Photo by Luis Garvan

I am a longform writer based in Mexico City. My work focuses on migration, human rights, and gender equality. I was born at home in Oark, Arkansas, a town of 200, in a house built by my potter father and my weaver mother.  I attended Berea College in rural Kentucky, which was founded in 1855 to educate freed slaves and students with limited economic resources. Berea College charges no tuition, and thanks to their mission, I was able to take the years of economic risk needed to become a writer. I published More or Less Dead: Feminicide, Haunting, and the Ethics of Representation in Mexico (University of Arizona, 2015) which I completed during my postdoctoral fellowship at the Universidad Nacional Autónoma de México (UNAM) in Mexico City. 

I have received first aid training for combat and wilderness wounds through Reporters Instructed in Saving Colleagues (RISC) and Hostile Environment & Emergency First Aid Training (HEFAT) in Oxford, England in 2017. I am a contributor at Longreads where I report on migration in Central America. Buzzfeed included my work in 8 Visual Stories That Will Challenge Your View of the World and National Geographic photo editor Mallory Benedict included my work in the best photos of 2017 taken by women.  In 2017, I was invited by the Nobel Women's Initiative to join Nobel Laureates Jody Williams, Shirin Ebadi, Tawakkol Karman and Rigoberta Menchú as they traveled to Guatemala and Honduras to highlight the work of human rights activists in indigenous communities.  I am working with the Center for Women's Global Leadership to help create a handbook for journalists covering violence against women. In 2019, I traveled with Chinese painter Liu Xiaodong and his documentary team along the US-Mexico border during President Trump's National Emergency, and the results of that work will be exhibited at Dallas Contemporary Museum in 2020. I am currently working on a global migration project with photographer John Stanmeyer for National Geographic.

Selected clients: 

National Geographic, REVEAL at the Center for Investigative Reporting, PBS, C-SPAN, The Columbia Journalism Review, Time, California Sunday Magazine, Washington Post (translator), CNN, PRI.org, CBC Radio, BBC News, I24 News, NTN 24, The New York Times Women in the World, Cosmopolitan, The Atlantic CityLab, Oxford American, Longreads, Lenny Letter, OpenCanada, Las Raras Podcast, The International Center for Journalists, The World Policy Journal, The Guardian, The Texas Observer, Al Jazeera English, Pacific Standard, The Daily Beast, Arkansas Life, Ms. Magazine, The Nib

Fellowships & funding:

2018: World Justice Project Anthony Lewis Prize for Exceptional Rule of Law Journalism Honorable Mention for my work at Longreads, Magnum Foundation consultant on migration working with current photography fellows, Fellowship to attend the Dart Center/Columbia University Reporting Safely in Crisis ZonesCenter for Women's Global Leadership funding to to participate in creating a handbook for journalists covering violence against women 

2017: Nobel Women's Initiative funding to report on human rights defenders in Honduras and Guatemala, International Women's Media Foundation funded Hostile Environment and First Aid Training (HEFAT) in Oxford, England, Ford Foundation Travel Grant to attend Reporters Instructed in Saving Colleagues(RISC) Training, Women’sMedia Center Progressive Women’s Voices 2017 Media and Leadership TrainingForeign Policy Interrupted FellowshipImages & Voices and Hope Restorative Narrative Fellowship - 

Motivation:

"You have to be passionate enough and crazy enough about what you want to do in an existential kind of way to where you will do without other things. I mean, if other material objects or a certain lifestyle or a certain materialistic state, if those are more important to you than the creative work, then you’re not going to become an artist." - my dad, Stephen Driver

"Identify what it is you want to do and without necessarily understanding it, completely commit. It’s risky. It’s like what Bolaño said in his famous Venezuela speech, ‘What is good writing? It’s not good writing. It’s knowing that writing is looking into an abyss.’ Sometimes the abyss will destroy you." - writer Francisco Goldman

"But if I had been smart and career motivated at a young age like I probably should have been, and seen the writing on the wall, I'd be doing what Alice is doing, writing like a motherfucker, hammering out words strung together picked from thin air, holding them up to the light and polishing them up, and setting them out like pieces to decorate the yard, like furniture." - my uncle, Lee Driver

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