WINTER 2020
10ofYears
NOTO
A Matriarch of the Topeka Arts Scene Looks Back on the Founding and Successes of the City’s Arts District
SENIOR LEARNING, SAFE AND ONLINE
KARREN WEICHERT REFLECTS ON HOSPICE
TOM AVERILL TALKS WITH ANGELA CERVANTES
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TOPEKA MAGAZINE | Winter 2020
FROM THE EDITOR WINTER 2020 | VOLUME 15, NO. 1
Editor Nathan Pettengill Art Director/Designer Alex Tatro Copy Editor Leslie Andres Advertising Representative Sunflower Publishing Angie Taylor ataylor@sunflowerpub.com (785) 832-7236 NOTO Memento by Patricia O.F. Nobo
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Hello. This is our third issue of Topeka Magazine being released under the atmosphere of uncertainty brought about by the Covid-19 pandemic. And while I’d like to not have to address that, ignoring it would be disrespectful to the members of our community who have lost loved ones or had their lives turned upside down by the effects of the disease. As we release our winter edition, we are entering the most uncertain months where the welfare of our community might be determined by how well we wear masks, social distance and practice respect for one another. And there is hope. This issue brings stories focusing on hope … and what comes after that, the actions we take inspired by a belief in a better future. From our cover story about Barbara Waterman-Peters and others who believed and took risks to create the city’s art district a decade ago to an interview with retiring hospice director Karren Weichert about creating a network of professionals and volunteers dedicated to smoothing end-of-life experiences for individuals and their loved ones. And as Topeka native Angela Cervantes shows us in her conversation with Tom Averill, by imagining better worlds, we can one day inhabit them. For the coming season, it would be unrealistic and harmful to urge a return to life, business and leisure as normal. But it is never wrong to encourage our own thoughts about what type of a future we want to create. In order to thrive, we owe a sense of optimism to our community, to our families and to ourselves—and this winter edition is our contribution to that. — NAT H A N P E T T E N G I L L , E D I T O R
Ad Designer Alex Tatro Photographer Bill Stephens Writers Thomas Fox Averill Linda Ditch Barbara Waterman-Peters Illustrator Kassidee Quaranta Subscriptions $27 for a one-year subscription, including Topeka SR; order at sunflowerpub.com
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Topeka Magazine is a publication of Sunflower Publishing, a division of Ogden Publications. Director: Bob Cucciniello Publisher: Bill Uhler Ogden Publications 1503 SW 42nd St Topeka, KS 66609
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THANK YOU, ARTISTS! The arts are the fuel we need for a stronger, brighter Topeka. Thank you to artists of all disciplines for making our lives more beautiful.
CONGRATULATIONS TO THE 2020 ARTY AWARD HONOREES
Liz Stratton Arts Patron Award: Governor Laura Kelly Community Arts Award: seveneightfive Magazine Literary Arts Award: Izzy Wasserstein Performing Arts Award: Andy McKee Glenda Taylor Visual Arts Award: Andy Valdivia People’s Choice Award: Glaciers Edge Winery
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CONTRIBUTORS
TOPEKA MAGAZINE | Winter 2020
WINTER 2020 | VOLUME 15, NO. 1
Tom Averill
Linda Ditch
Bill Stephens
Kassidee Quaranta
Barbara Waterman-Peters
An O. Henry Award winner, Tom Averill is retired from Washburn University, where he taught creative writing and Kansas literature and founded the Thomas Fox Averill Kansas Studies Collection.
A frequent contributor to Topeka Magazine, Linda A. Ditch is a Topeka-based travel and food writer whose works have appeared in a range of national and regional publications.
A regular contributor to Topeka Magazine for the past 14 years and to KANSAS! magazine for the past 30, Bill Stephens runs his own photography studio and plays guitar and mandolin for bluegrass ensembles.
A native of California and University of Kansas graduate, Kassidee Quranta creates illustrations, videos, company logos and cut-paper works of art. She has also illustrated for KANSAS! magazine.
The lead art correspondent for Topeka Magazine for the past 14 years, Barbara WatermanPeters creates paintings that have shown in numerous national and international venues.
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WHAT’S INSIDE
Winter 2020 | TOPEKA MAGAZINE
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WINTER 2020 | VOLUME 15, NO. 1
D E PA R T M E N T S 9 W I N T E R F I S H I N G
Thanks to a generous stocking of area lakes, fishing remains a viable outdoor activity for the coming months
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S E N I O R C O U R S E S
With temporary closing of many senior classes, educational opportunities move online
D U R I N G C O VI D
F E AT U R E S 18 N O T O AT 10
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Barbara Waterman-Peters, one of the core artistic leaders behind the North Topeka Arts District (NOTO), shares her thoughts on the district’s 10-year anniversary
24 “ T O K N O W U S & K N O W
OUR STORIES”
Topeka-born writer Angela Cervantes talks about growing up in Oakland, her successful YA novels and being part of a Disney/Pixar hit
32 “ W I T H T H E P E O P L E Y O U L O VE A R O U N D Y O U ”
The outgoing leader of a pioneering hospice provider discusses the evolution of end-of-life care
On the Cover WINTER 2020
10ofYears
NOTO
A Matriarch of the Topeka Arts Scene Looks Back on the Founding and Successes of the City’s Arts District
SENIOR LEARNING, SAFE AND ONLINE
KARREN WEICHERT REFLECTS ON HOSPICE
TOM AVERILL TALKS WITH ANGELA CERVANTES
Artist Barbara Waterman-Peters creates C19: One Crow Sorrow, a Covid-themed oil painting from her Studio 831, the collective arts studio that she founded and that was the first art studio to open in the revitalized NOTO Arts District. Photograph by Bill Stephens.
Happy Holidays!
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Keep America Beautiful - Get Down Get Dirty Trash clean up • DART race • Alzheimer’s Walk for a Cure • KCSL Red Stocking Breakfast • Community Blood Center Blood Drive • Silverbackks Silver Suppers • Project Topeka annual food drive • Holiday Gifts for The Villages • Toys donated to Stormont Vail • Care Packages for Frontline Healthcare workers • School Supply drive for Topeka Public Schools • USD501 lunch account payoff On Stage Live • Suicide Prevention Walk • Bone Appetit • Habitat for Humanity • Helping Hands Humane Society • PARS • GO Topeka HOST Relief Program • Saving for Education – 529 Day at the Zoo
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Winter 2020 | TOPEKA MAGAZINE
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Winter Fishing Local and state programs encourage people to explore winter fishing and enjoy being outdoors in the coming months STORY BY
Linda Ditch |
PHOTOGRAPHY BY
Bill Stephens
Trout are released into Lake Shawnee for the 2019 winter season. Because of Covid-related restrictions, this year’s trout release was not open to the public.
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TOPEKA MAGAZINE | Winter 2020
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abin fever may be a serious problem for many folks this winter because of Covid-19. The Centers for Disease Control and Prevention (CDC) recommends staying physically active by visiting parks and open spaces as one of the best ways to relieve stress. This may be the year to continue favorite summer activities during the colder months. If fishing is your passion, Shawnee County Parks and Recreation and the Kansas Department of Wildlife, Parks and Tourism make it easier to enjoy in the winter. Mike McLaughlin, communications and public information supervisor for Shawnee County Parks and Rec, says, “All waterways are open for fishing yearround. In addition, Lake Shawnee has a heated fishing dock, which is now open for the winter.” One of the attractions of winter fishing in Lake Shawnee is that it is stocked with trout through a KDWPT program. The first 7,000 pounds of rainbow trout were added in October, and the lake will be restocked in February 2021. Until April 15, 2021, anglers can fish for a limit of five trout per day as long as they have a state fishing license ($15 for seniors) and a trout permit (an additional $14.50). Anyone not fishing for trout only needs the state license. “Should ice form on the lake, for safety, park patrons are not allowed to walk out on the ice,” McLaughlin cautions. “Ice fishing may only be done from a dock or on the shore. Ice does not form at a uniform thickness, so patrons never know when they might encounter a thin spot and fall through the ice.”
TOPEKA MAGAZINE | Winter 2020
11 “Success comes down to this: being appropriate in the moments of your life.” – Gary Keller
Other Locations in Topeka The only other location stocked with trout in Topeka is Ward-Martin Creek in Auburndale Park (I-70 and McVicar Rd.). Other winter fishing spots in Topeka include Cedar Crest Pond and Governor’s Ponds East and West (Fairlawn Rd. and I-70), Freedom Valley Pond (SE 14th and Locust), Central Park Lake (SW 16th and Central Park Avenue), Westlake in Gage Park, Horseshoe Bend Park Pond (SE 43rd Terrace and Horseshoe Bend Dr.), and Clarion Lake (near SW 37th and Fairlawn). Public areas are open from 6 a.m. to 11 p.m. For additional information on regulations and licenses, visit parks. snco.us or ksoutdoors.com.
Every day we price our time. If we choose to spend it at Disney World, it will cost approximately $109, which is the value that we place on this experience. In our world, everything is priced in dollars, but I would argue that for some, the most precious commodity is time. And like money, you can’t spend it if you don’t have it! Maybe we should invest some of our time in developing our wealth management plan so that we can be appropriate in the moments of our lives? Unfortunately, money doesn’t come with instructions, and life doesn’t have a “pause” button – but that’s where we can help! Call (785) 272-3900 today and schedule a call or webmeeting to find out how we might be able to help.
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Senior Courses During Covid With traditional in-person classes on hold, seniors can turn to online offerings from local institutions STORY BY
Seniors (from left) Ruth Maus, Rosanna Andrews and Janet Stotts prepare for a class at Washburn University in March 2019.
Linda Ditch |
PHOTOGRAPHY BY
Bill Stephens
Winter 2020 | TOPEKA MAGAZINE
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ashburn University has long welcomed Kansans 60-plus years of age to audit classes without paying tuition. The school saw this as a way to diversify and enhance the classroom experience for the younger students while also offering educational enrichment for seniors without the need to turn in homework or pass exams. However, with the onset of the Covid-19 pandemic, the school suspended the program to focus academic resources on enrolled, degree-seeking students. Author Ruth Maus, whose first book, Valentine, was launched at WU’s Rita Britt Gallery in 2019, has audited ten classes in the past five years. Most of them were poetry, literature, and linguistics classes. She credits the program not only with expanding her education but also with introducing her to new friends of all ages, including a poetry group that meets biweekly now via Zoom to critique each other’s poems. “I completely understand the added challenges the Covid virus has already brought to WU, so trying to accommodate an additional population—and one at higher risk—would be an unnecessary complication for the university,” says Maus. “That said, I really, really miss going to classes, making new friends of all ages, and seeing old ones, plus I miss the intellectual stimulation of continuing to learn and grow in so many fields, challenging what I thought I knew.”
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TOPEKA MAGAZINE | Winter 2020
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HOME HEALTH • PRIVATE DUTY • STAFFING & HOSPICE CARE
The Dwight D. Eisenhower Presidential Library has hosted several virtual events during the pandemic. Photograph courtesy KDWPT.
Until seniors can safely return to in-person classes, the best educational opportunities coming from local institutions this winter include online courses and events from a variety of providers: • The Topeka Shawnee County Public Library offers a number of virtual classes at no cost. They range from financial planning and Medicare assistance to book clubs, yoga, and caregivers support groups. To learn more, go to the library’s website, tscpl.org, and click on the Events tab. Or call 785.580.4400.
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• Humanities Kansas, through its website at humanitieskansas.org, offers numerous stories to read, view or listen to on the state’s history and arts. For example, you can watch a video on “Kansas Stories from the Vietnam War,” read an essay on “Pandemic, Interracial Strife, and the Saving Grace of Humanities,” and listen to the legend of Hay’s “Blue Light Lady.” The organization also offers a number of live classes and events, both in-person and virtual. • The Dwight D. Eisenhower Presidential Library offers a number of virtual lifelong learning opportunities. There are virtual video tours of the museum, as well as online exhibits such as “Women for Ike!” and “D-Day and the Normandy Invasion.” You can also view videos of past “Lunch and Learn” events, as well as “Why Like Ike?” discussions. Go to eisenhowerlibrary.gov to explore more.
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TOPEKA MAGAZINE | Winter 2020
The Dole Institute of Politics continues to host free, online lectures and events. Photograph courtesy University of Kansas.
• The University of Kansas’ Osher Lifelong Learning Institute has noncredit courses and events for people age 50 and older. During the pandemic, these classes are offered online. Class topics are varied, including selections like Women Spies During World War II and Forgotten Jayhawk Athletes. To receive a course schedule and register, go to osher.ku.edu or call 913.897.8530. • The Kansas Museum of History is currently closed because of the pandemic. However, the Topeka-based institution continues to hold its popular Museum After Hours events virtually. The programs are limited to 100 people per event and are free, though donations are welcome. To see a schedule of upcoming events, go to kshs.org/p/ kansas-museum-of-history-programs/18576. • The Dole Institute of Politics at the University of Kansas has live virtual forums and discussion groups through its YouTube channel, which also features videos of past events. Go to doleinstitute.org for a list of upcoming live events, or visit the YouTube channel at youtube.com/ thedoleinstituteofpolitics.
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Winter 2020 | TOPEKA MAGAZINE
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NOTO AT 10 T
en years after its founding, much has been written about NOTO’s progress and events, as well as the people and entities who have made it a success. Most of the coverage has been based on interviews and observation from the outside. I would like to share NOTO from the inside. Gathered from my journals and experiences, here is my NOTO—a magical confluence of community, quality of life, city enhancement, the arts, entertainment, and entrepreneurship. It is hard work, pride, and creativity. Several days a week I drive across the Topeka Boulevard Bridge to my studio at 831 North Kansas Avenue. Each time it is a new adventure, a chance to leave concerns behind and head to my “home away from home.” Turning right onto Gordon and then right again onto Kansas Avenue, I see the ever-changing scene of the North Topeka Arts & Entertainment District. Redbud Park, the NOTO Arts Center, sculptures, murals, galleries, studios,
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Barbara Waterman-Peters, one of the core artistic leaders behind the North Topeka Arts District (NOTO), shares her thoughts on the district’s 10-year anniversary STORY BY Barbara Waterman-Peters
PHOTOGRAPHY BY Bill Stephens
and businesses line the streets. Sometimes lots of visitors are strolling in the brilliant sunshine; other times folks are quickly darting into businesses to avoid wind, rain, and cold. One of my favorite sights is spotting a photographer hoping for the perfect shot. The galleries, studios, and businesses change from time to time, but NOTO is still NOTO. As I pass through the district, finding a parking place close to STUDIO 831 is more of a challenge now than in 2010. I go inside where I am greeted by a wonderful art-filled space; works created by artists whose aesthetics I respect adorn every wall and surface. Often a piece in progress will pull me into another artist’s workspace to check its evolution. If artists are present, we discuss current work, new ideas, upcoming opportunities, and successes. On certain days, a few of my long-standing students come to draw and paint.
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NOTO JOURNALS JOU RNALS During the past 10 years of working at my studio in NOTO, I’ve often recorded my thoughts on the changing seasons and the atmosphere of the arts district. Here are some excerpts from my 2017 entries. January 2017 “Each day provides an opportunity to observe the surroundings inside and outside my studio. The view from my window reveals traffic and other activities, horns honking, people chatting and an occasional dog barking. Whistles, each pattern of blasts individual to its engineer, accompany the roar of passing trains. The light changes with the passing hours: this time of year, it is too quickly gone. Signs and streetlights come on and the view from my window dims. I put away my paints and brushes and lock up, always a little sad to leave.” May 2017 “May brings a change in the light flooding over my right shoulder. I paint in both natural and fluorescent light, which gives a nice balance to my colors, but within that are great differences. Wintry light is sharper; cloudy days soften the effect. Summer light is dazzling and lasts longer, increasing the length of my painting sessions.” June 2017 Artists in the district have recently won awards in shows and competitions elsewhere. We have such a concentration of talent and creativity. Some artists work in very polished manners, others in a raw, more urgent style. But all of it is worth looking at, discussing, and collecting. The spirit of the NOTO Arts & Entertainment District is in its eclectic atmosphere and I hope that is one feature which never changes.”
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The necessity of working finally propels me into my own space in the front window where aromas of turpentine and paint encourage a deep breath. After more than sixty years of painting, that smell still fills me with the frisson of anticipation. Locating my studio in NOTO was not a spur-of-themoment decision. In 2009, I was invited by John Hunter to be part of Heartland Visioning and the Quality of Life Foundation. In 2010, I was serving on an enthusiastic board of directors assembled to create an arts district in North Topeka. By late 2010, I resigned from that board, became a NOTO Core Artist, and signed a lease. My dream to have a studio, a “second home,� was coming true. Thinking back, I do not recall trepidation as much as determination and gratitude for the many volunteers, entities, and donors who made NOTO possible. Fortunately, friends were also seeking studio space, so I invited Lois VanLiew and Michael Hager to join me. Lois is with me still, and over the years, others have come and gone. Each has added immeasurably to the nurturing environment that is STUDIO 831 and has been folded into its essence. Another aspect of NOTO is its attraction for artists even if they do not have a studio in the district. Organizing projects such as the 2017 NOTO Plein Air Project and curating exhibits at the NOTO Arts Center have provided me with the endless joy of networking with creative people. The First Friday Art Walk creates high visibility, makes the arts accessible, and enables meeting many people from Topeka, the region and beyond. I have had innumerable interesting conversations about my work, the arts in general and the history of North Topeka. One highlight is the opportunity to speak with young artists and to encourage them; a second is the ability to hold literary events at STUDIO 831. Two books of poetry have been launched from our studio. On a more personal level, being in NOTO for the last decade has strengthened my work, given me new friends, and allowed me to be a part of the energy, magic, and excitement. This district has transcended my original vision and has become a symbol of the importance of all the arts in Topeka.
 Â? Â?Â?Â? Â?Â? Â€Â?Â?‚ƒ€Â?„Â? …†‡
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A NOTO GALLERY
Over the past ten years, NOTO has not only hosted artists but also inspired many of them to document and portray its people, buildings and atmosphere. Here are some works of art created over the past decade representing NOTO.
Naomi Cashman Lunch Out Bradley’s Corner CafÊ is a mainstay in NOTO. The artist painstakingly composed the painting with details such as signage, streetlights, even a fire hydrant. The inclusion of a flowering bush, plentiful in the area, successfully softens the effect.
Doug Frye Call to Adventure Another alley view, this one has a completely different feel. Its vertical orientation and almost grid-like linear composition referencing the trains and infrastructure give it a dynamic mood. Softened a bit by the afternoon sunlight, it still maintains a strong sense of the industrial character of parts of NOTO.
Kathleen Cobb Lago NOTO Caught in the late afternoon sunlight, this view of the alley on the west side of the 800 block of North Kansas Avenue yields a lovely serenity. The mood is reinforced by the quiet reflections on the surface of the water in the alley. Finding beauty in unlikely places requires a keen eye and an open mind.
Becky Drager NOTO Arts District Brilliant, glowing color suffuses this view of NOTO in its early stages. Using complementary hues of blues and oranges, reds and greens, the artist creates an interesting counterpoint to the empty street. The district is ready and waiting for the crowds and excitement yet to come, like an actor on stage before the curtain is raised.
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Fred Hsia 1st Friday NOTO 2 This lovely watercolor captures the excitement of a summer First Friday in NOTO. In this street scene, colors and light are subdued, but the movement of people and cars lends an energetic feel. In an intriguing twist, the artist placed the figures in shadow and the buildings in full light.
Patricia O.F. Nobo NOTO Memento The artist has chosen to depict the essence of the old buildings in NOTO through texture, color, and shape. True abstraction takes the forms and shapes of realism and distills them to the simplest forms. Looking at this image, the viewer senses the presence of an architectural structure without being given much specific information.
Phyllis Scott Sharing A visitor taking a break in front of Rusty Haggles, an antique shop now closed, is texting friends. Not only is this painting well composed with both saturated and neutral colors, it is a perfect statement of old and new, relaxation and activity, which is the vibrancy of NOTO.
Gweneth McClain Edna’s The window branded with a long defunct business reflects current businesses across the street. Beautifully pairing old and new, the artist channels both photorealism and cubism with the superimposition of lettering over another image. Subtle repetition of color, shape, and line contributes to the success of this deceptively simple image.
Tom Romig T.M. James Building Exquisitely rendered in pencil, this magnificent old building once housed NOTO Burrito. The artist’s choice to draw rather than paint highlights unique details of the building. Carefully measuring and precisely toning values could have resulted in a cold, lifeless image, but inclusion of skewed blinds in the upper windows creates a sense of warmth.
Lois VanLiew Sunlit Memories This artist has depicted so many scenes and buildings in NOTO that she will leave a legacy of its development. Each piece echoes the eclecticism and excitement of NOTO. The painting’s brushwork is full of energy but is not harsh, and soft colors are punctuated with dashes of bright red.
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“TO KNOW US & KNOW OUR STORIES” Topeka-born writer Angela Cervantes talks about growing up in Oakland, her successful YA novels and being part of a Disney/Pixar hit STORY BY Tom Averill
ILLUSTRATIONS BY Kassidee Quaranta
N
ovelist Angela Cervantes, Topeka-born and bred, represents the best of the city: the rich culture of the Latino community, the opportunities for an excellent education, and the close-knit neighborhoods. Now living in Kansas City, Cervantes writes chapter books for third- to fifthgraders that have been described as “touching,” “timely,” and “nuanced.” The novels, all published by Scholastic, celebrate the immigrant experience and cultural diversity. Her first book, Gaby, Lost and Found (2013), won the International Latino Book Award for Best Youth Chapter Fiction Novel. It was followed by Allie, First at Last (2016), Me, Frida and the Secret of the Peacock Ring (2018), and Lety Out Loud (2019). Just out in paperback, Lety was one of four works to earn a place on the prestigious Pura Belpré list of 2020 Author Honor Books, an annual recognition of Latinx writers for an outstanding portrayal, affirmation and celebration of Latinx cultural experience. Cervantes has also branched into adapting films. In 2017, she was selected to write the junior novelization of the Disney/Pixar film Coco. After reading and enjoying Cervantes’ novels, I reached out to her to talk about her work and growing up in Topeka.
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Tom Averill (TA): You grew up in what you’ve described as a diverse and lively neighborhood. Can you tell us how that shaped you? Angela Cervantes (AC): I grew up in the Oakland community of Topeka. I’m grateful that I was brought up in a community that celebrated its Mexican heritage at school and through its annual summer fiesta, folkloric dance troupes, and Las Posadas every holiday season. Being surrounded by all that richness provided inspiration for the stories I write now. My childhood was filled with so much art and culture. I grew up knowing painters, dancers, musicians, and I was able to visualize a life making my own art. It didn’t seem impossible to me that I could be a writer someday. TA: What were your most positive influences—teachers, books, activities, friends, or other opportunities? AC: I attended Our Lady of Guadalupe to eighth grade and then went on to Highland Park High School (HPHS) for four years. Both schools gave me the opportunity to improve and showcase my writing. In all of my books, I name teachers after my real teachers who have touched my life. In 7th grade, Mrs. Wendy was my teacher. She was a kind woman who always encouraged me. She gave me some writing advice that I still use today: “Get to the good stuff.” I named the teacher in my novel Allie, First at Last after her. At HPHS, my English teachers were always my favorites, but I have a special place in my heart for the two librarians: Mrs. Clausen and Mr. Ron Farrell, who also directed all the plays and musicals. I had the joy of spending a lot of time with him during my four years. When he retired from HPHS, a special program was created to honor him, the Ron Farrell Lecture Series. I was lucky enough to be one of the speakers a year ago. He passed away earlier this year, and I’m grateful I had the chance to see him one last time during the lecture series program.
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TA: When did you know you’d become a writer? When did you find your audience, the middle-grade students you’ve reached so successfully? AC: I knew from a very young age that I wanted to be a writer. I began writing poetry, short stories and novels at around eight years old. I completed my first novel when I was ten years old. It was a sequel to the C.S. Lewis’ Chronicles of Narnia books and included Mexican American characters named Princess Esperanza de Castillo and Captain Javi Sepulveda. I knew very early on that there was nothing else in the world I wanted to be other than a writer. And I knew I wanted to write books for middle-grade children—grades third through fifth—because the books for that group are solid: Harry Potter, Charlotte’s Web, Narnia Chronicles, A Wrinkle in Time, etc. So, when I received the publishing offer for my first middle-grade novel, Gaby, Lost and Found, I was ecstatic and grateful to be part of that world. I wasn’t sure there’d be a second book because the publishing world is fickle, but here I am with five books published and I’m working on my next two. TA: You incorporate Spanish into your books, and your Me, Frida, and the Secret of the Peacock Ring is set in Mexico City. You lived for a time in Guadalajara, Mexico. Did you grow up bilingual? How many of your novels have been translated into Spanish?
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AC: I grew up speaking English with a little bit of Spanglish. Spanish fluency has always been my life goal and going off to live in Guadalajara was part of that. After nearly three years in Guadalajara, I still don’t consider myself 100 percent fluent in Spanish. I still strive for it. All five of my books, including the Coco: The Junior Novelization, have been translated to Spanish. The publishers find the translators. I read Spanish well enough to read their drafts and make suggestions, but that’s all. Translation takes a true professional. By the way, I just learned that my novel Me, Frida, and the Secret of the Peacock Ring was picked up by a publisher in Turkey. So, it’ll be translated to Turkish and sold there. I think that’s pretty cool.
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TA: In your books, animal rescue and adoption mirror the issues of immigration and acceptance that our country has struggled with in its history. In Lety Out Loud, Lety says, “Sometimes people or pets that are unwanted can still become heroes if we just give them a chance.” Can you expand on that? AC: Each generation of immigrants to this country carries the American dream with them. They remind us time after time what it means to strive for a better life, be brave, to have grit and work hard for what you want. Yet so many times, as we’ve seen historically, we vilify the immigrant for working toward the American dream. I grew up with families that were descendants of German, Mexican and Irish immigrants, so I know what we’re capable of achieving when given the chance. Those stories of hardship and discrimination from our grandparents are given back to this nation that we love in a beautiful way, which benefits all. I’m passionate about issues of immigration because I’m the granddaughter of an immigrant who worked the railroad. He did grueling work so that his grandchildren could follow their dreams to be doctors, teachers, soldiers and writers. His dream, in combination with a strong work ethic, made it possible for me to spend my days staring at clouds from my writing room and creating new stories for children. ABOVE: This illustration is based on a family photo album image of Angela Cervantes, her younger brother Enrique and their dogs at their childhood home in Oakland (Topeka).
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TA: The Allie, Gaby, and Lety books also feature characters who learn to tell the stories of others—from family members to animals up for adoption. How important is writing, finding a voice, to your characters and to you? AC: What has always inspired me is the idea that we all have a story to tell. Deep down, we want people to know us and know our stories. At my school visits, children are constantly telling me their stories. They’ll clamor around me at the end of my talk and share how they found their cat, or lost their grandma, and they’re sad about it. I really love their stories. They’re so sweet and honest, and I think they share them because they understand, at such a young age, that sharing stories connects us.
TA: You wrote the junior novelization for Disney/ Pixar’s Coco. Can you tell about how that came to be, and about your experience adapting a film to a book? AC: Coco is such a beautiful movie. Disney reached out to me via email one day and asked if I was interested in working on the junior novel. After some research about the project, I signed on. They sent me the script, and I had three months to transform it into a junior novel. When I finished and the movie was ready for release, I was invited to attend the Hollywood premiere, which was a blast. After seeing the premiere, I held a special showing of Coco in Kansas City. I filled a movie theater with all my friends and family because I wanted every brown kid I knew to see themselves on the big screen. That, to me, was the true beauty of the film and why I agreed to write the junior novel. It honors Mexican traditions, family and music in a beautiful way. I’m proud to be part of Coco in my own small way.
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Illustrator Kassidee Quaranta depicts Princess Esperanza de Castillo and Captain Javi Sepulveda, the heroes of Angela Cervantes’ unpublished childhood novel intended as a sequel to change to C.S. Lewis’ Chronicles of Narnia books.
TA: You have visited schools and worked with the young students you write for. Given the Covid-19 pandemic, how have you stayed connected with your readers? AC: Last school year, I did over 60 school visits across the country and managed to schedule all of them before the pandemic forced school closures in mid-March. So, I was planning on being back home to write anyway. This school year, I’m scheduling a few virtual visits, but mostly I’m spending this time writing. I do miss the kiddos and their stories though. I’m trying to stay connected through my social media sites and posting a few videos on my YouTube channel, but sometimes it’s nice to disconnect and just write.
TA: Can you give us a sneak preview of what you’ll be writing next? AC: I’m working on two middle-grade novels right now. Unfortunately, I cannot give you a sneak peek as one is still under negotiation and the other is just a rough idea. I can tell you that one will be some sort of scary story, which will be a change of direction for me. I’m super excited about it because as a child I loved a good scary story. TA: What are the advantages and disadvantages of being a writer in the Midwest? AC: I’m sure there are disadvantages, but I just don’t see them. Maybe it’d be good to be closer to the publishing action in New York City, but … nah. I don’t need that. I feel like I’m writing right where I belong.
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“WITH THE PEOPLE YOU LOVE AROUND YOU”
The outgoing leader of a pioneering hospice provider discusses the evolution of end-of-life care INTERVIEW BY Linda Ditch
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PHOTOGRAPHY BY Bill Stephens
or more than 30 years, Karren Weichert has dedicated her life to Midland Care Connections, Inc. Founded in 1978, Midland was the county’s first hospice provider at a time when the concepts of palliative care and quality-of-life issues for terminal care were still relatively new to the American medical system and public. Weichert became the organization’s first employee in 1990 and was appointed executive director later that year. When she steps down at the end of 2020, she leaves behind a hospice system that has become part of mainstream care and an organization that has helped patients and family members across 21 counties in northeast Kansas. Topeka Magazine sat down with Weichert to talk about how hospice care in Shawnee County has changed over the past four decades and how the work has affected her own life.
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Topeka Magazine (TM): What drew you to a career in hospice care? Karren Weichert (KW): I came to this work because my dad was a hospice patient many years ago, and I helped take care of him. That had a profound impact on my life. He’s a great example of someone who was given six months to live but actually lived 18 months on hospice. He was terminally ill and he was dying, but he was just stubborn and wasn’t going to die in six months. That did have a profound impact on my life, and I would say it was one of the drivers for me being where I am today. TM: How has the image of hospice care changed in 30 years? KW: I was on the board for two years, when we were known as Hospice Incorporated of Topeka, prior to becoming a member of the staff. I was treasurer for my last year on the board, and I began to do a lot of research into some of the old board minutes on how the organization had formed and what their vision was. One of their big dreams was to have a hospice with walls. A place where people could go when they couldn’t stay at home any longer. That vision just caught on with me. I took that back to the board and we talked about what that might mean for us. From there, we looked to purchase a property at 13th and Filmore, The Woodward. That was going to be an in-patient facility. At the same time, we were looking at getting Medicarecertified so we could provide more services to folks because at the time we were an all-volunteer program. Once we achieved that in 1991, we began to grow and grow and grow. So, the idea of turning The Woodward into an inpatient facility went on the back burner because we knew we would need more space. I think hospice care has gotten a little more acceptable. I think people are not as afraid of hospice as they once were. There have been so many people now served by it that I think there’s a deeper understanding of the support it can give to both patients and their families. In this program right now, 12 to 15 percent of the care we provide is in The Hospice House. The rest is in patients’ homes. We send in a team consisting of a nurse and a social worker, who helps with some of the emotional trauma families are going through and some of the more mundane things like filling out paperwork for insurance. We also have chaplains on the team who can help with spiritual care.
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TM: What is the number one issue you deal with? KW: Fear. People are fearful of suffering. They’re fearful of dying. And the people who love them are fearful of the same thing. They’re fearful of watching someone they love suffer. How are they going to support them and provide care for them? That’s what hospice does. We help support the patient and the family. We have nurses who help with any of the medical care that’s needed. Their number one role is to educate. To educate the patient about what’s happening. To educate family about what’s happening and how they can help take care of this person they love. I think hospice care has changed because The Hospice House is more acceptable, but the piece that I’m glad has not changed is that more people are served in their home than in-patient facilities. There’s no place like home. That’s where most people want to be. It’s so important to be in your own surroundings with the people you love around you. That, to me, is a good death for people. TM: People can be under hospice care for some time, right? It’s not necessarily that the minute you’re under hospice care you’re going to die, right? KW: That’s the number one myth. People put off calling hospice for so long and they don’t need to do that. It doesn’t mean that at all. It means that we’re going to give them the support that they need to have the best quality of life they can within the confines of their disease process. It’s not giving up at all. It’s a redirecting of hope. TM: When do you want people to call? KW: Ideally, we would love people to call about six months earlier than they call right now. So often, people are calling when really there’s just a few days left. So that stigma of “if I call that means I’m going to die” has been perpetuated by people calling later and later. Part of the reason for that is there is so much information out there. We’re all doing research. We’re looking for new things and we’re hopeful that new cure, that new treatment, is going to come for us. So, we delay reaching out to hospice. I think it’s important to know that if one is on hospice receiving supportive care and something does come up that is perhaps a treatment for them, they can disenroll from hospice. Being in hospice care doesn’t mean you can’t go back to your regular medical care or change your mind.
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TM: What impact has working at Midland had on your life? KW: Sometimes it’s been very draining. Sometimes it’s been exhausting. We serve so many people with so many stories you hear. You hear the anguish in people’s voices. The emotion of that can affect you. As I said, my dad was a hospice patient. Ten years after his death, my mother was a hospice patient. Eleven years after her death, my grandson was a hospice patient. They all had good deaths. It was so important that they be supported. That their wishes be clear and understood, and the people around them that loved them were supported. That happened. So, for me, I doubled down on my commitment to make sure that happens for everybody. The families carry the memory of this for the rest of their lives. Yes, they’re going to hurt and there’s a hole in their heart, but if there’s beauty in that moment, if there’s grace and dignity and love flowing in the room as that patient dies, that which they carry with them will actually enrich their lives.
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