From: Sundress Press
Xochitl-Julisa Bermejo is the author of the forthcoming collection of poetry Posada: Offerings of Witness and Refuge (Sundress Publications, 2016). Posada: Offerings of Witness and Refuge is a feminist collection of poetry straddling borders, and arose when daughter of Mexican immigrants, Xochitl-Julisa Bermejo, traveled from Los Angeles to the Tucson-Sector of the U.S.-Mexico border in August 2011 to volunteer with the humanitarian aid organization, No More Deaths. She hoped to gain a concrete understanding of the “wall,” and the result was a book illustrating a speaker driven to activism by a need to honor her family’s journey.
Bermejo spoke with our Editorial Intern, Kristin Figgins, about her influences, her family, the work that helped inspire the collection, and more.
Kristin Figgins: Cacti are present throughout Posada. What do you find so intriguing about the cactus as a plant or as a symbol?
Xochitl-Julisa Bermejo: Before I went to the Tucson-sector of the border, I imagined it as a sandy, desolate plain vacant of any life. But when I got there, I found breathtaking peaks and canyons as well as all kinds of animals and vegetation. I think I was drawn to the cacti for their resilience in inhospitable terrain, and I found their blooms hopeful. They turned into a symbol for the people crossing in the area.
With the prickly pear cactus, the nopal, I feel a connection to my grandmother and my Mexican heritage when I see them. I like how they grow wild all throughout California, and how they can thrive with so little. They make me feel proud.
KF: Many of the poems in Posada are after other poets. Who are your biggest inspirations or influences as a writer, and why?
XJB: The biggest influence is Carolyn Forche’s The Country Between Us. She doesn’t have a poem in my book, but when I read her poetry in grad school, it was the first time I saw how my passion for activism and my poetry could marry. I don’t know that there would be a Posada without Forche. Another great influence was Michele Serros’ Chicana Falsa. I thank her in the acknowledgements because I read her book around my 3rd or 4th revision, and I fell in love with her voice and how unpretentious she is. After reading Chicana Falsa, I went back into my poems and tried to simplify–to look for those spots where I was trying too hard. I’ve always felt dumb, and had a fear of people discovering that, and because of that I sometimes overcompensate, so I was really thankful for the reminder.
KF: There are many beautiful relationships in Posada: mothers, daughters, aunts, and grandfathers. How much do you draw upon the real relationships in your life in your poetry?
XJB: This collection was written for my grandparents and my parents. I don’t know what will happen with future poems, but this one was all about them. From a young age, I knew my parents were immigrants, and I was interested in their stories and celebrating immigrant stories. I think I was always acutely aware of negative words, sentiments, and policies toward immigrants when I was a kid because that meant mom and dad. I wouldn’t have gone to the border if it weren’t for them. They are a huge part of my poet identity, and they are huge supporters of my work. In Sandra Cisneros’ new memoir, A House of My Own, she talks about how she had to move away from her family to be a writer. But for me, I couldn’t be a writer without my family. Read Rest of Interview Here