You Sly Ikigai

I kinda one expert on Okinawan children's picture books das written in English. Several years ago I wrote couple articles reviewing da only little bit that had. Aftah monku-ing [grumbling] about how hardly get anyting, I figured I'm Okinawan and I'm one writer, I should write someting! And I did. I published Okinawan Princess: Da Legend of Hajichi Tattoos (Bess Press, 2019) with my artist Laura Kina. And now, as one fan of Okinawan children's picture books I so stoked for announce da release of dis new one das supa-outstanding, Chiemi Souen's IKIGAI: Life's Purpose. I even got one chance for talk stories with da author. I let you listen in on top our conversation.

One Interview with Chiemi Souen

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Lee Tonouchi

Your book stay called IKIGAI: Life's Purpose. For da people who dunno, you can try delve more deeper into dis concept of "ikigai"?

Chiemi Souen

The kanji for “iki” means “to live” and “gai” means “worth.” So “ikigai” means “worth living” or like the title of the book “life’s purpose.” Dan Buettner, longevity expert and author of The Blue Zones book, researched places around the world that had the most centenarians, one of them being Okinawa. One of the things that he claims contributes to a long life is having a reason to wake up; a reason to live. This is different from pursuing happiness. I guess the easiest way to explain it is that pursuing happiness might include a job with a high salary and status, a nice car, a bigger house, eating chocolate, traveling. Happiness doesn’t have to have a purpose or a goal. BUT, having ikigai, or a purpose has more to do with a combination of what you love, what you become good at and what others can benefit from it. So it doesn’t have to be a career; even parenthood or volunteerism could be a person’s ikigai.

Lee

Wuz you one lost child? Try tell us about your upbringing and what made you decide for write one children's picture book centered around da idea of ikigai?

Chiemi

Haha, I was a lost child AND adult, all the way into my forties! My mom likes to remind me all the different things I said I wanted to be: when I was 5, I told [broadcast journalist] Emme Tomimbang I wanted to be a police woman; in high school I wanted to be a journalist, but I failed my first journalism assignment at KCC [Kapi'olani Community College] and dropped out of the class; I heard writers don’t make much money so I thought of becoming a dietician or pharmacist; I knew I loved Japan so I got my bachelor’s in Japanese at UH Manoa in 1995; I worked in tourism and luxury retail and, later, considered teaching. 

Then I went to Okinawa on a government scholarship for descendants of Okinawan ancestry and attended the University of the Ryuukyuus from 1998-1999. I learned about the scholarship from my uta-sanshin sensei in Hawai‘i: Grant Murata, Kenton Odo and June Uyeunten. By then I was in my mid-twenties and still searching for my purpose. While I was in Okinawa, I studied under Grant Murata’s sensei, Choichi Terukina, an Afuso-style uta-sanshin master and Japan’s National Living Treasure. The Terukina family welcomed many foreign students and treated us like family. I still didn’t know my purpose but training under Terukina-Sensei showed me that my potential could be something bigger than I had been imagining. He trained us hard for certification tests in the art of uta-sanshin which was vigorous and required dedication and discipline.

When I came back home to Honolulu, I went back into retail. After I got married and had children, I didn’t like the schedule of working in Waikiki so I went to my family’s accounting firm and got a graduate certificate in accounting and sat for the CPA exam and failed so many sections so many times I lost count AND I lost a lot of money too. I applied the gambari I learned in Okinawa to my studies and eventually I was diagnosed with Guillain Barre Syndrome – an autoimmune syndrome that gave me double vision and limbs so weak I had to be in a wheelchair. My full recovery was six-months. I am very fortunate because some people suffer permanent after-effects from GBS. After my recovery, I resumed my mission to get that CPA designation. In another couple of years, I was diagnosed with discoid lupus. Unlike GBS, lupus is considered to be a more permanent condition. It was my second autoimmune “message” to myself to change the path that I was on. 

I had always been a “side-gig” writer because I enjoyed it. At that point it dawned on me that maybe I should try to write full-time since it brought me joy and seemed to help others. You can see where this is going, right? To tell the short version, I quit my job at the family firm, started freelancing for The Hawai‘i Herald and some Okinawan non-profits. Things seemed to accelerate quickly when I compare it to the long painful pursuit of becoming a CPA. After about a year of freelancing, a writer position opened up at the Herald and the editor, Karleen Chinen, asked me to apply. In less than two years, Karleen decided to retire and I became editor. I love this job. Writing, meeting people in Hawai‘i’s Japanese community, connecting with my roots – the feeling is great. I now felt a sense of purpose, especially because I became editor in April of 2020, right at the beginning of the pandemic. I wanted the Herald to be a publication that supported its community through a time of illness because, you know, I have been there before. I healed myself from illness largely through writing, and now I had the opportunity to help a whole community through the written word. I really felt a confirmation that I am on the right path.

Lee

Da book is one historical fiction das based on da real life of uta-sanshin (Okinawan three-stringed lute) master Choichi Terukina. In da story da character Choichi has one dream to share how for sing and play sanshin music beyond Okinawa's shores. Wuz Terukina Sensei da first person for do that? Wuz it controversial, like how Bruce Lee got flack for teaching Chinese martial arts to non-Chinese people; did Terukina Sensei get criticized if he took on non-Okinawan students?

Chiemi

I’m not sure he was the absolute first. But it’s probably safe to say he was the first to be as passionate about it as he was. In the mid-‘90s, when the Okinawan government offered scholarships to students from outside Okinawa to study for a year at the University of the Ryuukyuus (Ryuu-dai) and the Okinawa Prefectural University of the Arts (Gei-dai), he welcomed many students to learn uta-sanshin at his dojo in Naha. 

When I asked my sensei here in Hawai‘i, Grant “Masanduu” Murata, if Terukina-Sensei was criticized for training and even showcasing foreigners, he said it was likely that he did, but he never showed it. I also know Terukina-Sensei to be very humble, but also he did not care about what other thought when it came to who he took on as students. He always would say “Yareba dekiru – If you try you can do it!” And whether you were Okinawan, Chinese, Filipino or South American, he will train everyone with the highest standards telling them “Yareba dekiru!”

Lee

Small kine story before I ask my question. Pre-Covid time I used to give planny talks to schools about Pidgin writing. One time I wuz at Kapolei High School and I wen ask how many students wanted for be writers. And of da 75 or so students dea, nobody wen raise their hand. That wuzn't surprising cuz das how it usually goes, but what wen surprise me wuz that pretty much ALL of dem wanted for be doctors or nurses. Turned out I wuz talking to students on da track for da medical field das why. So I wuz all like wow, by high school time students gotta decide already what dey like go into. So my question to you is, by writing one children's book about discovering your life purpose, do you tink dat puts even more pressure on keiki at one even more younger age for figure out what dey like do?

Chiemi

I hope not. That was not my intention at all. In IKIGAI, Choichi wavers and tries different things that he sees other people doing. He also faces self-doubt. But when he becomes aware that he turns to his music when he is feeling down, he follows his intuition. THAT is the message I want to get across, for people who are feeling lost because they see other people enjoying other careers or hobbies or because someone told them they should do something. It can get confusing because the reality is that everyone telling you what you should do has a different opinion. But when you follow your na‘au or your intuition, you can do something because it simply feels good and when people see you doing something joyfully, then THEY feel good, and so on and so on, it becomes a rippling effect. 

This book is about my sensei but it’s also autobiographical. My journey was a windy road of looking everywhere outside of myself for happiness when I should have been looking within myself for what filled me with joy and purpose. So not only did I want to provide a much needed mirror in literature by writing IKIGAI, but I also wanted to remind people to trust their na‘au and not learn it at the late age of forty-something like me! Don’t get me wrong, I don’t have regrets, I think of life like a big dojo. I had lots of “sensei.” Illness was a good sensei, it taught me a lot.

Lee

On da inside of da book get some impressive advance kine words you got from Hawai'i superstar writer Lois-Ann Yamanaka! She wen tell, "A soft but not silenced voice resounds in poetic words built phrase by phrase about a people and place beloved of Chiemi Souen. Okinawa, mother—seen to us all through the eyes of the writer—invisible no longer within the Asian-American diaspora. My sister poet is of her homelands. Hawai'i and Okinawa. Written and heard." I JEALOUS! Cuz back in 2000 when I wen ask Lois-Ann for one blurb for my book Da Word, she took like one year and all she came up with wuz "Lee Tonouchi kicks ass." Being one young upstart, I told her, "Oh howzabout you modify 'em little bit and write, 'Lee Tonouchi kicks Lois-Ann Yamanaka's ass,' and that would be supa-funny ah, cuz you da one writing 'em." She scowled and said, "Howzabout Lois-Ann Yamanaka kicks Lee Tonouchi's ass right now!" Das when I just graciously accepted da 4-word one she gave me. So I like know, you know Lois-Ann good or what? How you scored such one awesome 56-word long blurb?!

Chiemi

This is a hard question! First of all, I think “Lee Tonouchi kicks ass” is pretty awesome – very “Bruce Lee.” Second, I cannot speak for Lois-Ann and why she wrote something for you and something else for me. And as for the question: if I know Lois-Ann good? I look up to her, and feel grateful that she shares her wisdom and experience with me. One thing she has taught me is to “Give back generously to the gift that has been given to me.” I feel fortunate to have been taught by some amazing mentors including Lois-Ann Yamanaka, Choichi Terukina, Kaulana Yoshimoto and the late John Keolamakaainana Lake. They all taught me listen to my inner voice, be grateful and pay it forward. These mentors were also very spiritual in their approach which greatly influences my work. How I scored “one awesome 56-word (OMG you counted it) blurb”? You’ll have to ask her. I do love what she wrote for me.

Lee

So what wuz da main-est lessons you wen learn from Lois-Ann's Na'au school? Still get her school or what?

Chiemi

1. Don’t use clichés, 2. When my work is being critiqued, shut my mouth, wear my big-girl panties, and no crying allowed, 3. What I said before, “Give back generously to the gift that has been given to me.”

Na‘au Learning Center stopped operating during the pandemic. I’m not sure how it all came to an end. But I know it was a difficult and emotional decision for Lois-Ann and Melvin Spencer. My boys used to go there because my husband and I don’t know how to help them with “new math.” We all miss Na‘au Learning Center very much.

Lee

In your book you also get one nice blurb from Alice Inoue da Mid-Week columnist who writes "A Mindful Moment." Wuz she instrumental in your book being born-ed?

Chiemi

My first encounter with Alice was in 2000, I think. She officiated the wedding for my Okinawan dance sensei, Frances Nakachi Kuba and her husband Randy Kuba, owner of Lotus Spirits. She and Nakachi-Sensei are friends so I would see Alice at some of our fundraisers. I took a few classes at Happiness U. But the huge thing that she did was help me connect with a publisher. I interviewed her for a Herald article about her astrological and numerological perspective of what was to come for the new year, I think that was near the end of 2019. We talked about my IKIGAI story which was a manuscript with illustrations at the time and I wasn’t sure how I wanted to go about publishing. I asked about her experience and she told me about a new crowd-publishing company called Publishizer. It’s kind of like Kickstarter but for publishing books. I would have been a little hesitant I think if I had just come across this website not knowing what to expect. However, Alice said she used it for her own publishing and got good results from it so I decided to check it out. I started filling out my basic information on the website thinking I would just work on it when I had time. However, someone — a scout from Publishizer — called me right away and started imposing deadlines on me, there was no turning back. This was a good thing for me since I tend to procrastinate on personal projects. She (Julia) told me I had one month to get 500 pre-orders. I had to fill out a template that was to be posted on their site and record a promotional video. My Afuso-ryu sensei took me to all their shinen-enkai (New Year’s party) gigs to ask the local Okinawan clubs and their members to support my book. With the huge support from the Okinawan community I got almost 1,300 pre-orders in 30 days! This got the attention of a lot of publishers ranging from self-publishing companies to traditional ones. The people at Publishizer helped me connect with the best publisher for Ikigai, Brandylane Publishing. Like Lois-Ann, and IKIGAI’s illustrator Flor Kaneshiro, Alice came into the picture at the perfect time. I believe everything happens when they are supposed to – Divine timing. Sometimes you just have to have faith and patience and not give up.

Lee

I curious, how come you wen write under da pen name Chiemi Souen? I thought could be cuz your married last name no signify Okinawan-ness das why, but could you have used your Okinawan maiden name or something? Is dea one reason why you no like your real name attach to da book? You stay giving away Okinawan sanshin secrets or something?

Chiemi

When I was thinking about publishing my work, Lois-Ann told me “You cannot be a voice in Okinawan literature as ‘Jodie Ching.’” I am half Japanese and half Okinawan. My Okinawan half comes from my mom’s side, the Jitchaku side. But “Jodie Jitchaku” and “Chiemi Jitchaku” didn’t sound right. I remembered that some of my ancestors were musicians and poets. I learned this from some written history shared with me from my relatives in Okinawa. I started looking at the names in my family tree and saw the name Souen near the top of the family tree. I looked up the kanji. “Sou” means “sect” as in “Buddhist sect;” and “en” means circle or cyclical. And “Chiemi Souen” just felt right because I loved that the “Souen” name was one that has this spiritual cyclical meaning and by writing under this name, I felt connected to my Okinawan roots and that I was carrying on a legacy of poetry and music. So it’s not that I don’t want to use my real name, but I feel like Chiemi Souen is the part of me that most connects to my ancestors.

Lee

Back in da day my Local Chinese writer friend got contracted by one big "main"land publishing company for write one children's picture book, but he had for write about one Vietnamese legend. So I laugh and told 'em, "Dey know you Chinese, ah?" He laugh and said "Yeah, wuz just one job. To dem one Asian, two Asian, all same." How important wuz it for you to get one Okinawan artist for your book? You got Flor Kaneshiro who's one Okinawan from Argentina. You found her or da publisher found her? Would you have balked if da publisher wanted one non-Okinawan for do da art?

Chiemi

One of my friends, Allyson Nakamoto, who used to live in Los Angeles read my IKIGAI story and connected me with Flor Kaneshiro. She lives in Argentina but was also a recipient of the Okinawan Prefectural Government scholarship for Okinawan descendants. Flor was a published illustrator who also knew Terukina-Sensei and was familiar with Okinawa and the culture. Her portfolio had beautiful watercolor illustrations, many that centered around Okinawan culture. I emailed her a manuscript and she loved the story and drew up some samples immediately. Her style is timeless and I knew right away no one else could do the illustrations. The phoenix that appears on the cover was just as I imagined it in my mind. The phoenix symbol was a motif Terukina-Sensei used in his performances and the theme was always “Tobe! Sekai e – Fly! To the World.” It’s unusual to partner with an illustrator and then try to find a publisher, they usually want you to use one of theirs. Many people advised me not to commit to an illustrator. But I really felt that Flor was the best person to bring young Choichi’s story to life.

Lee

You going do one noddah children's picture book or you get some oddah kinda writing project in one different genre lined up next?

Chiemi

IKIGAI was written when I was freelancing. I had a lot of time to really develop and polish the story to the point where I was ready to publish, I want to say it took about five years from when I first drafted the story to actually publishing it. This story faced a lot of rejection, but about a handful of people who loved IKIGAI and believed in its success kept reminding and pressing me to see this book through. I am grateful for all my cheerleaders and the support of my friends and family. Right now, I am entertaining the idea of doing a book that’s a compilation of poems. When I look over my poems, they’re kind of dark because a lot of them were written about the healing process from my illnesses. Just like how young Choichi made people feel happy and healed through uta-sanshin, I realized that writing and editing could help people as well as the community. That is my way of planting seeds of light. So for now writing and editing at the Herald is my ikigai. But this interview might have reawakened the poet in me. We shall see, I’m not one to stick to a rigid plan. I think it drives my family nuts sometimes. But if my life wasn’t such a rollercoaster, there probably wouldn’t be an IKIGAI Okinawan children’s book.

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Images courtesy of Chiemi Souen.