Author Hanako Footman Explores Identity and Grief in New Novel

At the Jaipur Literature Festival, author Hanako Footman discussed her debut novel, Mongrel, revealing how her experiences as a Japanese-British woman shaped her storytelling. Footman articulated the challenges she faced as an actor, often finding herself excluded from roles that reflected her identity. She explained that this frustration fueled her desire to create a narrative that bridges external perceptions and internal realities.

Footman reflected on the duality of her identity, saying, “When the Caucasian roles came in, I was told I wasn’t white enough. When the Japanese roles came in, I was told I wasn’t Japanese enough.” This dichotomy sparked the creation of Mongrel, a novel that embodies her anger and longing for understanding. The narrative is told through three distinct female voices, each representing different aspects of her identity.

Exploring Multiple Voices

When asked about her choice to incorporate multiple perspectives, Footman cited Lisa Taddeo’s Three Women as a significant influence. “I was my true north when I was writing Mongrel,” she stated. The character of Mei closely resembles Footman herself, while Yuki is inspired by her mother. The character Haruka, however, was less familiar to her. As Footman delved into their stories, she found that they became more three-dimensional, reflecting her exploration of identity and grief.

Grief, particularly maternal grief, is a recurring theme in the novel. Footman shared her deep-seated fear of losing her mother, who symbolizes her connection to her Japanese heritage. “When she goes, what becomes of my Japanese-ness?” she questioned, emphasizing that this fear significantly influenced her writing.

Balancing Intimacy and Complexity

Footman also addressed the complexities of depicting desire and power dynamics in contemporary fiction. She emphasized the importance of approaching charged moments with honesty. “Being an actor allows me to get there quickly because actors are constantly asked to inhabit someone else,” Footman explained. This immersive technique helps her navigate emotional landscapes in her writing.

Transitioning from acting to authorship, Footman noted a significant shift in her creative process. “I actually don’t control my characters,” she remarked. Instead, she feels they reveal themselves over time. This organic development allowed her to create a narrative that genuinely reflects her multifaceted identity.

Footman finds value in both acting and writing, appreciating the collaborative nature of performance while also cherishing the solitude of writing. She stated, “I need both. I enjoy talking to people, being sociable, being seen and perceived.”

Reflecting on her experiences, Footman has become more discerning in her acting choices, now prioritizing quality writing. “If it’s not good, if it doesn’t speak to me, then I genuinely won’t audition or do the role,” she asserted.

The writing process for Mongrel was largely disciplined, although it was sometimes interrupted by Footman’s filming commitments. She engaged in daily morning pages and incorporated her fascination with tarot into her writing. Footman recounted a particularly revealing moment during Yuki’s storyline, where a tarot card confirmed her narrative instincts.

Footman credits authors such as Ocean Vuong and Sarah Waters for inspiring her to embrace emotional rawness in her writing. “When I read Three Women, I thought, ‘Oh wow, that’s how I feel all the time,’” she recalled.

Looking back, Footman acknowledges that parts of Mongrel still feel unresolved, particularly since the story began as a TV pilot. She expressed hope that once adapted for the screen, her work will feel complete.

As she continues to navigate both acting and writing, Footman remains committed to exploring the complexities of identity and emotion in her work. Her journey reflects a powerful testament to the importance of storytelling in understanding oneself and bridging cultural divides.