My ancestry includes Shawnee from my mother’s side and Eastern Cherokee from my father’s side. My father was a sergeant in the USAF. My mother was an RN. They met in Albuquerque, New Mexico. I was born on the AF base during the mid-fifties, and grew up in the village of Corrales, New Mexico on the banks of the Rio Grande. I completed high school in Arizona, and obtained a bachelor’s degree and two post graduate degrees in Southern California. I worked in the health care field for most of my career, but have also worked as a forensic counselor with mental health departments and the courts.

 

 

 

 

 

 

 

 

 

 

 

 

 

As a person who grew up with heavy influence in my lifestyle, my thoughts, my perceptions from my Native American ancestry, my writing reflects all of those aspects of who I am, and where I come from. My early writing was for professional publications, and the subject matter revolved around physical and mental rehabilitation.

 

I began writing fiction approximately 24 years ago, and everything I wrote found home in a wide assortment of magazines or anthologies. I was always most proud and deeply honoured when my fiction or nonfiction found home in Native American publications. There was a feeling like, I am with family, I am amongst my People. That was so important, because when my work appeared in those places I always knew it would be understood. I would never hear questions such as, What does this mean? Or, Why did the story end like that? American Indian people know what the meaning is, and they know why the story must end like it does. Symbols are also primarily important to me, as they are also important to other Native American people. Symbols can be in the form of an animal, or a spirit, or a place, or a consequence in the story. Symbols are the lessons, and life is always a lesson. I may not enjoy the lesson, but I understand why it is there. I know my life path will always be filled with symbols, and I will only be as successful with anything as I recognize and understand the symbols.

 

 

 

 

 

 

 

 

 

 

 

 

 

My current projects are to prepare for winter. I live on a ranch in the foothills of central New Mexico. Winters are difficult, and being ready for them determines whether or not I will be comfortable enough to write while the snow falls heavy across the earth.

 

These are difficult times for all, but there has never been a time during my life when I believe it has been more important for Native Americans, regardless tribe, regardless Nation, to hold together as a People. We are what is left. Our memories, our words, our actions are vital to what is left of our history. And today is our history. Tomorrow we are the memory. My paternal grandmother told me to be proud of my red blood. My mother told me never to forget, that is where my strength originated.

 

RV: I was reading some passages in your books and immediately felt as if I was transformed into a situation being confronted by one of your characters and felt that if I was going to survive this situation that I better hurry up and read quickly so that I could figure out how to make it out of here alive! Your stories are remarkable and very refreshing. Where do you attribute your skills as a story teller

JOAN: I fear I did not acquire them through hard work. I grew up listening to the fine art of storytelling. My paternal grandfather was a master. My father and two uncles were also quite skilled. I was a good listener.

 

RV: How did it feel when you were first published?

JOAN: When my first fiction story was published, I wanted to fly. Like a bird. I wanted to soar effortlessly. It was such a good feeling. Nonfiction work I took for granted, and had no spiritual investment in.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

RV: Reading your bio below there is something quite similar to your discovery of your native ancestry and the book you wrote called Neighbors (Ch.1, Pg. 3). Is this a part of you saying hello in the book?

JOAN:  When I began first grade, my mother told me that when I went to school, I was less Indian. I asked her why, and she said it was preferred. I never knew who it was preferred by. At home we were not less Indian. In later years, around the time before I wrote Neighbors, my maternal grandmother died. My mother began talking about her Shawnee ancestry. She said when she was a young woman she was embarrassed by her Indian blood. She could not hide it. All my friends and teachers always called her a beautiful Indian woman. She was ashamed. She did not free herself from that shame until my grandmother died. I do not know why. I never asked. She would have told me if she had wanted. So my character became my mother, breaking free from her embarrassment, cutting the cord after my grandmother died, and finally embracing her ancestry.

 

RV: Where do your characters come from?

JOAN: They are actually all either people or animals I have loved who have departed. I can feel their spirits, and I can sometimes hear them talking to me. When they enter the story it is because they want to, and I give them roles they seem to enjoy.

 

RV: I'm very intrigued by your ability to introduce Native American culture and beliefs into your books. I'm quoting the following excerpt from a review from one of your readers who read Polar Bears in the Kitchen:   "A burning car on a desolate New Mexico property is one thing. A burning car with a dead woman's body is quite another. Myra Whitehawk is still recovering from the death of her beloved cousin when she finds the car with the body on her property. Myra sets off on a mission of discovering who the woman was and why she died which puts Myra in danger when she discovers a serial killer may well be responsible. Myra's ancient spirit friends help her on her quest or, perhaps, it may be better phrased, they try to help her. The ancient spirits do a better job of helping Myra cope with the loneliness that often attacks her when she reflects on how much she misses her cousin. The spirits and the polar bears are delightful characters in a charming book. And if you are wondering why polar bears dance across the pages of a book set in New Mexico then you must read Joan Woodruff's Polar Bears in the Kitchen. It's a wonderful way to spend an afternoon."  Where did your characters come from and what goes through your mind when you read rave reviews from people who celebrate your works as an author

JOAN: I am overwhelmed. When I write a story and the characters populate the story, it becomes a living thing for me. I am always so full of gratefulness that people enjoy these parts of my life. Often, I am surprised at how easily some people see those living things that helped make the story.

 

 

 

 

 

 

 

 

 

 

 

 

 

RV: Which character situation stands out most, and why?

JOAN: The Spirit Wolf and his presence. I have felt his presence for much of my life. Family elders said my brother was a Lobo, a big white wolf. He was eight years older than me. Growing up, I idolized him. He was so wise. I always believed the white wolf lived in him. He died many years ago, and I often see the white wolf, in dreams, in thoughts. The white wolf is my guide, especially when times are difficult.

 

RV: You had mentioned how your symbols are meaningful in everyday life situations, could you give an example of some symbols that you have recognized and the effect that it had on your life?

JOAN: Isolation of characters in my books is a very big symbol. I do not believe we are able to grow and transform, to create personal change, unless we have a lot of isolation time. Other people interfere with our personal process. Another symbol is addictions. Many in my family have had addiction problems, some died from those addictions. For me an addiction is the biggest lesson, and if we do not learn from it, we succumb to it. The mule is also a symbol, of listening. Mule seems to be spying in the stories, but for me, Mule is the listener, with his big attentive ears. He is compassion. He is the ears we often need, but cannot find.

 

RV: When you write is there a purpose or preconception to how the story will end or are you as surprised by the turn of events that take place in your story as the reader is?

JOAN: Yes, there is always an image on the edge of my conscience when I write. It forms itself during the story, and when it is fully baked, it is what ends the story. So, yes, I am often surprised at the ending.

 

 

 

 

 

 

 

 

 

 

 

RV: You have had an extensive experience with the aftermath of criminal activities in your professional life yet you are able to demonstrate an objectiveness in your view of life and hope. Where does this objectiveness come from and could you please share it with us?

JOAN: Criminal activity and objectiveness. I have seen the worst sides of people. But, I have also witnessed the most amazing ability some have to forgive, to proceed, to go along their life path with grace and good mental health. There is something necessary about the shadow side of life, because it illuminates all that needs attention. Without attention on the shadows in myself and others, I'm not sure I would grow and change, and transform myself.  I might be too content.

 

RV: Do you have a favorite Native musician, poet, artist that comes to mind?

JOAN: Robbie Robertson is not only my favorite musician, he is also Native American. My favorite poet is Joy Harjo, who is Choctaw. My favorite artist is the late Mark Chee, a Navajo, who made the most remarkable jewelry in the world.

 

Thank you Joan for giving me this extreme honor and privilege. Please be sure to visit Joan’s website at: http://www.joanlesliewoodruff.com/