2023-11-05 17:38:30
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The little animal has accompanied Ramos on her travels around the world for years, as those who follow her on Instagram know. It was much later, in an improvisation workshop, that she decided to write a story for his pet. We will know the result this month, in her debut as a children’s writer, which also has a plus: she has made the drawings herself, without having much knowledge of the subject.
—Your story is regarding an animal that wants to know who it is and does not find acceptance from the rest. Have you ever asked yourself that question?
Yes of course. There was a time when I identified with the “subway” culture and I dressed as such, I tried to do the things that the “subways” did. I avoided going to the beach [risas], I painted my lips with red Aseptil wanting to fit in, although no matter how hard I tried, I realized that it didn’t fit. I also wanted to be a ‘hippie’, but it didn’t go well. I bought the whole outfit, the bag and listened to Silvio Rodríguez, but it was difficult for me to be a good ‘hippie’. I think something like this happens to everyone, you try to fit into groups, styles and fashions; and, little by little, you realize who you are and who you are not.
For her book, Wendy was in charge of creating all the illustrations. It was a field that she did not know but she liked doing something new (photo: Elías Alfageme).
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—How did the idea of writing a story come regarding?
It started when people started telling me that my little wool animal was not a rabbit. It bothered me that they were bullying him, so I started taking him with me everywhere. One day, at Érika Villalobos’ house, I listened to her tell her little daughter regarding the problem of my little dog, but with that voice with which one speaks to children, and I thought how nice it would be to make a story regarding a different being and Tell a child that it is okay to be different. This is how the idea of the story was born.
—The special thing regarding this book is that you have not only written it, but you have illustrated it, without having any knowledge of it. How did you come up with that?
It was crazy because it was people who started asking me, not me. When I finished the story, I wanted to find an illustrator, but friends of mine told me: “But you’re going to illustrate it yourself, right?” And I told them: “What are you talking regarding? “I dedicate myself to theater, I don’t know how to draw.” But they insisted. Until one day I got fed up and told them: “You know what? “I’m going to draw the story just so you can see that I don’t know how to draw.”
Wendy at her workstation, surrounded by pencils, markers and watercolors. (Photo: Elías Alfageme).
—And you fell in love with the process…
I started out all half-hearted until, suddenly, I said, “Hey, this isn’t bad. I don’t know if it’s pretty or anything.” I went where [la escritora] Micaela Chirif, who helped me with the story, and told me: “Your drawings are so cute!” So I called Eduardo Tokeshi, whom I only knew online, and he came to my house. Imagine Eduardo Tokeshi here, looking at my drawings. And he told me: “But you have to do this!” He helped me with some ideas and, in the end, the publisher chose him as the art director of the book. So happiness was complete.
—For a person who does so many things, theater, claun, is a lecturer, so many different things, isn’t it a little scary to venture into something new?
I had to fight several demons. Since I have never done this, my mind was always “you don’t know how to do this”, “what a shame that such a beautiful story is going to have such ugly drawings”. You don’t know how I fought to get something as simple as some worms. It was a case of imposter syndrome.
The original dog is Wendy Ramos’ wool pet. She bought it on a trip to Nepal. It looked like a rabbit to her, but her friends told her it was a dog. (Photo: Instagram by Wendy Ramos).
—Have you felt this way on other occasions?
I always think that I am doing it wrong, because it is more comfortable to do what you have done all your life and know. The first time they called me for a musical, they cast me and I stayed. And I had my song well rehearsed with the ‘coach’, which was “Chiquitita”; but when we had the rehearsal with all the actors, I had Gisela Ponce de León and Evelyn Ortiz singing in front of me and I didn’t know where to go. I don’t sing like that. I did what I might, finished and told Juan Carlos Fisher, the director: “I’m your friend, but I’m sure you want to throw me out of your work. Do it, it won’t alter the love I have for you.” I was convinced that he didn’t love me. That’s imposter syndrome. You feel that people are going to realize that you are no good for something.
—And what did the director respond to you?
He told me: “But what are you talking regarding? You’re Rosie!” She calmed me down, but it is a feeling that has always accompanied me, even since the Claun days. Only when I have done “My party is mine” [su libro de memorias, publicado este año] I have felt more comfortable, because I know that story, it is mine. And now that I decided to make the book for children, the fear came once more.
Cover of “Perronejo” (Grijalbo, 2023).
—Children are a demanding, almost intimidating audience. How do you handle the pressure of being read?
How terrifying! I have read the story to many people, but all adults. I have not dared to read it to a child. I do not know what is going to happen. With adults I do know that it works. I have friends who have told me a problem and I have told them: “Hey, you have to read ‘Perronejo’, because you can find an answer to your problem.”
—Some children’s classics were not conceived for children, such as “Platero and I” and “The Little Prince”; However, they end up being adopted by adults.
And it also happens the other way around. With “My party is mine” parents with children go to the autograph signings, and when they get to the table they tell me: “The autograph is for my son or daughter.” I thought it was for dad.
—I saw that you were in Spain recently. What were you doing out there?
I was filming the fourth part of “Padre no hay mas que uno”, with Santiago Segura. For me, it has been a vacation. Being there is a party, because we have known each other for three films and we love each other. I have taken them to eat Peruvian, we went to dinner every night, we went to the beach.
Ramos will participate once more in the Spanish comedy “Padre no hay mas que uno”, alongside Santiago Segura. They are already on the fourth part.
—Do you plan your year a lot?
I don’t make plans anymore. Before, that really stressed me out. Every year I had a defined plan but this year I said that my project was going to be me. I was going to privilege my time. And at first I started out super empowered, but then I was confused regarding what to do. He was a bit like a fool.
—In your book you talk regarding being “sad.” What does that mean?
It’s a word that I always use here, but in Spain they didn’t know it and they told me: “But what a nice word.” To be “sad” is to be sad and happy. You can be doing very well in life, but suddenly something very sad is happening in the country. What I’m saying is that it’s okay to feel those two emotions.
—When was the last time you were ‘trisliz’?
Now, because I have this book, but at the same time you see what’s happening in Palestine and Israel. You think how do I celebrate this if this is happening; but I want to celebrate, we have to celebrate because I have worked a lot. //
Besides…
Special presentation
The book will be on sale in all bookstores starting November 11. The pre-sale starts on the 3rd of that month. The presentation will take place during the Hay Festival, in Arequipa, this November 12 at the Fénix theater. On November 25, the same will be done in Lima at the NOS theater (Camino Real 1037). People who buy the publication can participate in a drawing to attend, those who pre-sale have a double option.
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