The American society around me looked at me and saw Japanese. Then, when I was 19, I went to Japan for the first time. And suddenly - what a shock - I realized I wasn't Japanese; they saw me as American. It was an enormous relief. Now I just appreciate being exactly in the middle.
Interpretation
The quote reflects the complexity of cultural identity and the relief of finding a balance between two cultures.
Ruth Ozeki shares her experience of navigating cultural identity as someone who appears Japanese but is perceived as American. Her journey to Japan and the realization that she is viewed as American by the Japanese people provided her with a sense of relief, as she embraces her unique position between cultures and values the blending of her identities.
In practice
During a presentation on cultural diversity, one might use this quote to illustrate the personal journey of understanding identity.
People have always heard voices. Sometimes they're called shamans, sometimes they're called mad, and sometimes they're called fiction writers. I always feel lucky that I live in a culture where fiction writing is legal and not seen as pathology.
I did documentary film for a long time, and I spent a lot of time behind the camera, fervently wishing that the reality I was filming would conform to my narrative propriety. But you can't control it.
Fiction is an elemental force, which has the power to shape reality in its own image - or images, I should say - because reality, like light, exists not only as a single point or particle, but also as an array of possibilities.
What's fascinating to me is the way that multiple stories go into creating any world - a fictional world, but certainly the world that we live in as well. Of course, I cannot control that world. I can just control the fictional world.
Both life and death manifest in every moment of existence. Our human body appears and disappears moment by moment, without cease, and this ceaseless arising and passing away is what we experience as time and being. They are not separate. They are one thing, and in even a fraction of a second, we have the opportunity to choose, and to turn the course of our action either toward the attainment of truth or away from it. Each instant is utterly critical to the whole world.
I have a pretty good memory, but memories are time beings, too, like cherry blossoms or ginkgo leaves; for a while they are beautiful, and then they fade and die.
Being South Asian in the U.K. is like being Latino in the U.S., I would guess. It's a bit more hood. You see things; things happen. I was bouncing between worlds. You're acting from a very early age, when you have to code-switch like that. I'm a hybrid, a mongrel. I think many people live that life.
I live on the margin of just about everything. I'm a marginal person, and I think that is where I've become comfortable. I'm marginally there in my native life. I can do as much as I can, but I'm always German, too, you know, and I'm always a mother. That's my first identity, but I'm always a writer, too.
Growing up, I knew I was different. But I didn't know what it meant to be Aboriginal. I just knew that I had a really big, extended family. I was taught nothing about who we were or where we came from.
I don't feel I was 'born American,' but my homeland was denied to me after the end of World War II, and I craved something I could identify with. When I became a student at Harvard in the 1950s, America very quickly filled the vacuum. I felt I was American, but I think it's more revealing of America how quickly others here accepted me.
I'm not British. I'm not American. I'm not French. Whatever thing they practise, that is their business. I am an African. I am Rwandese.
I must identify myself with Africa. Then I will have an identity.
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