so harshly. For example, I saw how easy it is to get on the wrong side of the law enforcement and legal structure if you’re poor. Do you want to say anything about this?

Charlotte: Landing in the middle of a group of Vietnam vets with drug and alcohol problems touched the core of my being. I have always been sympathetic to down-trodden folks so it was natural for me to interact. The “drinkers” made it easy for us, as they respected our privacy and space. They knew we couldn’t enter their world of self-medication, and were grateful for our respect as human beings. They were hard workers and helped us in a number of ways throughout the years. We feel privileged to have been a part of their lives.

Has life in San Ignacio changed for you since Accidental Anthropologists was published? Are you happy you used a pseudonym?

Charlotte: I am happy I used a pseudonym for a couple of reasons: I was so insecure as an “author” I had a hard time writing my name over and over. The minute I changed my name to Claudia, my brain opened up and words flew out of me. My new name gave me distance and allowed me to feel free to write whatever came out of my head.

The other reason the pseudonym worked for me had to do with the village and our neighbors. I did not want to bring attention to San Ignacio or myself. I was pretty sure readers would be checking us out, and that proved to be true. I can’t tell you how many readers have told me they drove around villages trying to figure out where the story took place.

Someone in the real San Ignacio, north of Las Vegas, told a friend that people knocked on doors there asking about the book.

Me and My Magical Life begins with your life before you arrived in San Ignacio. A lot of people throw off the conventional life, but many of them crash and burn. You, on the other hand, discovered your true calling as an artist and have thrived. What was the hardest thing you ever had to do?

Charlotte: The hardest thing was to walk out the door of my old life. If it hadn’t been for my daughters, and Mike and Murray (a close friend), and the Abeyta family, I’m not sure I would have succeeded. Although, survival is a powerful force, so who knows how it might have played out.

Did you wrestle a lot with what to tell and what to leave out of Me and My Magical Life?

Charlotte:  I probably have enough untold stories to fill another book. I often wake up with that thought. It was easy to leave out negativity, and sometimes too much information. With both books I automatically wrote a chapter of equal length every time I sat down to write. It was like automatic writing, and self-editing. Very strange!

Writing Me and My Magical Life was a wonderful experience. I felt free to use my own name, and those of my friends and family. I felt like I had things to say of importance: mental health, women’s rights, belief in oneself. I hoped my book would be inspiring and educational. Most of all, I now trust the subconscious part of my brain completely. From that place, all the connections came together.

I’m about to start another book: My Two Felons and a Misdemeanor. This book will tell the stories of our three grandsons and how they got into trouble, and how they found their way out. The three of them are doing well and finding success in their lives. It’s a story worth telling. 

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Accidental Anthropologists and Me and My Magical Life  are available at Tome on the Range in Las Vegas, N.M., and on Amazon.

New Mexico Author Q&A

Candelora Versace and I have never met, though we have mutual friends in Santa Fe. So I read her debut book, Traveling Light: a novelita, last year with keen interest. Here’s what I commented about it in an Amazon review:

“Unput-downable until the final-page plot twist! Versace gets the details right on Santa Fe culture and ambience as she pulls the reader along with her rich prose. Appealing, though broken, characters pursue mezcal-fueled dreams from New Mexico to Oaxaca, abandoning their pasts like so much loose change. I can't help wondering, though, how things might have turned out had Camelia actually eaten her green chile breakfast at Tortilla Flats. THAT is la medicina.”

Ramona: Where are you from? How did you happen to move to Santa Fe?

Candelora: I was born and raised in Detroit. In my twenties, I bounced around quite a bit: Key West, Ann Arbor, East Village, Brooklyn. In the late ’80s I was in Seattle, and a friend of a friend of a friend mentioned Santa Fe; this was right about the time Santa Fe Style was hitting the mass consciousness, and I was smitten. Eventually some tenuous connections were made, and I packed up my car and drove to New Mexico. To be honest, I thought it would be like Tucson. I was ready for that hot dry air and the wide open spaces of the desert. I was surprised to find myself in the Rocky Mountains. (I have since become an ace googler on everything I ever even think of doing before I even leave the house, but in those days I was just kind of “go with the flow, figure it out when you get there.” I never even cracked a guide book.)

I have always been attracted to fringy, counterculture types of towns, and on first glance Santa Fe felt a lot like Key West had been for me a decade before, minus the palm trees and the ocean.

Ramona: Back of your book cover says you covered SF arts and culture as a freelance journalist. What publications did you write for?

Candelora:For a while there my byline was everywhere; I wrote consistently for several years for the Santa Fe New Mexican, as well as New Mexico Magazine, the Santa Fean, GuestLIfe, Albuquerque Journal, and a bunch of local independent papers and tourism publications, and I collected a few New Mexico and National Press Women awards. I did a lot of arts writing for regional art magazines, the occasional newsletter article for local colleges and art galleries, all kinds of stuff. I also founded and published a book review quarterly, Southwest BookViews, from 2001 to 2005, and did some ghostwriting for a couple of nutrition and wellness books.

Editor’s Note: I was arts and entertainment editor of the SF Reporter around 1987-1990. We probably crossed paths more than once back in the day!

Ramona:In your acknowledgments, you mention you learned to “travel light” from several women friends. What does this phrase mean to you? 

Candelora:It feels like my daily quest these days, to lighten up not only from the deeply serious and often despairing and melancholic take I tend to have on life in general, but also to feel less weighted down and sometimes burdened by my attachments to place, to people, to things. I long for the kind of simplicity in living situations that lets you make fast decisions, pivot to new adventures, pack up and go in a moment’s notice. Note I say this as someone who has been in one place now for 30 years.

Ramona:The acknowledgments also allude to the book being a long time in the making. Can you say more about how the book was born and grew?

Candelora:I started noodling around with some ideas about these characters and the locations many many years ago after multiple visits to Oaxaca, both the city and its coastline, which made a big impression on me on a number of levels. The writing, though, was mostly bits and pieces that I dipped into now and then but didn’t have time or focus to really finesse in any way. I was so absorbed in the way the characters and the locations evolved that it took a long time for a plot to gel; I’m just not that interested in classic plot arcs and twists in storytelling, I much prefer figuring out the characters, their motivations, their responses, and letting the story sort of develop organically out of that. Needless to say, it’s kind of a backasswards way to write a novel.

Ramona:What was the hardest part of writing it? The easiest?

Candelora:I went through a bunch of life changes—got married, had a child, started a business, etc.—all in a short period of time, and it took me quite a while to find my footing again with my writing, which had always been part of a very solitary life. I also find 21st century life—9/11, wars, recession, the rapidity of technological changes—to be exceedingly draining. Writing my little stories seemed at the very bottom of the list of daily priorities, even as I tried to carve out time and space (internal and external) for it. It was hard to stay focused on it when my life was so full.

I also realized I lacked a certain kind of technical knowledge about how to get from point A to point B and beyond, so a lot of it was kind of shooting in the dark. The easy part was that no matter how long it was between committed work periods—and sometimes it would be years before I could pull it out of a drawer again—I found that I still loved the characters and the overall cycle of the story, and it became easier to go deeper and to find the authenticity and the truths about what I was trying to do after coming back to it.

Ramona:Your voice as a writer comes through well in Traveling Light. How hard was that to achieve?

Candelora:Thank you. Coming back to it as a work in progress periodically over time was really interesting, because as I matured and changed and worked over time, so did my approach to my writing on the page. I ripped it apart multiple times over the years, and in the last few years before I published it, I really began to feel a gelling of my voice and my self-editing style that was a much cleaner, much more direct, more focused version. I’m very comfortable with my voice as a writer now, appreciating it for being less clever and tortured, perhaps, and more authentic.

Ramona:The characters seem to make it up as they go along, without a clear idea of how to be adults. They have options but they don’t use them in a mature way. Do you think this quality is typical of many people in their early thirties, or just a set of bohemian types? Do you think Santa Fe attracts this type of person?

Candelora:I think it’s maybe reflective of the sort of people who don’t follow the mainstream canon, who live a bit outside the norm and therefore don’t have the underpinnings of some kind of externally imposed structure to keep them on track. It’s probably less about their age than about that bohemian streak or maybe just a lack of maturity regardless of age. And yes, Santa Fe does seem to attract its share of dreamers and schemers and people who have a hard time being realistic.

Ramona:Did you live in San Miguel de Allende? If so, when? Did it influence Traveling Light?

Candelora:No, I’ve never been to San Miguel; I had visited Oaxaca several times in the early 1990s and had some interesting experiences there, which I drew on for the book. But my experience living in Key West in 1979 when I was 20, on a solo extended break from college at Michigan State University, was a major influence on the novel and also on the trajectory my adult life has taken. The idea of walking away from whatever your life has become and into something entirely new is a lifelong fascination for me, and I continue to believe that we all have the power to change our lives in the extreme with that one decision. And I love hearing about people who have created second chapters in their lives, who move across the country or across the globe, who leave stability and predictability in favor of adventure and spontaneity. Of course, you can also see in the book that I make a pretty thorough exploration of the dark side of that decision, its potential consequences and collateral damage.

Ramona:What has the book’s public reception been like?

Candelora:I’ve been thrilled to read really amazing and wonderful reviews, especially on my Amazon page, and many many people have told me particularly how deeply the characters and their situations touched them. Overall it’s been very positive, including the requests for a sequel.

Ramona:Do you have a sense of who your readers are?

Candelora:Hahaha, not at all!

Ramona:Do you think some non-New Mexicans have a tendency to romanticize Santa Fe? (Note: I’ve been accused of this!)

Candelora:The contemporary manufactured image of Santa Fe is explicitly designed for non-New Mexicans to romanticize it. Part of my frustration and challenge with this book was to try to see this mythical, tourism-industry “Santa Fe” with the kind of critical clarity that someone who came here with that romanticized vision in mind might have and over time learned to see beyond the illusion, complete with regrets and self-blame.

Ramona:Are you thinking of writing another novel?

Candelora:Not at this time. The lure of revisiting the characters with a “what happens next” openness is sometimes compelling, but I’m more interested in why people do what they do than in what happens to them, so I’d have to really work on that sequel plot. I do have a couple of other little projects that have been tucked away for a long time and perhaps someday when my life feels less complex I might find my way back to them. All my writing now is mainly about me working out some deep questions about life, using character and story to explore and explain things to myself. So that of course means it’ll happen when it happens and it’ll take as long as it takes. I worked on deadline for a long time and I don’t want to do that anymore, even self-imposed. It’s not a race.

Note: Traveling Light is available in Santa Fe at Collected Works and Op.Cit book stores. Also at any indie book store by asking them to order from IndieBound.org. Readers can also order via GoodReads and Amazon.