Did you consciously shift the narrative tone as you switched perspectives?
I think my narrator’s tone (by “tone,” I mean the attitude the narrator has toward the subject) does not shift much. More than anything, I wanted very much for the tone to be fair. There are remarkable narrators in great works of fiction that are wry (Pride and Prejudice), sarcastic and unreliable (Lolita), opinionated and high-minded (Jane Eyre), humble and curious (David Copperfield), and intellectual and world-weary (Middlemarch). “Fair” seems like such a simple word, but I think because my subject matter is so troubling and controversial, I wanted my narrator to be as objective as possible. Above all, I wanted the narrator to be sympathetic to every character’s plight. I will be forty-eight years old in November 2016, and as I get older, it is easier for me to imagine and appreciate many more perspectives—perspectives I may have disliked when I was much younger. Especially for this book, I wanted my narrator to be fair to each perspective because the Korean-Japanese are so seldom written about in English. I find that in life, even the most unsympathetic person has a clear delineation of his motives, however complex and unappealing, but to him, there is a moral clarity to his actions. I think part of my job as a storyteller is to recognize the congruity or incongruity of his motives and behavior and somehow still be fair to the character and to the reader. I think, especially here, if the narrator is fair, then the reader can decide what happened and what she feels about the story.
Which authors do you admire?
I adore nineteenth-century writers Bronte, Eliot, Trollope, Dickens, Flaubert, Tolstoy, and Balzac. I also love Sinclair Lewis, Theodore Dreiser, Sherwood Anderson, William Faulkner, Edith Wharton, Ernest Hemingway, Zora Neale Hurston, Mark Twain, Tanizaki, Henry James, James Baldwin, and Ralph Ellison. As for modern living writers, I very much admire Lynn Ahrens, Lan Samantha Chang, Alexander Chee, Junot Díaz, Robin Marantz Henig, Kazuo Ishiguru, Colson Whitehead, Haruki Murakami, David Henry Hwang, Meg Wolitzer, Maxine Hong Kingston, Hilton Als, Simon Winchester, Chang-rae Lee, David Mitchell, Toni Morrison, Alice Munro, Gary Shteyngart, William Trevor, and Erica Wagner. The writings of Cynthia Ozick, Shelley Fisher Fishkin, Audre Lorde, Vivian Gornick, bell hooks, James Baldwin, and Virginia Woolf continue to encourage me to write more honestly and to dwell on subjects that matter to me.
In many ways, Sunja’s plight is the catalyst for much of the book’s plot. What is your relationship with her character? What inspired her creation?
From 2007 to 2011, I interviewed many Korean-Japanese men and women, and a great many of them mentioned a first-generation matriarch who sacrificed much of her life for the next generation, which ultimately led me to Sunja and her world. To earn money, first-generation Korean women in Japan worked in open markets, raised pigs in their homes, picked and traded rags and scrap metal, manufactured bootleg alcohol, farmed, and sold homemade goods from carts, among other things. Back then as well as today, the poorest women sold homemade goods in the open market, because they did not have much capital to invest. By selling boiled corn, tteokbokki, confections, sweet rice cakes, or gimbap in stalls or from carts, market women supported their families. Later, I met women peddlers in the open markets in Osaka and Tokyo. It is not easy to sell things in an open market, exposed to the elements as well as to be vulnerable to any person who wants to approach you. Also, then as well as today, market women often work in societies where women have less legal protections, rights, and significantly less socio-economic power.