A Samurai’s Pink House: Author Interview

MO: Your poems demonstrate a fluid blend of the philosophical with the tactile. From “Cupid’s Aim”: “What made her / write words as tender as fresh picked berries / juice slipped into the corners of the folded letter”, nuances of crimson, innuendos and backlight. What is the importance of leaving some interpretation to the reader?

SONIA: I think it is very important for a writer, especially a poet, to leave some room for interpretation. The words used in a poem or story should be powerful but not so overbearing that the writer is telling the reader everything and not allowing him or her to feel their own experiences through the narrative. Readers should be given the opportunity to come to their own conclusions. We all share similar feelings of grief, happiness, sadness, anger and so on, but how we express those feelings is very different. Subtlety isn’t always easy but I think for a poem to be truly poignant, there has to be less movement on the part of the poet and more understanding on the part of the reader.

MO: Your work evokes a strong sense of duty, such as marriage in “The Obedient” or motherhood in “Shielded Memories”. Why do you think that it’s important to speak to this obligation that women have, especially in 2017?

SONIA: I believe many women have a tremendous sense of obligation and duty whether it’s making sure the children are happy and successful (whatever success might be to you) or ensuring the household is functioning despite the loads of laundry piling up! Although the poems you refer to deal with women during an ancient time period, this theme of obligation and duty is still very much present in modern life. Women are almost expected to sacrifice their own needs for the sake of family even in this day and age where a lot more women are working outside the home and in demanding jobs. Just like men are taught that they should be able to support a family financially, the sense of obligation is often instilled in women if not directly but indirectly. It is also important to recognize the struggles many women endure. On the outside, some women might appear they have everything together but they could be struggling silently. We all make sacrifices for the people we love. But can we find a balance between fulfilling our own dreams while still helping our families? I certainly believe it is possible and millions of women can attest to this, whether they are famous writers or professionals or stay-at-home moms who are making a huge difference in their own ways. It might not be easy, but it is possible with encouragement and faith.

MO: There is a delicate sensuality running through your poems, as well as themes of love and of desire.  “Listen to the world this way; / eyes shut tightly, feet slightly apart,/ arms open as if embracing gods, a beloved, or a banana tree.” Which is your favourite sensual scene from one of your poems, and why? 

SONIA: “She removed the man’s yukata, / heavy makeup / until he was as light and sad / as a kokeshi doll” from the poem “Geisha Meet Onnagata”. I find this scene so touching because it shows the man’s vulnerability and this vulnerability is necessary when opening up to another person. By removing the man’s summer kimono and heavy makeup, the woman sees who he really is and in turn he feels free to be himself. There is such longing in these few lines, too. And, of course, sadness. But sharing one’s sadness with another can be very healing.

MO: Time plays an important role in your work, and season-hood. We see cherry blossoms, say goodbye in “Another farewell”, and notice that “back home trees do not weep pink, but fling gold, crimson and orange on paved streets.” How many hours a day do you write, and how many seasons does it take for you to complete a book of poetry?

SONIA: Mo, I love how you think in terms of seasons! I am very disciplined when it comes to my writing schedule. I wake up at four in the morning (luckily, I’m an early bird!) and write for about an hour or two before my day job. I also write for about an hour in the evenings if I don’t have other commitments that day. On the weekends, I write more, sometimes up to five hours. The first draft of a poetry collection can be completed in four seasons, winter being my most productive season because it can be so darn cold in Ottawa! The rewriting might take a couple more seasons. Autumn is a lovely time for introspection and some of my best ideas come while taking long walks and shuffling fallen leaves.

MO: “A solitary life / in japan / communal sashimi tray.”  How important are the tensions of loneliness to you in A Samurai’s Pink House?

SONIA: Loneliness is a prominent theme in my collection. Packing up your life and moving to a new country can result in tremendous loneliness, especially in the beginning when you are trying to establish a place for yourself in a different setting. It is not easy starting fresh with little or no contacts. Your whole support network is in another place and loneliness can set in. Several of my poems in A Samurai’s Pink House describe loneliness because it can be a very debilitating feeling. I felt lonely at the beginning of my journey, but then I eventually met others who became my friends and their presence in my life lessened my loneliness and made me feel alive again. I am so grateful to the kind people who helped me when I lived in Japan. We are social beings and we need contact despite language and cultural barriers and other obstacles. A Samurai’s Pink House tackles loneliness by showing something everyone has had to endure at various stages in their lives. But despite suffering loneliness, you can overcome and keep moving forward. Eventually, loneliness dissipates and friendships gather.

MO: Do you consider yourself a travel writer? What advice would you give young writers ready to set off on a literary pilgrimage?

SONIA: No, I wouldn’t consider myself a travel writer. But if I were to think of the term in the broad sense of the word, I would say ‘yes’ since my stories are often set abroad, for instance, in Japan or Lebanon. I might physically be in Canada but my mind is faraway in a foreign country taking in the sensual details of that place. My advice to young writers planning a literary journey would be to observe, to participate and to learn as much as you can from the locals. It’s great to meet other foreigners but broaden your experience by befriending people of that country. Be open, be patient, be accommodating, be giving and, above all, be brave. And, of course, make sure you have lots of good pens and journals to jot down all your words and memories! You never know when those ideas will materialize into a book.