A Quote by Cynthia Kadohata
At the time I was writing 'Weedflower,' my friend Naomi Hirahara was writing a book about Japanese-American flower farmers. She knew quite a few elderly farmers and put me in touch with four or five of them who had been in camps during WWII. Some, like my father, were reluctant to talk about their experiences.
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The idea of the book ["The Japanese Lover"] came in a conversation that I had with a friend walking in the streets of New York. We were talking about our mothers, and I was telling her how old my mother was, and she was telling me about her mother. Her mother was Jewish, and she said that she was in a retirement home and that she had had a friend for 40 years that was a Japanese gardener. This person had been very important in my friend's upbringing.
The secret to writing is writing. Lots of people I know talk about writing. They will tell me about the book they are going to write, or are thinking about writing, or may write some day in the future. And I know they will never do it. If someone is serious about writing, then they will sit down every day and put some words down on paper.
...fact was she knew more about them than she knew about herself, having never had the map to discover what she was like. Could she sing? (Was it nice to hear when she did?) Was she pretty? Was she a good friend? Could she have been a loving mother? A faithful wife? Have I got a sister and does she favor me? If my mother knew me would she like me? (140)
You do need some dispensation for local farmers, because the fast food industry will promote the unsanitary conditions of farming. With vegetables, you have to be careful where they come from; you have to know the farmers and trust them. If you buy from the farmers' market, it's already been investigated.
When I was four or five, my father had a general store in Winchester and I don't think the farmers could ever leave on Saturday afternoon until I had been placed up on the counter to sing.
Some writers and producers are currently writing a sitcom for me, so we'll see what happens there. I'm somewhat reluctant to talk about some of the upcoming projects that I'm working on; I've a lot of stuff on the go, including five pictures that I'm looking at producing.
I talk to my readers on social networking sites, but I never tell them what the book is about. Writing is lonely, so from time to time I talk to them on the Internet. It's like chatting at a bar without leaving your office. I talk with them about a lot of things other than my books.
As a grandson of farmers in downstate Illinois, I have long admired the dedication of farmers to their work and have written about the role of agriculture in American innovation.
For me, a lot of Discipline was very personal writing, like writing through and working out being inside this gendered body and also the compulsions of the body, the muting of the mind as driven by the body. My father had died some years ago so he haunts the book too, just floats through it ghost-like. But, the writing of every book is different for me. They are so like living creatures, these books, so I don't know what's carried over into the writing of the next things - except maybe that I'm best when I make my writing practice a routine.
By the time I wrote my memoir, 'Men We Reaped,' I had been running from writing it for a long time. When the events in the book were happening, I knew I'd probably write about them one day. I didn't want to. I'd studied fiction, and I was committed to establishing myself as a fiction writer first.
I was able to notice in a very early stage, there were discrepancies between the people who are writing the songs and discrepancies about the self that I was writing about. I was feeling that there were all these different people, both writing the record and having the record being written about them, even though ostensibly it was me sitting down and documenting a series of life experiences. Part of that, when I recognized this unconscious thing I was doing, was about these spaces, about these gaps.
I didn't quite know whether I was writing for the non-Muslim or the Muslim, and at the end of the day I'm writing, I hope, for people who are interested, whatever their faith. Even if they don't have any faith. As a barrister I had certain advantages - I could think like a lawyer and I knew how all the laws were fitted together and all the rest of it. One of the things I realized pretty early on while I was writing book about Shari'a was that that was as much a hinderance as it was a help because the Shari'a isn't just a system of rules.
One of the things I love about writing is the way you can use what you know and what you've experienced, without actually writing about yourself. I've given many of my experiences and perceptions to many of the characters in the book, but none of them is me.
Let me tell you what is interesting about the administration. We had Central American miners that were placed in Ohio, and we never knew a thing about it. We didn't know where they were. And, in fact, we know now that some of them, there is a case going on where some of them may have been human-trafficked.
A really good day for me is to write my book for about four hours, go to the writing room for about four hours and then maybe come back to the book to finish the day for a few more hours of it.
Me writing the book and the subsequent interactions that we had were actually the cap on that experience. We were still in this weird purgatory about it when I published the book. When I gave them the galleys and what ensued after that, then I understood a lot more about our relationships and what the experience meant to them. I'd never wanted to know what they thought about it at all.
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