──You are from Oita prefecture, but from university to Tokyo?
I wanted to leave the countryside. In addition to the strong feeling of blockage, there was little information in the countryside before the spread of the Internet, so I probably went to a bookstore with the feeling of clinging to a spider’s thread. I mentioned magazines such as “STUDIO VOICE”, “Fashion News”, and “high fashion” that arrive every month, but most of them are in Tokyo. You may have thought that Tokyo was the only place you could live. I entered the Faculty of Letters, but when asked what I studied, it was difficult. I think the four years of college were the time to do nothing. I want people who came to the world after me to spend that useless, purposeless, and unclear time. Therefore, I am indignant at the current situation surrounding young people, such as high tuition fees and scholarships such as student loans.
──Is there any chance to become a writer at university?
I’ve never wanted to be something. I lacked the idea of vocational choice and self-actualization. To put it in a very negative way, it’s a matter of course. I didn’t go to college all the time, but this person’s story was in a lecture for someone who wanted to hear it, and the instructor who remembered my writing didn’t write it in a magazine. I was invited to do so. From there, it feels like you’re walking across the place where you write with a string of beads. Writings that are neither criticisms nor creations nor essays about culture in general, including movies and literature. From an early age, writing sentences was as enthusiastic as if I had run out of time. For me, I don’t like or hate it, it’s not pain or pleasure, and I think it’s what I do if I leave it alone.
──From there, your first single book, “Women Who Eat Medicine,” was born.
Originally it was a serialization of a magazine, and without it, this book would not have been possible, so it was an opportunity given to me. I felt that it was better to write in magazines and pamphlets, but people told me that I should write my creations as soon as possible, and that I should put them together in one book as soon as possible. However, it was a big deal for me, and I had a strange pious feeling, so I couldn’t do it easily. At the given opportunity, my enthusiasm got into it, and finally I became a “woman who eats medicine”. Since the subject matter was women who were / had drug addiction, I thought that writing in the style that is common in existing nonfiction would tend to be a descriptive judgment for them. Their words and my words in the position of observing become a confrontational structure. In this book, I wanted to come up with a different style and writing style, how I could break it and write it.
──I heard that you are still in the process of production, but please tell us about the project you are currently working on.
I’ve always been thinking about my own work, but the project that had been stopped due to the influence of Corona suddenly resumed, and I’m in a hurry. At the Ichihara Art x Mix Local Arts Festival, from November 19th to December 26th, I used the kitchen of the former Shiratori Nursery School as the venue, and titled “FOOD COURT”, a textbook on food memory and changes. And objects will be exhibited. Also, at the invitation of curator Miyuki Tanaka, I participate in the work-in-progress of “Dance to watch with sound”. There is a “voice guide” that assists visually impaired people with visual information by sound, but this is a project to explore the appreciation of physical expressions that do not rely solely on vision. This time, I will be in charge of the text and reading on the stage where dancer Masako Yasumoto will appear. We are planning to perform at Dance Base Yokohama in Yokohama in December and at Kinosaki International Arts Center in March.