A Quote by Naoto Fukasawa

When the poet's sentiments are overly visible, the audience may become uncomfortable. Japanese ritual is the opposite. By writing simply and only about what is there, the audience is drawn into the poet's world. Their imagination is stimulated, and a silent connection is established. I believe this is where the most important aspect of the Japanese sense of beauty lies.
Part of the pleasure of giving a reading comes from the rapport between the audience and the poet. I don't want to get mystical here, but there's an energy flow that begins with the poet, and the energy goes out to the audience, and they're energized, and then they return that energy to the poet. As someone standing up there alone, facing these people, I can feel that rapport (or its absence).
There is this tendency to think that if you could only find the magic way, then you could become a poet. "Tell me how to become a poet. Tell me what to do." . . . What makes you a poet is a gift for language, an ability to see into the heart of things, and an ability to deal with important unconscious material. When all these things come together, you're a poet. But there isn't one little gimmick that makes you a poet. There isn't any formula for it.
I do believe that a poet would possess a stronger intuitive sense of phrasing with a rock song. There is a way to tap into the emotions of an audience simply by the cross of a certain phrase, even a single word, against a certain chord.
Never use the word 'audience.' The very idea of a public, unless the poet is writing for money, seems wrong to me. Poets don't have an 'audience'. They're talking to a single person all the time.
The Japanese garden is a very important tool in Japanese architectural design because, not only is a garden traditionally included in any house design, the garden itself also reflects a deeper set of cultural meanings and traditions. Whereas the English garden seeks to make only an aesthetic impression, the Japanese garden is both aesthetic and reflective. The most basic element of any Japanese garden design comes from the realization that every detail has a significant value.
I don't believe in making movies to cater to a foreign audience. You never know what the reaction is going to be anyhow. At the time I made Maborosi, the Japanese movies getting any foreign attention were all period dramas and seemed to be about some representative element of Japanese life, and my movie was contemporary movie about one specific woman trying to understand her husband's suicide.
As well as Japanese animation, technology has a huge influence on Japanese society, and also Japanese novels. It's because before, people tended to think that ideology or religion were the things that actually changed people, but it's been proven that that's not the case. Technology has been proven to be the thing that's actually changing people. So in that sense, it's become a theme in Japanese culture.
If the poet wants to be a poet, the poet must force the poet to revise. If the poet doesn't wish to revise, let the poet abandon poetry and take up stamp-collecting or real estate.
'The Narrow Road to the Deep North' is one of the most famous books of all Japanese literature, written by the great poet Basho in 1689.
I don't think about the audience, I don't think about what makes them happy, because there's no way for me to know. To try to think of what makes for entertainment is a very Japanese thing. The people who think like this are old-fashioned. They think of the audience as a mass, but in fact every person in the audience is different. So entertainment for everyone doesn't exist
The '80s market was only a Japanese market. It was the Japanese outbidding each other for the most expensive works of art. When the Japanese economy went down the tubes, there was no one left to pay the prices that have been recorded for all of those works.
A poet’s freedom lies precisely in the impossibility of worldly success. It is the freedom of one who knows he will never be anything but a failure in the world’s estimation, and may do as he pleases. The poet is a man on the sidelines of life, sidelined for life. He belongs to the aristocracy of the outcast, the lowest of the low, below the salt of the earth. A member of the most ancient regime in the world. One that cannot, it seems, be overthrown.
I know just enough Japanese to get by if I get lost and greet an audience properly, just from having a lot of Japanese friends and being there over the years.
My sense of the poet is classical - the poet is one who makes poems. In each book, I develop and repeat certain general themes - time, place, memory, God, history, class, race, beauty, love, poetry, identity. The core identity is the poet making the poems.
The relation between a poet and audience is really insignificant. What matters is the poet is hearing something that he is broadcasting. And whether there is anybody with a receiver isn't the reason he does it. He hopes there is somebody receiving it.
I started out as a poet. I've always been a poet since I was 7 or 8. And so I feel myself to be fundamentally a poet who got into writing novels.
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