Author interview with
Almira Astudillo Gilles

"i like to tell contemporary stories that are pieces of children's lives."

—Almira Astudillo Gilles

Almira Astudillo Gilles was born and raised in Manila, Philippines. She moved to the U.S. fifteen years ago to pursue graduate studies at Michigan State University. Since then, she has: married and had kids, moved about the Midwest, finished her Ph.D. in Social Science, taught in the MBA programs of several Chicago universities, consulted, and, happily for readers everywhere, switched to a writing career.

Willie Wins, published by Lee and Low, is Gilles's first book for children. Her work has also appeared in Skipping Stones, a multicultural children's magazine. She is currently working on several projects in different genres, mostly for children.

What prompted you to write for children and young adults?

In my previous career, I put my degrees to use teaching MBA and undergraduate business courses and consulting. It took a diagnosis of hypertension for me to realize I needed and wanted a change. I've always been able to communicate well with younger people, and I've had years of polishing my writing skills, although not in creative fiction. So one weekend I sent my family off to Wisconsin, did some deep thinking and, after a course in children's writing, plunged in.

What do you hope to accomplish with your books?

I write mostly fiction featuring multicultural characters, specifically Filipino. Filipinos are one of the largest Asian minority groups in the country, certainly the fastest growing in California. We are in a unique position though, because many waves of immigrants were medical professionals and already fluent in English, and often assimilated quickly. However, Filipino culture is so rich and our history so complex that I think Filipino-Americans deserve to be understood and appreciated, like any other minority group. I find that most of the Filipino literature for children in the U.S. focuses on legends and folktales; I like to tell contemporary stories that are pieces of children's lives.

How would you like teachers to use your work?

My work usually has many layers. Let me use Willie Wins as an example. On the surface, it could be just a story about a boy's decision to trust his father. If you look deeper, the dynamics become more complicated: How does Willie feel about his heritage? What is the true meaning of victory? What does the coconut shell represent? Although this is a picture book, teachers from several grade levels can certainly explore the story from multiple angles. I also like to write poetry, which is certainly a form of expression meant to leave space for the reader to fill in with their own thoughts. If my work serves as a springboard for conversation or contemplation (collective or singular) then I consider my time well spent.

What do you think of multicultural children's literature today?

I am happy about the general receptiveness of publishers to multicultural writing, and how scrupulously they guard authenticity. There are many strong voices speaking of African-American and Hispanic experiences, but fewer Asian-Americans and Native Americans. While I don't think it should be a matter of equal representation, the more writers telling their stories the better. In order for tolerance to become part of our lives, exposure to what's different should be so pervasive that it ceases to be alien, different, forbidding. I would like to see, at this point, more true-to-life stories than folktales. Having said that, if a fantasy featuring a character of color so captures the interest of readers that it causes a change in attitude, that's great.

Who are authors you believe are making a real mark on children's literature today?

This list reflects my personal favorites: Katherine Paterson for her engaging historical fiction; Naomi Shihab Nye for her poetry anthologies which feature works from all over -- she has just a lovely view of the world; Cynthia Rylant for her strong prose and the reach of her talents (picture books, early readers, young adults); Paul Fleischman for innovative forms in prose and poetry. I could go on extolling the virtues of many other writers, but these are for me as comfortable as a soft, old bathrobe -- I like to wrap myself in their works.

How can we encourage young people, particularly young people of color, to write children's books and books for young adults?

First we have to get to them, physically and emotionally. We have to go to where they live and gather, and, particularly in the case of Asians, eat. Young people today are so media savvy they have learned how to sift through and discard messages quickly. And there are differences in the way groups communicate. Some cultures are more comfortable with the spoken rather than written word. There is also the issue of literacy: for young people to write, they must read, and the better their reading skills the more they will want to attempt work of their own. Experimentation is good: exposing them to different kinds of writing and genres provides more choices and they will most likely find something that clicks. For example, graphic novels (illustrated) are beginning to develop a following. Lastly, in my appearances and school visits I've found that many young people are attracted to writing, but they often need a catalyst, and the more personal the connection the better.

Where do you get inspiration? Where do you go for your research?

Ideas for characters come from observing people, so I like crowds, festivals, parks. I get a lot of ideas for stories from current events. Much of my initial research is web-based, although the further along I get in my piece the more I venture out to the real world for images and behaviors. For a novel I'm currently working on based on a real person, I'll be referring to his diaries which, fortunately, I have access to. Curiosity is probably the most valuable tool I have; I follow a thought and it leads to the most unexpected places.

You make school visits. What's the best question you've ever had?

Most questions are about the writing process. Students are always astounded by how many drafts I have to write. The best comment I've ever had came from a fourth grader, who wrote in a thank-you note that if I came back he would bring me a gift. Another child asked me to sign my name on his List of Famous People: I was number two, and he was number one!

Has anything or any child or educator surprised you during a visit?

Whenever I talk about writing I give a sample of my poetry, mostly haiku because it's convenient to discuss. I am constantly amazed by how sensitive children are and by the depth of their understanding. Also, boys and girls both are moved by the same things: the beauty of nature, the thrill of sport. Given the proper encouragement, they will open up and be creative.

Where can educators go to find a greater diversity of books, voices, and images?

Aside from events and places that showcase books, I recommend getting closer to your target group. Historical museums are very good sources. In Chicago we are fortunate to have many that house the cultural heritage of various groups. We have a saying in the Philippines: "If you don't know where you've come from, how can you know where you're going?" In heritage festivals you get acquainted with several generations of a cultural group, from old-timers who wear their national dress with pride to younger people born and raised in the U.S. There are also a number of ethnic newspapers which have articles written in English, and you get a sense of how they use the language, what is important and immediate to them.

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