PHOTO: Richard C. Morais, captured by Joseph Lingad, embodies the spirit of cross-cultural storytelling and literary excellence.
Master Of Cross-Cultural Narratives
Richard C. Morais discusses his literary journey, influences, and the cultural depth in his works, offering insights into his storytelling techniques and advice for aspiring writers.
Richard C. Morais stands as a luminary in both the literary and journalistic worlds, seamlessly weaving narratives that transcend cultural and geographical boundaries. His prowess as a storyteller is evident in his acclaimed novel, “The Hundred-Foot Journey,” which not only captured the hearts of readers worldwide but also found its way to the silver screen, brought to life by the visionary talents of Spielberg and Oprah. Morais’s ability to delve into the intricacies of human experience is further showcased in “The Man with No Borders,” a poignant exploration of memory and identity, deeply rooted in his own upbringing in Switzerland.
As a former European Bureau Chief for Forbes and the architect behind Barron’s Penta, Morais’s journalistic credentials are both substantive and unusual. His transition from journalism to fiction has enriched his storytelling, infusing it with a depth of research and authenticity that is both compelling and enlightening. His works, such as “Buddhaland Brooklyn,” reflect a profound understanding of cultural intersections, offering readers a glimpse into the diverse tapestry of human experience.
Morais’s dedication to fostering new literary talent through the Milford Writing Institute further cements his legacy as a mentor and guide for aspiring writers. His insights into the challenges faced by emerging authors are invaluable, encouraging them to find and honour their unique voices.
In this interview, Richard C. Morais shares his journey, inspirations, and the wisdom he has garnered over a distinguished career. His reflections offer a rare glimpse into the mind of a writer who has not only mastered the art of storytelling but has also dedicated his life to promoting cross-cultural understanding through his literary endeavours.
Richard C. Morais masterfully crafts narratives that transcend cultures, enriching readers with profound insights and captivating storytelling.
In The Man with No Borders, how did your upbringing in Switzerland influence the novel’s themes of memory and identity?
RCM: I started writing the story of an elderly Spanish banker dying of a brain tumor, two years before my father started dying of Alzheimer’s. I now realize my psyche was preparing me for my father’s imminent death. Growing up in Switzerland, my father and I retreated every weekend to a village called Ägeri, in the foothills of the Alps, where we would fish, paint, hike, and cook. It is there I started becoming a writer, telling myself stories as I took long walks in the woods by myself with my air rifle. It is to Ägeri I again retreated, this time in my imagination, when my father began to die and I was writing The Man with No Borders.
“Growing up in Switzerland, my father and I retreated every weekend to a village called Ägeri…” – Richard C. Morais
What inspired you to explore the life of a Japanese Buddhist priest in Buddhaland Brooklyn, and how did your own Buddhist practice inform the narrative?
RCM: At the age of 17, I heard through the walls of my college dorm room this transportive, otherworldly sound that was a fellow student reciting the Lotus Sutra. The sound shook me to my core; I had to do what she was doing. Almost fifty years later, I still recite Buddhist prayers every morning, but my faith went on its own journey. When you start a faith, particularly a faith of another culture that you adopt, you are a “child” and must follow every rule your “parents” teach you. But just like when a person reaches adolescence, eventually you have to rebel against all the dogmatic rules your parents taught you and become your own authentic person of faith. Buddhaland Brooklyn was the book I wrote during my rebellious spiritual phase, when I began to make my faith my own and explore what it really means to believe and have faith – rather than blindly parrot what you are being told.
The Hundred-Foot Journey vividly portrays culinary traditions; how did your experiences as a journalist shape your depiction of cross-cultural cuisine?
RCM: I am an intuitive cook— able to whip up a tasty meal out of the sprouting onion and half-used chorizo in the fridge—but running a professional kitchen to the highest standards is a very different beast. It’s a game of logistics, where under great pressure and at a terrific speed, you must produce plate after plate of exceptional fare. I had to understand that professional kitchen in different cuisines while writing The Hundred-Foot Journey, and I used my journalistic research skills to attain that knowledge. I spent time in the kitchens of Le Bernardin (New York,) the Sugar Club (London,) and Khyber (Mumbai;) interviewed chefs and winemakers; plus read countless books on cooking, from Ancient Rome onwards.
Your biography of Pierre Cardin delves into fashion and business; what challenges did you face in capturing his multifaceted persona?
RCM: Pierre Cardin was so fascinating precisely because he was so mercurial – warm and cold, generous and stingy, gay and hetero, a font of artistic creativity who was equally gifted at business. He kind of wrote himself – and it was why I was attracted to him as a subject.
Having transitioned from journalism to fiction, how does your journalistic background influence your storytelling techniques?
RCM: I still do both. I have two nonfiction books coming out in 2025: The New Rules of Investing, an investment book I co-wrote with UBS’ Global Chief Investment Officer; and a coffee table book called Milford Moons, which are photographs of my ancestral village, a project that grew out of the (fictional) murder mystery I am currently working on. The two skillsets compliment each other. My fiction made me a more lyrical and better journalist, I believe, while journalism taught me how to overcome writer’s block and how to conduct proper research.
As founder of the Milford Writing Institute, what common hurdles do you observe among emerging writers, and how do you advise overcoming them?
RCM: The hardest hurdle for aspiring writers to overcome, always, is to hear their own voice and not the admonitions and recommendations and writing styles of others. That’s what I am good at, as a mentor. I help aspiring writers find their own voice, rather than mimicking others, and then help them honor and leverage their unique voice for maximum effect.
Your works often explore cultural intersections; how do you approach writing characters from diverse backgrounds authentically?
RCM: If you are writing from a deep enough place—about the human condition universal to all of us—then you can adopt (and become) characters very different from who you are. But you must go deep into the human soul. Once you are comfortable wearing their skin, you are honor bound to work hard (through research) at authentically layering in the cultural aspects of their upbringing and place on earth.
What essential advice would you offer to aspiring authors striving to craft compelling and culturally rich narratives?
RCM: Fall in love with your character and enjoy inhabiting their skin – everything else will follow. The joy of writing fiction, for me, is that for a little while I get to be someone very different from my mundane self. Richard Morais is rather boring. My characters are not.
