Interview by Xandria Phillips
When I first learned about the many achievements of Tanaya Winder, she felt more verb than woman to me. Her accomplishments within any one of the fields she works and creates are remarkable, but Winder is not a woman of singularity. Tanaya Winder, a young legend in the making, has Southern Ute, Pyramid Lake Paiute, Navajo, and Black ancestry. Hailing from the Ute reservation in Ignacio, Colorado, Winder is a writer, activist, and educator. Her writing can be found in journals such as Superstition Review and Drunken Boat. Winder’s debut poetry collection, Words Like Love was published by West End Press in 2015. Knowing the necessity for indigenous artists’ support and exposure, Winder founded Dream Warriors Management. Tanaya Winder directs UC Boulder’s Upward Bound program, which improves the lives of 103 young Native Americans. Winder also teaches at the University of New Mexico. She's also the founding editor of As/Us, a literary journal that publishes the creative and scholarly work of women, particularly those most underrepresented in publishing. What is quintessential to every element of Winder’s work is her prevailing love – of language, of the communities she serves, of herself. “Verb” is too neutral a term for a woman so concerned with humanity’s wellbeing and empowerment.
ORIGINS
In your writing, work, and personal life, how do you practice the decolonization of love?
WINDER
Good question! And I “love” that you called it a practice because that’s exactly what it is. Although, I’d have to say I don’t really see a separation from my writing, my work, and my personal life. It’s all connected, intertwined, and inseparable. I like to think of it as a waterfall. Sure there are different drops of water forming the river, but when it’s flowing there is no way to easily see the separation. Perhaps the ‘decolonization’ starts there, in removing the boundaries others try to place on us. So to answer your question, I practice decolonizing love by helping to create environments and spaces that are nurturing of more dreaming, more building, and more loving.
ORIGINS
I love this answer! Decolonized love must look a little different for every individual striving to achieve it. Ideally, how would decolonized love look if that love were being shown to you specifically?
WINDER
I’m not quite sure what it would look like. I feel like I’m still in the phase where love is unfolding itself to me in all aspects of life. But maybe that’s what an all-encompassing love looks like to me right now, something transforming and ever-expanding.
ORIGINS
Where do you write poetry? Does place/landscape play a role in how you write?
WINDER
I write poetry everywhere. I travel a lot so sometimes it’s taking a picture of an image or interaction or place that I know I want to return to and explore in a poem. Sometimes I write on Post-it notes in my office and stuff them in my purse or in a journal that I’ll write on during a flight. I’ll find the Post-it and then return to the poem I was planning on creating. I’m always composing lines in my head whenever I hear snippets of conversations or remember something I later want to unpack.
Place and landscape make their way into my poems and writing because the land we live on and the places we inhabit affect how grounded (or ungrounded) we are in our lives. For me, I always carry home with me. It’s important to me to know where I came from so that I can know where I’m going. I write best when I’m feeling grounded or even when I need to feel grounded – the writing helps me get there.
ORIGINS
At what moment did you know that you were a poet?
WINDER
I think I realize it again and again, in many moments, and it’s hard to separate them. I’ve always known I saw the world differently, through what I’ll call a poet’s perspective, one eye always turned inside and the other looking at the world as if it’s strange and new. I knew I was a poet the first time someone told me the words I’d written resonated with their experiences. I knew I was a poet when I brought people to tears in performing my work. Still, I honestly struggled a lot with the whole imposter syndrome. Even after I published my first handful of poems and started getting invited to do poetry readings (all before my first book), I still didn’t fully believe in myself. I didn’t feel confident in the role. Saying “I’m a poet” felt like trying on a jacket two sizes too large or something. Once my first collection of poetry was published I started getting closer to that self-realization. Though in answering this question now, I can confidently say I am a poet.
ORIGINS
When did you gain the confidence? Where does it stem from?
WINDER
I’d say within the last year or so. The confidence comes from within. I finally became more embracing of my gifts and started working harder to practice self-love. Ultimately, I think confidence is a seed planted in the soil of self-love and the more we accept and forgive and love of all the parts of ourselves, the more we grow into our confidence.
ORIGINS
In your TED Talk you mention your former plans to become a lawyer. How do law and justice tie into your writing and work with Upward Bound?
WINDER
I love this question and I’m grateful that you framed it in this way. Sometimes people still give me grief about not becoming a lawyer but until you asked this I never explicitly thought about the fact that my work and writing do tie into justice and law. I’d say that I live my life trying to create spaces where it’s safer and easier for people to love (to do what they love and be who they love). So whether it’s running an Upward Bound program that exists because of education and laws and policies that effect education’s efficiency today or writing poetry that helps shed light on issues folks may be unaware of, for me, that’s doing the work of advocacy and justice.
ORIGINS
What was your initial reaction when you found out your manuscript Words Like Love would be published?
WINDER
I was very excited! I knew a lot about West End Press and was already a big fan of a lot of the work they publish. In fact, West End originally published two of my mentors, Joy Harjo and Cherrie Moraga. At this smaller, independent press I knew I’d have more agency as an author and wouldn’t be a token “diverse” poet they were publishing. I knew West End would value me as an artist, writer, and human being, so of course I was stoked when they agreed to publish my book. From start to finish, working with them was a really good experience. I still couldn’t believe it even after I saw the proof copy. But, when the first copies of the book arrived at my doorstep I slowly unopened the package, pulled one copy out and sat on my couch reading it from start to finish. It’s an amazing feeling...holding your first book in your hands. I ran my fingers through, flipping the pages, smelling them to take the moment in – the years it took to write the manuscript, the experiences that went with the poems, the late nights I stayed up revising and re-visioning concepts – finally, it was real.
ORIGINS
Can you tell me a bit more about agency in the publishing context?
WINDER
Sure! With larger presses one doesn’t always get to choose their font or cover image – sometimes they are chosen for you and because we’re taught it’s a fight- and-grab-opportunities kind of publishing world, we can be tricked into taking what we’re given. With smaller, independent presses you can get an entirely different experience. My press was amazing! They gave me such control and agency; if I didn’t agree with someone, we talked through it. It was supportive and I felt like I got to play a big role in the process of putting it all together. I couldn’t have asked for a better experience with my first book.
ORIGINS
When and why did you know it was necessary to found Dream Warriors Management?
WINDER
I founded Dream Warriors Management a little over a year ago. I knew it was necessary when I saw more and more just how much talent there is in the world, particularly among up-and-coming Indigenous artists. The more I started interacting with other artists, the more I saw so many of us who had similar values, visions for our art and our communities, work ethics, intentions, and strong grounding. I saw the way we all wanted to improve our craft but also uplift each other and those who would follow in our steps. It was then I knew that I wanted to help create a collective that could support artists.
ORIGINS
How exactly does Dream Warriors support young Native talent? What might you do on a typical day as the founder of DW?
WINDER
We provide a scholarship for young Native artists. Last year was our first time giving the scholarship to a graduating senior pursuing the arts. Right now, it's a $500 scholarship. Throughout the year, we put away part of the proceeds we earn as artists to fund [it]. Hopefully with time it can grow into something bigger, but this is our way of giving back what we can. One day, we hope to expand the scholarship to include more mentoring.
On a typical day, as the founder of DW, I check emails (my personal email, the DW management email, and the booking emails of all my artists), I brainstorm, I look at the "To-Do" lists and "Dream" lists I have. I post relevant links about artists' shows or promos on social media. Then I check in with my artists via phone or text. It's only been in existence about a year now and it's still very much in the planning phase, laying the foundation for what is to come, but everyday I am grateful I get to work with such amazing artists who hold similar values and vision for what we hope to do as artists.
ORIGINS
As poets of color we are often expected to negotiate our own identity in our writing. It has been a point of contention or liberation for many. Do you feel there is an ever-present expectation for you to perform your Native identity in your poetry?
WINDER
It depends on the audience and the people. When I’m reading poetry to people who know me (whether from home, college, or grad school, or other networks) they know who I am, they know I’m grounded in my culture, and they know my Native identity is a big part of who I am. In front of those people, they don’t expect me to be anything other than just me. Whether the poems have Native allusions, images, or references in them or not, they don’t treat me any differently – they respond to the heart of the work. When it comes to mainstream society, I do feel that they try to superimpose their expectations of what a “Native” writer should look, sound, and write like. It definitely can be frustrating. On the one hand you always want to represent who you are and where you come from, but on the other hand there are times when we never just get to be writers. People always look at the work through a cultural lens, for better or for worse.
ORIGINS
When during your writing process (if ever) does the thought of your audience(s) enter your mind?
WINDER
I’d say my audience is always in the back of my mind. I try my best to always write with intention, asking myself the questions: What am I writing? Why am I writing this? Who am I writing this for? Sometimes it can be writing just for me initially, but then the bigger picture always comes into focus. I’m writing for my ancestors who made it possible for me to get to where I am today. I’m writing for my family, friends, the Native youth I work with, my community, and all of those who could benefit from this gift I’ve been given, and I write for those who will follow. I hope they’ll be encouraged to use their gifts as well.
ORIGINS
What’s your take on publishing and the barriers that exist for writers of color and women? Is it changing? Are literary magazines forging new ground in this respect and is it enough?
WINDER
Unfortunately, there are still a lot of barriers that exist for writers of color and women of color. White males definitely get published the most out of all groups and we're always combating the narrative that those in power and positions of privilege try to place on us. That literary landscape is changing because we are all continuing to create the spaces our voices need (and deserve) in this world. Literary magazines are providing those spaces more and more. It's great to see so many new literary magazines starting. I have a lot of respect for folks who advocate for the spaces needed.
ORIGINS
What would you say to young writers of color who are working today?
WINDER
I would tell them to keep writing, keep creating, keep building, and keep breathing. We are the answers to our ancestors’ prayers and we get to be in control of our narrative now. No one can tell our histories and herstories the way we can. It’s up to us to change the narrative. Surround yourself with good people who will support you. Keep following the dreams and passions that have been placed in your heart, do so with good intentions, and keep doing what you were born to do.
broken hymn 2: on breaking rhythm
by Tanaya Winder
for Z