HLR: “Invisible” is about Rosalynn, a Filipino caretaker who is working for an Israeli family. At the end of the story, the ring that saved a young Yemeni bride may now save Rosalynn. Tell me about this connection. Also, did you have any trepidation about characterizing Rosalynn?
AT: My grandmother had several Filipino caretakers over the years, and one of them in particular inspired me. Like in the story, my grandmother and her caretaker were very close. It was clear they truly loved each other. I didn’t know it at the time, but I found out later my grandmother gave her caregiver a ring, just like in the story.
Jewelry is an important part of Yemeni Jewish heritage. In Yemen, jewelry making was strictly a Jewish profession; the majority of the Jewish men were silversmiths and they were known for their fine craftsmanship. In fact, after the Jews went to Israel, Yemeni culture suffered a huge loss because they took their craft with them. My grandfather was a silversmith and my grandmother did have a few rings and jewelry left, though she had to leave most of them behind when they came to Israel.
I always worry about appropriation, and this story was no exception, but this story and Rosalynn’s character consumed me. I’ve never believed in “write what you know.” I believe in “write what you must.” So I tried, knowing that I very well might fail. When writing fiction, you need to find that kernel of truth within you and superimpose it onto your character. With Rosalynn, I built on my experience of feeling like an outsider in a new country, being torn between homes. I also know what it feels like to be scared of the police. I worked and lived illegally for a while in my twenties. I accessed my own personal experiences and used them to write Rosalynn’s, allowing imagination and research to fill in gaps.
