Growing up in Asia in a particular time period - the '50s and '60s - I attended a Catholic missionary school where I was taught by nuns and where consciousness of the body was repressed. Yet at the same time, the female body was a highly visible and sensitive site.

This distraction is what one wants, which is very, very bad for the muse, because the muse hates not being in the line of sight. It's no longer an external conflict, like, oh, I have all these demands and I don't like them. The split is in the self. This may explain why, when I was in Santa Barbara before I went to Singapore and then now to Hong Kong, there was a writing moment when I was writing a poem a day. I had never done that before.

In publishing books and winning awards, it's like you've enjoyed this meal, you know, two months ago. How long can you be nourished by thinking about it? You've already ingested it, and you've excreted it, and that was two months ago. You had this fabulous meal. It's not going to keep you satiated today. You have to go out and get your next meal. For me, that's writing. I have to go out and hunt my next meal.

I always wanted to be pretty as a girl, although I believed it was not possible.

Now that I'm more middle class, I have access to consumer goods. I do enjoy feminine frippery, feminine doo-da, stuff like that.

The problem of the female body is not something that I've studied, but my memoir does treat that theme.

One arrives at a recognition that one needs to be distracted.