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Authors who belong to Writers in Kyoto

Things Japanese, found in translation

by Jann Williams, April 21, 2022

It was not until my mid-50s that a deep interest in Japanese culture was stirred, seeking lessons on how to connect people and nature in a quest for sustainability. The elements of nature are my guide, embedded as they are in all aspects of Japanese life – whether it be through interactions with the physical environment, the ubiquitous presence of inyo gogyo (yin-yang and the five phases of earth, water, fire metal and wood), or the ‘great’ Buddhist elements of earth, water, fire, wind, space and consciousness.

To read Japanese at the level required for my explorations would take several years of concerted practice I’ve been told – especially for the specialist texts I’m interested in. Not having the luxury of time, I have relied on bilingual books and written translations of Japanese works in addition to my extensive library of English books and articles on Japanese culture. Right from the beginning I would like to thank all of the translators I know, and those I don’t, for making works in Japanese available to those of us who are unable to read the primary source. Here I relate my encounters with translation over the six years since my intensified quest to explore the elements in Japan began, and the crucial role that Writers in Kyoto has played.

Until recently most of the translations on my bookshelves have been either non-fiction like Kukai – Major Works (translated by Yoshito S. Hakeda) or Japanese classics such as Essays in Idleness (my copies independently translated by Donald Keene and Margaret McKinney) and The Tale of Genji. All but one chapter of the latter book was translated into English by Arthur Waley between 1925-1933. There have been many other versions, including one in 2018 subtitled ‘the authentic first translation of the world’s earliest novel’ translated by Kencho Suematsu. Each translator brings their own experience, personality and interpretation to their art, with some translations favoured over others. Hence for some titles, such as Essays in Idleness and the Kojiki (Record of Ancient Matters) I have at least two copies to compare and contrast the different interpretations. This includes the first English translation of the Kojiki by Basil Hall Chamberlain, published in 1882 when there was growing interest in ‘things Japanese’ in the West. Indeed Chamberlain published a book with that very title (Things Japanese) in 1891.

The Japanese work that I have the most translations of is Hojoki (The Ten Foot Square Hut), the classic recluse story written by Kamo no Chomei in Kyoto in 1212 AD. It is a tale of withdrawal from and reflection on a world fractured by earthquake, windstorms, fire, plague and war. Natsume Soseki undertook the first English translation in 1891. My earliest translation is from 1928 (by A.L. Sadler), complemented by the 1967 translation by Donald Keene, the beautifully illustrated 1996 translation by Yasubiko Moriguchi and David Jenkins, a 2014 version by Meredith McKinney, and most recently the 2020 and 2022 bilingual translations by Matthew Stavros. The strongly elemental nature of Chomei’s prose captured my attention:

“Of the four elements,
Water, fire and wind cause damage most frequently.

The earth only sometimes brings disaster.”

This translation is from In Praise of Solitude published by Matthew Stavros this year. The four elements Chomei refers to are Buddhist in origin. They are related to the impermanence of life, a Buddhist concept that permeates Hojoki. Matthew spoke about translating Hojoki in a Writers in Kyoto (WiK) Zoom session in November 2020 which provided a broader context for the translation.

Matthew’s presentation was one of many opportunities WiK has provided to expand my connections to, and appreciation of, the world of translation. Juliet Winters Carpenter, an award-winning translator of modern Japanese literature, wrote the Foreword of the third WiK Anthology that Josh Yates and I co-edited. Our first meeting in person was at the Kyoto launch of the Anthology in June 2019, not long before Juliet moved back to the United States. Her encouragement of my quest, even though I couldn’t read (or fluently speak) Japanese, was heart-warming. Several members of WiK are also translators. Recently, WiK member Yuki Yamauchi translated Rona Conti’s essay ‘What does this say, sensei’ from the 4th WiK Anthology to gift to her calligraphy teacher in Japan. This is one of many examples of the support and encouragement within this writer’s community, which centres on our shared connections with Kyoto.

During the COVID pandemic, Writers in Kyoto have held a diverse series of Zoom sessions, including by Matthew Stavros. These have been a life-saver for those of us unable to travel to Japan for an extended period, now 2.5 years and counting. In June 2021 Ginny Tapley Takemori, a freelance translator of early modern and contemporary Japanese novels and short stories, was one of the speakers. Her insights about the translation process were illuminating. Ginny shared some of the joys and challenges of translating from Japanese to English. She spoke about helping set up a collective called ‘Strong Women, Soft Power’ to promote the translation of more women authors. Activism in the translation community had never crossed my mind. It was interesting to hear, among many other comments, that not all authors see the translation before it is published. Ginny’s talk helped me see translation in a completely different light.

WiK’s zoom session with Ginny Tapley Takemori (Photo by Jann Williams)

Following Ginny’s presentation my library of translated works by contemporary Japanese authors has expanded considerably. This included buying two books that Ginny translated – the world-wide sensation Convenience Store Woman by Sayaka Murata and the enchanting Things Remembered and Things Forgotten by Kyoto Nakajima. Translations by Polly Barton (Where the Wild Ladies Are by Matsuo Aoko), Juliet Winters Carpenter (The Easy Life in Kamusari by Shion Miura) and more now grace my library shelves. Interviews with several translators on Books on Asia, a podcast hosted by Amy Chavez (another WiK member), also influenced my selection of books. Both the stories and interviews have opened up fascinating and pertinent worlds.

Janine Beichman’s translation of Well-versed: Exploring Modern Japanese Haiku by Ozawa Minoru is one I return to often. Poetry is an essential part of Japanese culture and includes many references to nature’s elements, especially the seasons. Modern haiku builds on a poetry tradition of over 1200 years. While I had many translations of poetry beginning with the 9th century Man’yoshu anthology, and several books about Basho’s haiku, Ozawa Minoru’s contribution was my first exposure to a range of contemporary Japanese poets. The text accompanying each poem provides further insights.

The commentary provided by translators is also valuable. Roger Pulver’s recent book The Boy of the Winds, where several stories by Miyazawa Kenji are translated, includes some thought-provoking comments about the nature of nature in Japan. In October 2021 Roger spoke about the nuts and bolts of translation in a wide-ranging webinar. In it he covered the rhythm and logic of the Japanese language compared to English, the importance of translators taking a stance and putting their own stamp on a translation, and much more. Strangely, I hadn’t realised how much influence translators can have; capturing the same feeling as the original Japanese is what Roger strives for. His comments made me better appreciate the nuances, decisions and emotions that can be involved in translating Japanese into English. ‘Each translation will be different’ is a message that came clearly through.

Keeping this in mind, translations of other books on my shelves related to the natural world include Flowers, Birds, Wind and Moon: The Phenomenology of Nature in Japanese Culture by Matsuoka Seigow (translated by David Noble) and A Japanese View of Nature: The World of Living Things by Kinji Imanishi (translated by Pamela J. Asquith, Heita Kawakatsu, Shutsuke Yagi and Hiroyuki Takasaki). (What it would be like working with a number of translators I wonder?) These works happily sit aside the academic translations in my library. One I’m particularly thankful for is the translation by Hendrik Van der Veere of Gorin kuji myo himitsushaku (Secret Explication of the Mantras of the Five Wheels and the Nine Syllables), written by the 12th century Shingon monk Kakuban.

It would be interesting to speak to some academic translators of Japanese works, especially historical and non-fiction literature. Would their process differ from those who translate contemporary fiction? How many ‘feelings’ would come into play? From my involvement with the Pre-Modern Japanese online forum, I have followed long debates about the translation of individual words and concepts. The Japanese language has evolved through several stages/forms, making translation of the older texts a particularly challenging pursuit.

Many kanji outside of day-to-day use are found in the Esoteric Buddhist and Shugendo worlds my elemental interests have drawn me to. My first awareness of this was in 2016 when a friend in Melbourne translated a Buddhist poster that had several five-element stupa (J. gorinto) on it. While there were some specialist head-scratching kanji involved, her translation led me to Zentsuji, the 75th temple on the Shikoku pilgrimage where Kukai, the founder of Shingon Buddhism was born. More recently, through my blog ‘elementaljapan’, I have had the pleasure of meeting Riko Schroer who translates Shugendo and Buddhist texts that are extremely relevant to my exploration of the elements in Japan. Specialist translators like Riko are a god-send.

Another life-changing connection made through my blog, and WiK, has been with Yoshiaki Yagi, a gentleman in his 70s who delights in sharing his knowledge of Japanese culture. He lives with his wife Michiko-san in Minoh City, in north-western Osaka Prefecture. Yoshiaki-san contacted me after reading a post on the tea ceremony that I had shared on the WiK Facebook page. Since that time, he and his wife have taken me to many sites in Kyoto and Osaka that I otherwise wouldn’t have experienced. Their generosity and hospitality is wonderful. When Yoshiaki-san invited me to edit the English translation of his upcoming bilingual book Things Japanese – an Invitation to Japanese Culture it was a great honour. He had taken on the monumental task of translating the Japanese to English himself. Through the editing process I have learnt much about ‘things Japanese’, through the eyes of Yoshiaki-san. The book is due to be published soon due to his diligence and determination.

It might be considered blasphemous, but I have found Google Translate a useful tool with written Japanese. In particular, the ability to use the camera on my smart phone to translate Japanese in situ, and to be able to hand-write kanji as an aid to translation, have come in handy several times. While the automated translations of Japanese text have to be treated with caution, generally they are better than no translation at all. New Apps like DeepL are improving the quality of translations available. Whatever program is used in FaceBook though, could do with lots of assistance.

Language is an essential expression of cultures around the world. I would love to immerse myself in Japanese publications and appreciate the implications of not being able to read the primary sources. Having learnt hiragana and katakana provides some entry points. This includes my own translation of a short book by Takada Yuko on the water forests of Yakushima, shared on elementaljapan. As for longer texts with more kanji, translators provide me a way to find out more about ‘things Japanese’. Arigatou gozaimasu. Your names should be on the front covers of books, along with the authors, which has not always been the case. Your work sits proudly among my extensive library of English publications on Japan. In addition to all of this reading/’head-work’, I write blogs with an invitation for feedback, consult with specialists and practitioners in respective fields of interest, and gain insights by living in Japan for half the year – something that has been thwarted by COVID since late 2019.

If a magic wand was at hand (or it was possible to instantaneously comprehend Japanese like Neo in the Matrix learnt new skills!) the first books I’d read are the series by Hiroko Yoshino on ‘Yin Yang and the Five Elements’ (J. inyo gogyo) in Japanese culture. While there is some scepticism in the academic community about her ideas, I would love to see what she says first hand. My plan is to show one of her books to a translator or two from Writers in Kyoto when I’m next in the ancient capital. I am so looking forward to returning to Japan to continue my elemental explorations when the border re-opens.

Cover of Hiroko Yoshino’s book

Poetry that is about the ancient capital or was set in Kyoto

Vagabond Song

by James Woodham

comb your hair with wind
let the hills flow through your eyes
sun adorn your skin

wind on the water
wind in my hair and the crow’s 
hollow notes dropping

sun warm on the skin
ears full of the mountain stream
breathing the blue sky

to be free of now
as a bird takes to the air
the future floating

as the mountains wait
for whatever comes along
sun wind rain blue sky 

standing on the sand
for about a hundred years
to be a pine tree

my wife leaves some food
each day before her parents’ bones
graced with a greeting

under buddha’s eyes
tiers of fruit are perfect worlds
of shining surface

priest chanting sutras
endless drone of syllable –
aural opium

these Kyoto streets –
walking down them half my life
always stuck in time

rings in the puddle
everyone who ever lived
raindrops vanishing

two butterflies hanging
on the gently nodding plant
in a swoon of wings

standing in the road
with its beak slightly open
crow seems to question

wings blur the vision
hovering at the flower
hummingbird hawk moth

no way you can know
you’re born to be a butterfly
fat caterpillar

the sky cloud-muffled
a cat gives us a long look
from a safe distance

klansman clad in black
disdaining shows of colour
crow knows he’s stronger

as a tree waits
for the leaves of spring to come
so a poem words

no finer music –
the speech of leaves in the breeze    
birdsong travelling 

sharpness of shadow
on the rock a leaf lifted
from a Chinese scroll

old man puffing away 
as he strolls along wreathed 
in smoke’s sweetness

how the snow blankets 
the mind, muffling and making
a nest of the home

bamboo bent double 
with the weight of all that white
head buried in it

points of light glitter 
wind skimming the pond’s surface – 
March superficial

pale shafts of sunlight
birdsong calibrates the air
the trees cathedral

waves leave glistening 
in the caverns of the ear
desultory lapping

no thought of waste here
sun adheres to every leaf –
golden plenitude

along the moonlit lane
shrilling of the bell cricket –
silver audible

cool wind off the hills
slides ripples through the silver
pathway of the sun

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For previous contributions by James Woodham, please see the striking poems and stunning photography here.  Or here. Or here. Or here. For his previous posting, A Single Thread, see here, and for The Wind’s Word click here.

Books set in Kyoto

Phantom Kyoto

by Allen S. Weiss

Kinkaku-ji, 2011 (Photo: Allen S. Weiss)

My desire to return to Kyoto has been frustrated for over two years due to the covid epidemic, just as work on my most recent book project, Illusory Dwellings: A Kyoto Travelogue, has been stalled for the same reason. But there are many ways to travel. A voyage has neither beginning nor end. A true voyage begins well before departure and does not end with homecoming, for a trip is both long anticipated and perpetually renewed in literature and myth, cuisine and art, reveries and dreams. This minuscule contribution to Writers in Kyoto is inspired by Walter Benjamin’s desire to write a book composed solely of citations, which is in fact the form of his Arcades Project, the incomplete yet voluminous notes to what would have become his magnum opus. In this spirit, I offer the epigraphs to the chapters of my book, awaiting the moment when I can return to Kyoto and its illusions.

“But is there anybody who does not live in an illusory dwelling?”
– Matsuo Bashō, Record of an Unreal Dwelling

“To discover a land is first of all to assemble all the memories that announced it.”
– René de Ceccatty, “Lettres de Tokyo”

“…if it is not true as fact it will be so as symbol.”
– Jorge Luis Borges, “Story of the Warrior and the Captive”

“…find the substance in the emblem…”
– Robert Harbison, Eccentric Spaces

“Arriving at each new city, the traveler finds again a past of his that he did not know he had.”
– Italo Calvino, Invisible Cities

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Allen S Weiss is an academic and aesthete who spends his time between New York and Paris, though Kyoto occupies a special place is his lifework. He teaches at New York University, and has authored or edited over forty books in the fields of performance theory, landscape architecture, gastronomy, sound art and experimental theatre. For the preface of his book on ceramics and collecting, click here. For his versions of Ryoan-ji, see here. For his Manifesto for the Future of Landscape, see here. For the autobiographical piece on ‘Teddy and Daruma’, see here. And for an account of Allen’s talk in Robert Yellin’s ceramic gallery, see here.

Writings about Kyoto, whether by Japanese or foreign observers

Glimpses of David Bowie in Kyoto

by Yuki Yamauchi

(All photos courtesy Wikicommons)

Japan has magnetised many globally popular musicians such as John Lennon, Freddie Mercury, Cyndi Lauper and Lady Gaga.

Of course, David Bowie (1947-2016) is no exception, either. His interest in the country’s culture started in the 1960s and led the London-born artist to play the koto on ‘Moss Garden’, a track on the album Heroes (1977), and to adopt hayagawari (quick changes on stage), a technique derived from kabuki. When he captivated millions of fans by performing as the fictional character Ziggy Stardust, the rocker donned avant-garde costumes created by fashion designer Kansai Yamamoto.

Following his first Japan tour in 1973, Bowie visited Kyoto on several occasions. His stays in the city were outlined in The Japan Times by songwriter and journalist Nick Currie:

“I thought of the places in Kyoto — Bowie’s favorite city in Japan — he loved to return to: Tawaraya Ryokan, where he stayed with Iman on their honeymoon, and the now-vanished Cafe David on Sanjo-dori, just opposite the Museum of Kyoto. The “David” in that case was U.S. Sinologist David Kidd (who also died of cancer at the age of 69, back in 1996). Kidd had a house in Kyoto called Togendo, as well as a school dedicated to teaching traditional Japanese arts. Bowie stayed at Togendo in 1979 for some weeks, and even hinted to Western press that the city might become his permanent home.”

The honeymoon brought the couple a chance to watch the Gion Festival in the early 1990s — Fortunately, there remains, as evidence, a photo of Bowie holding a video camera beside his wife in front of a paper lantern-laden float.

Bowie’s favorite places in Kyoto included Misoka-an Kawamichiya, a buckwheat noodle restaurant in Nakagyo-ku. The multi-talented musician is believed to have smacked his lips over tenzaru (buckwheat noodles with tempura), sitting at a table on the second floor and viewing the restaurant’s patio from there.

When it comes to further information about what the English singer-songwriter enjoyed in Kyoto, there is nothing better than having a look at the pictures taken by Masayoshi Sukita, who shot the black-and-white cover photo of Heroes.

Together with Sukita, Bowie strolled around Kyoto between takes of a TV ad at Shoden-ji temple in 1980. Thanks to the photographer’s work, we can still get glimpses of how the maverick virtuoso spent time in the ancient capital.

Bowie had himself photographed, for example, buying a ticket at Karasuma Station, standing in front of a Hankyu train bound for Umeda, holding on to a strap on a Hankyu train, and buying yawata-maki (an eel-and-burdock roll) at Nodaya, a now-defunct store in the Furukawacho Shopping Street. (In addition to some of the pictures mentioned later, these photos can be seen in the web magazine of the accommodation establishment Umekoji Potel Kyoto.)

Other photographs show the music icon sitting back in the corner of Saiun-do, a longstanding shop selling art materials, and enjoying talking with the then proprietor of the store while looking at a photo album. Surprisingly, Bowie was friendly enough to help a junior high school student study English when the musician made himself at home at a now defunct cafe.

Needless to say, the legendary singer did not forget to keep music in mind. He was also photographed dancing lightly at a disco with color lighting up his face. On top of that, he dropped in at a music venue Circus Circus (currently Under-Throw) near Ginkaku-ji and saw techno-pop band P-model perform. I have not found his account of that time, but the details can be traced to some extent thanks to Susumu Hirasawa, leader and guitarist of the quartet. He recalls the unexpected encounter with the music star:

“Panting for breath in the green room (after the live performance), we heard a knock at the door. (When it was opened,) we saw David Bowie standing and smiling from ear to ear. He bowed, saying ‘Dо̄mo.’.”

Hirasawa also recalls asking Bowie to autograph the back of his guitar.

Well, it’s high time we bid farewell to the record of nearly half a century ago and get back to the early 2020s.

In the spring of 2021, Museum Eki Kyoto held an exhibition featuring Sukita’s photos of Bowie in Kyoto. Visitors were helped to learn or remember the good rapport between the musician and the city, but unfortunately the third state of emergency for COVID-19 forced the event to end over a week earlier than scheduled.

Luckily, Kyoto will be able to enjoy recollection of the music heavyweight again as it has been decided that the exhibition makes a comeback between June 25 and July 24.

I hope this story serves as a reminder of how much Kyoto was loved by Bowie (some of the details have been explained only in Japanese up to now). Perhaps it will change how you see the city when you go to places visited by the star.

Canadian tea master John McGee (left) hosted David Bowie and Iman for a tea ceremony, here seen with David Kidd
(photo of a photo courtesy Robert Yellin)

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Further information

BBC on David Bowie and Japan:
https://www.bbc.com/news/world-asia-35278488

All photos mentioned in this article (except for one of Bowie and Iman) can be seen here: https://www.potel.jp/kyoto/cityguide/feature/david-bowie-kyoto/

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About the author Yuki Yamauchi

For an introduction to Yuki, please click here. For the past three years Yuki has been writing about Kyoto people and places in a series of articles that cover the city’s cultural and intellectual life.

For his piece on Portraits of Uji, click here. For his account of prewar academic critic, Tatsuo Kuriyagawa, click here. And for his piece on theatre and film director, Akira Nobuchi, click here. For his account of Gion Higashi, see here. For a piece on ‘the intellectual giant’, Edward Bramwell Clarke (1874-1934), click here. And to read about the electronic musician, Hajime Fukuma, see here.


Authors who belong to Writers in Kyoto

Spirit of Shizen

Exhibition of ‘Spirit of Shizen’ at Luxembourg’s Natural History Museum, July-August 2022

by Robert Weis

Nature in Japan has long been awe-inspiring through the beautifully articulated four seasons, but also threatening due to recurrent natural phenomena such as volcanic eruptions, earthquakes, heavy rainfalls and tsunami. The traditional relationship between Japanese people, their culture and their natural environment is the object of the exhibition “Spirit of Shizen – Japan’s Nature through 72 micro-seasons” that will take place at Luxembourg’s National Museum of Natural History in July and August 2022.

The exhibition venue (copyright MNHNL)

The exhibition is a trans-disciplinary project comprising photography, short essays, poems, objects and short film sequences that aim to recreate a specific sensibility towards the seasonal changes. The four main seasons form the framework of the exhibition, and are introduced in previously unpublished essays written by Pico Iyer. 24 of the 72 micro-seasons are explained in detail, with text and photo contributions by Mark Hovane. Furthermore, specific aspects of Japanese culture closely linked to the natural environment are presented, such as Bonsai, Japanese gardens, Ikebana, Kusamono, Suiseki, and also practices like the traditional Chanoyu or the more recent Shinrin-yoku. A special space is dedicated to large-sized photographs of Kyoto gardens in spring and autumn by American photographer William Corey. Another space houses a simplified tea house with tatami floor, where visitors can sit and watch a contemplative short movie about the seasons of Kyoto filmed by Felicity Tillack with poems by Fernando Torres.

Seasonal photos of Luxembourg by Robert Weis

An important aspect of the exhibition are the special events and workshops that visitors can attend. These include a calligraphy workshop with Rie Takeda, Bonsai and Ikebana demonstrations, a pop-up tea house, a master class about seasonality in Zen Buddhism by the nun Kankyo Tannier, a presentation of nature photography from Japan, a culinary workshop with Hajime Miyamae and a Miksang photography class with John Einarsen. Online lectures are given by Mark Hovane on the 72 micro-seasons, and Bruce Hamana on Chanoyu and the seasons.

Serving as an exhibition catalogue will be a printed anthology of Japanese and international writers, poets, scholars, photographs and experts sharing their knowledge and experience. Rather than being comprehensive, the anthology focusses on selected topics that deal with the theme of the exhibition, as illustrated by Sébastien Raizer in his essay “In Japan, Nature is Culture”. This is evident also in the four essays written by Pico Iyer, which deal with the celebration of autumn, summer, winter and spring, featuring his very personal relation with them. Another well-known and widely appreciated intersection of Nature and Culture is Japanese Garden Art, including karesansui “dry gardens”, also known as “Zen Gardens”. Yuri Ugaya and Marc P. Keane illuminate diverse aspects of Japanese Garden culture in their respective essays, while Karen Lee Tawarayama discusses the distinctive nature of moss gardens.


Over the centuries, Japanese culture developed special disciplines that explore the deep connection between the natural world and seasonal change. Ikebana is one of the best-known examples of a Japanese Art attuned to nature, as Mark Hovane reminds us in his essay. The seasonal changes also play a crucial role in chanoyu, the Japanese tea ceremony, as described by Bruce Hamana. Another art form known for its seasonal vocabulary (kigo) is the short poetic form, haiku, as related by Mayumi Kawaharada.

The spiritual connection between Japanese people and nature as seen in mountain worship (“Shugendo”), highlighted by Jann Williams in her essay about spiritual practices on the slopes of sacred Mount Ontake, while Mark Hovane introduces us to the traditional system of the 72 micro-seasons:

“a readily adaptable framework that allows us to recalibrate our year long journey on this planet. By inviting us to radically slow down and find beauty in the smallest details of our everyday environment, we become more attuned to the rhythms of the natural world.”

The rhythms of the natural world are obviously best experienced in the countryside; Ed Levinson describes his close relation to the seasons in his home on the Boso Peninsula near Tokyo, and Amy Chavez, a longtime resident on a small island in the Inland Sea, gives us a precious insight into an insular lifestyle deeply influenced by natural changes.

The most iconic season in Japan is without any doubt the cherry blossom season in spring, celebrated in a poetic piece by Amanda Huggins. Naoko Abe tells us more about Sakura, the Japanese cherry tree, and its amazing cultural background. However, the real star of Japan’s seasons could be said to be autumn, when maple leaves turn crimson under a deep blue sky, and in her article Rebecca Otowa conveys the practice of momiji-gari, “chasing maple leaves”, widely practiced in Japan. Meanwhile, Robert Weis takes the reader on an autumn walk along the historical Yamanobe path nearby Nara, tasting the delicious seasonal fruit. There are of course other times in the year that have a special appeal, and one such is tsuyu, the rainy season, through which Ted Taylor guides us, highlighting its poetic atmosphere. Winter on the other hand in Kyoto is often cold and crisp with a blue sky, and it is to the ancient hamlet of Ohara that Patrick Colgan takes us for a winter exploration.

The visual journey through the pages of the catalogue consists of the meditative Miksang photographs of Kyoto-based artist John Einarsen.

Whether it is through a visit to the exhibition, or simply by a reading of the catalogue, may I wish you a rewarding experience in this appreciation of nature and the seasons in Japan. My hope is that visitors will take this as an opportunity to see the world around them in a new light and with deepened awareness of the beauty in the changes that every day brings.

Authors who belong to Writers in Kyoto

Here be Dragons

Hic svnt Dracons
by Alex Olivera

By way of introduction….

Louise Bourgeois once said that the artist who discusses the so-called ‘meaning of his work’ is usually describing a literary side issue, and that the core of their original impulse is to be discovered, if at all, in the work itself. It is under this light that I find myself introducing this novel, as if in a deep labyrinth of mirrors, hoping that the Minotaur will not get hold of me in the process.

I take this extraordinary opportunity to come out of my intimate ‘written realm’, and to look upon it. It feels at once familiar and strange… Familiar, for the core of this story has always been inside me, even if in different formats, such as music or art. Strange, for I am not quite sure about ‘who’ actually wrote it. In this sense, the writing process is perhaps not so much guided by a Muse, but by the characters themselves, quite frequently in a revolt which you need to make sense of in the aftermath.

This novel was born in the mountains of central Japan. I was taken by surprise, I had no idea where this was going. I wrote notes and more notes wherever I could; napkins, occasional booklets, supermarket tickets… Words and images kept pouring down and did not leave me for a full five months – fortunately by that time I had got hold of my computer. 

By the end – and several kilos less – this story needed a name; it became Here be Dragons. It just could not be called any other way. Yes, I am aware it sounds ‘common place’, but as the story itself suggests, we tend to pass by things that seem too obvious. Is it not the case that the obvious is the most difficult to see? Dragons are masters of deception, after all. They represent the illusions of the ego, they are summoned to produce fear and keep us ‘at bay’.

I would like to think of this novel as an intimate, historical fiction. It is set in Japan, touching different periods and social strata, where generations and personal saga flow slowly into a common sea. But as much as culture framed the stories,  individually or collectively, the subject is still universal, for it is the drama of a search for love and a place in the world.  So this story is also ours. 

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Novel extract

His mother had told him that, during the Meiji Restoration, his obā-san had lived in China with her parents and fourteen siblings, including her twin brother. ‘Out to the west, farther even than where the sun goes down,’ she said, ‘in the land of silk and gunpowder.’ In those days her father worked for the Japanese government. She was still only little when war loomed over the horizon. In a matter of days her family dismantled the entire house and packed up everything from the dinner service to the folding screens. They let the birds out of their cages and left at full tilt, returning to Japan aboard a Navy warship. Amidst all these hasty preparations and with so many children to see to, they had scooped up the little girl’s twin brother but somehow contrived to leave her behind. They were in the curious habit of counting the twins as a pair; add them together and they made one. This must have been the source of the confusion, for no one noticed the little girl’s absence until dinnertime, when they were already far out at sea. The nanny had counted and recounted them. But every time she totted them up on her fingers, she couldn’t work out where it was that she had gone wrong. So she lined them up, took the abacus out of her bag and counted one last time: the little girl was missing. In light of their daughter’s inveterate penchant for hiding, the family held out the hope she might still be tucked away inside one of the travelling baskets. ‘Could we have locked her in a trunk?’ they asked themselves, racing to the cargo hold. They rifled through the luggage – other people’s as well as their own – well into the small hours… but all to no avail. The little girl was nowhere to be found.

Communications were down due to bad weather; there was no way of contacting the Consulate. Still they tried and tried, regardless, all journey long, beaming out a stream of telegraphs but receiving none in reply. All they could make out over the radio set, crackling strangely in sounds not of this world, were Russian voices, possibly officers aboard other ships. By the time they put in at Tokyo, they were worn ragged with desperation. The mere thought of having abandoned their child, of having left her in such dire straits, triggered in them such shame that they agreed they would, in future, never own to having fifteen children, but fourteen. People were bound to forget, what with everything else that was going on… But, despite having only a vague notion of the exact numbers involved, their relatives remembered perfectly well there had been twins. So they set about pairing off the smallest girl and the remaining twin, they being the most alike. As they grew older, however, people began to suspect there was something ‘wrong’ with this impromptu sister, still a pint-sized dot next to her ‘twin’ brother. To make matters worse, as some of the children had been born in China – nikkeijin kids as they were known, a mildly derogatory epithet that they never quite succeeded in living down – the conclusion they came to was that the twin brother must have been switched for a girl in hospital, the birth of a girl having always been regarded as a tremendous misfortune in China. In all that time not a day went by without her parents secretly visiting the Foreign Ministry, or the Department of War, or any temple they could find to pray in. They began by invoking the Celestial Goddesses of China, believing them to be the most helpful, given their superior knowledge of the local geography, and who knows… they be mothers themselves – in some distant and ephemeral dimension, of course. But on further consideration they spotted a flaw in this logic: the two nations were, after all, locked in a ferocious war and no assistance could be expected from Chinese gods. That put an end to all their hopes. Three years on, they had resigned themselves to never seeing their daughter again and had given her up as dead. But no sooner was her name engraved on the traditional wooden funeral tablets for the family altar, than the little girl reappeared – no one could say where from – carrying a canary in a cage. She was delivered to them by a Chinaman with a long wispy moustache, who introduced himself as ‘Chin Li Foo Jr., Magician’. The girl arrived speaking fluent Mandarin and not a word of Japanese. But, despite a protracted conversation, neither party could understand a word the other was saying, so they agreed to communicate in ideograms, which they wrote on the black slate her brothers used for their homework. From what they could decipher – or rather, infer – the girl had taken a book from the Shin Doji Orai no Jiten Daizen collection, which had been sitting in a half-packed box awaiting removal. She had then apparently hidden herself away in the little tea-house by the carp-pond and fallen asleep. No one knew for certain how much time had passed before the good man found her wandering the back streets of Peking barefoot and alone, clutching her book for she was worth. Nor did they ever manage to solve the mystery of how she came to be in such a place. Still, what mattered was that the magician had taken her with him, treating her like his own daughter. The girl must have had several years of excitement as they moved about the country in their small travelling circus, but she remained forever tight-lipped about that period of her life. The fact that she had picked the first volume from the fukuro toji collection was another stroke of luck. On the first page of that particular volume, on the ex-libris, was written the address of the house where the family had previously lived in Japan and where they would be bound to return one day. Her father’s name appeared clearly: ‘Chairman Ito Yoshimi’, written in kuro sumi, and in immaculate calligraphy. Indeed, it was the only page to have survived intact. The magician received a substantial sum for his generous actions before vanishing back into the world whence he came. The girl and her family found it equally difficult to readjust to each other after such prolonged, involuntary exile. It was especially hard for her siblings, as she had learned a few tricks in their time apart, such as making biscuits vanish without a trace. Little did it matter if they used seven keys to lock her away; she would always escape her punishments; no one could do a thing about it.

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Writings about Kyoto, whether by Japanese or foreign observers

Crawling Curmudgeonly along Hiei’s Eastern Hills

by Edward J. Taylor

The closer we got to Mt. Hiei’s eastern face, the less I liked the look of the sky. Those carved valleys were holding onto clouds, letting loose precipitation which would eventually precipitate cuts deeper still. Mere minutes off the train, the rain found us, and the cuts most quickly noticeable were those in my mood. The squall moved on soon enough but my mood remained dark. We’d had a black cat run out in front of our bicycles earlier, and those old wives tales were proving their staying power. Yet can I default to superstition what had truthfully been my own absent-mindedness? In less than 15 minutes, I’d forgotten my camera, habitually stepped into flimsy sandals rather than decent hiking shoes, and boarded the wrong train. At the very moment that I’d noticed my empty camera case, my wife and I had been deep into a conversation about a lecture she’d heard the day before. The speaker had mentioned that two of the major crises facing Japan are its falling birthrate and the lack of self-sustainable food sources. It was as if people today, overwhelmed with the conveniences of modern technological society, have forgotten two of the most fundamental parts of human survival— making food and having babies. Ironically, having forgotten my camera–the technological extension of the eye–I’d have to rely on my own sight and memory.

The beautiful roofs of Ōmi Jingu matched the line of hills behind it. The word “Ōmi,” used as a prefix for many of the towns and train stations in this area, denotes the region’s wealthy merchant background. This massive shrine, comparatively ornate for the simplistic nature of Shinto, was a testament to that wealth. After a few claps and a bow of the head we moved on. And got lost. Our intention was to follow a section of the Ōmi Kaidō, a minor feudal highway that ran down the western shore of Lake Biwa. It took us some time to find a trail marker, this one behind a fence and facing in the direction where it was least likely to be seen. After about a hundred yards or so, we found another marker at the edge of a newish bedroom community. Rather than the clarity of a single directional arrow, this seemed a slogan or logo of some sort, with multiple arrows extending in various directions like a hydra’s head. I assume that the trail markers of a particular area are the responsibility of the municipality. Ōtsu had no doubt decided that it would design a unique, yet counter intuitive, sign. This decision, encapsulated in a single simple wooden post, led us first about twenty minutes up a steep mountain road to a lonely shrine, then later, coupled with some helpful, yet incorrect advice of a local old-timer, further into the mountains along a different road, into the waiting arms of those storm clouds occupying the valley. We sat a while under the gate of a Jodō temple. (I smell a metaphor here. The major tenet of that sect’s belief is that in times of trouble, one can find refuge in the Sutras. Which to them seems be sufficient since their closed-off temples definitely won’t offer refuge from the elements.)

The sky cleared as we backtracked, and we were directed to yet a third route, which proved correct. We quickly grew lost again, and by a series of frustrated guesswork, made it through a lush city park, past a few posh condos and into the woods where useful signs resumed. This traverse through the ‘burbs should’ve taken 15 minutes at most, but it took us over two hours, all due to a single sign. I fumed the whole while. Why erect signs at all, if you plan to space them so far apart that they’re impossible to follow? Apparently somebody agreed with me, since the only other marker we saw had had most of that confusing hydra symbol torn away to reveal at least the correct cardinal direction, if not the path itself. (This loss of direction is metaphor number two. The scenery below and around us was of monoliths of wealth, in the forms of recreational facilities, stadiums, and towering apartment blocks. Yet the town chose not to fund a few yen for decent signs. And the three local people who we asked directions didn’t have any idea what we were talking about. Again, those trappings of modern society serving as disconnect from things on a human scale and our more localized “place in space.” But isn’t a map or trail marker also technology? Am I being a hypocrite to rely on these rather than in the intuitive skills which define me as human?) All I know is that once back in the woods, on a well-marked path, my shoulders fell away from my ears, and I was again taken over by the enjoyment that a good walk can bring.

At the border here of new and old, we found a small temple with uneven stone stairs and a weathered gate whose thatch was peeling in the corners. The garden beyond was overgrown, and behind it were a series of grave stones dotting the forest floor. To my surprise, I had stumbled upon the final resting place of Ernest Fenollosa. I’d known he was buried somewhere in Shiga, but I hardly expected to find him here behind a seemingly forgotten temple. Next to him were the graves of Tendai convert William Sturges and of James Woods, an early American scholar of the Yoga Sutras. Nearby was a bench offering views of the buildings of Ōtsu city stacked below. We watched dark storm clouds coming over from the direction of Hiei.

When the thunder and lightning began, we rushed through high grass to a small shelter I had spotted through the trees. It turned out to be a bell tower, but oddly, the bell had been removed. The long wooden striker still hung from a rusted chain, but the platform on which we sat was cracked and uneven. The bell seemed to have been taken quite a long time ago. I pictured Nobunaga, in his rush up to burn out the Sōhei of Enryaku-ji, had melted the bell down as iron for his guns. The elderly woman in the temple itself later provided the answer. During the Second World War, the bell had indeed been taken to be melted down for munitions, but had never been used. After the war it was to be returned, but as the workmen had not wanted to carry it further up the steep hill, it was taken only as far as neighboring Enman-in temple, who refused to give it back to the proper owner. I thought it amazing that one temple would steal the bell of another (not too surprising if you remember the enmity between the Tendai sects around here), but upon arriving at Enman-in twenty minutes later I quickly understood. It was the gaudiest temple I’ve ever seen, with a massive concrete design under a bright neon sign. Money and profit seems to be the driving force of faith here; even the kanji can be read as “Full of money.” They had a Soba shop on the grounds, plus offered services for Mizukō Jizō, these services for aborted fetuses being big business. Hundreds of flags dotted the courtyard, the names of the business donors flapping in the wind. It was if an old samurai army were camped in this concrete fortress. And of course there it was, the bell. Rather than being housed in the usual simple platform of wood and stone, it instead hung from three massive steel rods fashioned into a curved pyramid. The insult was complete. My wife and I expressed our disgust at the well where worshippers purified their hands and mouths. Being a follower of Buddhism, I have great respect for those rituals which give the sect definition. Yet today, I redefined the form by using these ladles to wash off my muddy feet and sandals.

Thus cleansed, we soon came to nearby Mii-dera, one of my favorite places in Japan. The rest of the day was spent wandering these temples, admiring the simple beauty of the wooden Buddhas, and trying to coax the caged peacocks to open their tails. Later, up at Kannon-do, we meditated before the many armed statue of the god(dess), noting how it would look right at home in India, the land of this deity’s birth. All the while the fluorescent lights above droned like a tamboura, an instrument from that far-off land, out of whose seemingly monotonous tones melodies are born, much as how thoughts, and the moods that accompany them, come out of the unceasing constant of Reality.

Featured writing

They Will Bloom When You Die

by Douglas Anthony Cooper

Where a woman, hand full of sunflowers
Dwarfs a tyrant, shames a soldier
Lays a curse upon cowards
There we who are small and watching
Merely watching, safe behind screens
Are maybe redeemed
And blue will rise over yellow

And we who are breathing, poorly
Air sick with lies, alone among friends
And starved of wonder
Look to a woman defiant
Hand full of seeds, tall with contempt
Who commands us to grow
And blue will rise over yellow

And they who are breathing, ablaze
Still breathing, and breathing
In spite of the traitors who tell them
And tell them again and again
That breathing is over
They will inspire the suffering air
And blue will rise over yellow

Where a woman, hand full of miracle
Seeds in her palm grown to flowers and now
To a field unconquered
Stands among liars and is by her standing
A truth, then the sky is the sky
And the field a nation
The fact of a luminous nation

And blue will rise over yellow


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Douglas Anthony Cooper has written four novels, and his writing and photography have appeared in publications worldwide, including New York Magazine, Travel + LeisureFood & Wine, and Rolling Stone.

See his website here.

Authors who belong to Writers in Kyoto

The Baby Shower

(an excerpt from The Baseball Widow)
By Suzanne Kamata

Christine loved Trina’s oak table. She loved this kitchen with its American-sized refrigerator decorated with animal magnets and children’s art, its scent of baked bread, and the cross-stitch samplers on the wall. She loved Trina’s dishes, painted with blue Chinese landscapes, like the ones that she ate from at her grandmother’s house when she was a child. She remembered that once her oyster casserole or Thanksgiving sweet potatoes were cleared away, she’d wondered about the pagoda on her plate, wondered what it would be like to visit such a place. And then finally she had. She’d been to China, Thailand, Singapore, Malaysia, and of course, Japan, where she now lived. Ironically, although Christine had fled America in search of the exotic and adventurous, Trina’s Blue Willow patterned dishes, this room itself, now filled her with yearning for all that she had left behind.

“How was the send-off?” Elizabeth asked from across the table, snapping Christine out of her daydream. Elizabeth looked great, as usual. Even though she’d given birth just a little over a month ago, she managed to keep her bottle-blonde hair touched up, and her poplin blouses ironed and unstained. Right now the baby slept nestled in her arms.

Christine smiled. “It was fine. Nobody cried. Not even me.” She’d thought that sending her son off on his first day of elementary school – on foot no less, since the children were required to walk to school in groups — would have been more wrenching, but what she’d felt was mostly relief. For the first four years of her life, her daughter Emma had been in and out of hospitals, and then there was that one terrifying week when both kids were in the ICU at the same time with pneumonia. But now they were healthy and sturdy and ready to be out in the world. Plus, it was nice to finally have some time for herself.

Trina gently tapped a spoon against her “Support Our Troops” mug. “I hereby call this meeting of the American Wives’ Club to order,” she said.

Christine raised her coffee cup to Trina in a toast. “The American Wives’ Club” – AWC for short – wasn’t an official organization. There was no club secretary, no president. They got enough of protocol with the Japanese P.T.A. and Kodomo Kai and other Japanese mothers’ groups. In reality, the AWC was composed of the three of them – Christine, Elizabeth, and Trina, wife of a Japanese professor, whose two chestnut-haired children, not yet school-aged, were now under the table clawing at knees. Elizabeth’s eldest child, a daughter, was in the second grade at a private academy with an English immersion program.

Although coffee was enough of an excuse for a gathering, on this morning they’d gotten together to give Elizabeth a baby shower. According to Miss Manners, a baby shower was supposed to be held in the eighth month of pregnancy, but etiquette be damned; the members of the AWC put enough time and energy into keeping track of and adhering to Japanese customs (exactly how much to spend on a summer gift for one’s boss, where to stand in an elevator, which days were inauspicious for hospital visits, etc.). Sometimes a little anarchy was just the right thing. The belated celebration was also out of deference to Christine, whose daughter had been fourteen weeks ahead of schedule, during Christine’s seventh month of pregnancy. For days, weeks, months, Emma had struggled in an incubator at the university hospital, and they had all learned not to take a baby’s easy delivery and good health for granted.

The doorbell rang then, and Trina jumped up. “Oh, I forgot to tell you all. I met a woman at the library the other day. I thought she might like to join us. She’s Canadian, but I think we can make an exception. We can be the North American Wives.”

“Yes, of course,” Elizabeth said. “The more, the merrier.”

Trina went to open the door, and the others moved their chairs to make room for another guest. Their heads turned when a slender, pale woman with strawberry blonde hair stepped into the room. She held a little boy of about three by the hand. Christine could tell by his eyes and brownish hair that he was biracial (“hafu” as the Japanese said) just as all of their children were.

“Hi, I’m Sophia Lang,” she said. She extended her hand to Christine, and then to Elizabeth.

“Sophia has just signed on as an adjunct at Tokushima University,” Trina said. “Her husband is a scientist at Otsuka.” Christine nodded. They were all familiar with the pharmaceutical company, one of the area’s largest employers, and maker of that ubiquitous, ridiculously named sports drink, Pocari Sweat. Elizabeth’s husband worked there, too. “They just moved here from – where was it?”

“Maryland,” Sophia said. “My husband is originally from Tokushima. We thought it’d be nice for Kai, here, to get to know his father’s family better. And also, work on his Japanese language skills. My husband asked for a transfer, and here we are!”

She had that fresh-off-the-plane look about her. Christine had read somewhere about the stages of culture shock – she’d experienced them herself. First, was the euphoric falling-in-love stage, where everything was new and exciting. Pretty soon the shine would wear off, and irritation would set in. She’d get sick of having little kids point at her hair, and of people asking if she could use chopsticks. She’d discover that the bank machines closed early, at nine p.m., and that if she didn’t have her laundry out by eight in the morning (so late!), the neighbors would chat about her.

“Have a seat,” Trina said, ushering Sophia into a chair. “And Kai, maybe you’d like to go play with Misa and Kenta. Kids! Out from under the table! Show this nice little boy your toys!”

Trina’s two and three-year olds emerged, giggling and ran out of the room. Kai looked up at his mother for confirmation, before scrambling after them.

“Ah, peace at last,” Trina said, pouring coffee for Sophia into a University of Virginia mug.

They went around the table and introduced themselves.

“I’m Elizabeth Tanigawa, from Kentucky. I’m doing some research about expatriates in Tokushima,” she drawled. “I’m planning on writing a book or an essay or something.” She was always immersed in some project. For awhile, it had been indigo dyeing, and before that pottery, and even longer ago, she’d been obsessed with local folklore. During the latter phase, she’d compiled dozens of stories about trickster raccoon dogs, but she’d never tried to publish them. It was just something to keep her busy.

“Well, that sounds interesting,” Sophia said politely. “I didn’t know there were enough expats here for a book.”

It’s true that there were hardly any foreigners in Tokushima Prefecture. Christine had gone days without seeing another non-Japanese in the capital city, weeks, even. Although bridges now linked the island of Shikoku via sparsely populated Awaji Island with Honshu, there were no high speed bullet trains zipping across the island. There were few jobs for foreign women outside of teaching English or pouring drinks in hostess bars, and tourists from abroad rarely added the island to their agenda.

“Oh, but there have been lots,” Elizabeth said, and here, she nodded at Christine, “missionaries from South Carolina, an entire camp of German Prisoners of War, and there was also a Portuguese sailor who settled here and married the little Japanese girl that was his housemaid. Kinda like Madame Butterfly. There’s a museum about his life up on top of Mount Bizan.”

“A girl?”
“She was quite a bit younger,” Christine put in. “But she was an adult. I’m sure she knew what she was doing.” In truth, Christine thought the sailor, who appeared in photos with a long white beard, was way too old for his bride, but she suddenly felt perversely defensive of all things Tokushima. It was her home now, after all.

When it was her turn, she said, “I’m originally from Michigan, most recently from South Carolina. I’ve been living here for ten years. My husband is a high school baseball coach.”
“We call him the ‘imaginary husband,’” Trina said, “because no one has ever seen them together.”

Christine forced herself to join in the laughter, even though she was the one who’d first come up with the moniker.

“She’s a baseball widow,” Elizabeth explained to the bemused Sophia, who hadn’t been in Japan long enough to understand how demanding high school sports could be. There was no such thing as a baseball season. Once students joined the club, they were busy practicing and playing all year round. The only days off were during the ten days of winter vacation. The rest of the time, even during the “off-season,” from the end of October till about the beginning of February, they had training sessions every day after school and on weekends. Hideki was almost never home.

“I saw your husband on television,” Elizabeth said. “Just a couple of weeks ago. His team made it to the quarter-finals, didn’t it?”

Christine nodded. “Yeah, I was there. Up in the bleachers.” Before the kids had come along, she’d gone to all of his games, but they were too young to enjoy baseball. The one time she’d brought Emma to the stadium, she was dismayed to find that there was no wheelchair access, even though the arena was relatively new. She’d had to ask a couple of high school boys to help carry Emma and her wheels up the concrete steps, into the stands. And then of course, after glimpsing Daddy at the sidelines and waving furiously with no response, both Emma and Koji had grown quickly bored. Now Christine mostly watched the games on TV. Once the number of teams was whittled down to eight, the games were broadcast on the local NHK station, or at least public access TV. It was hard to concentrate, though, when Koji and Emma were grabbing at the remote control, pushing for cartoons. The other day, Christine had asked her mother-in-law to babysit so that she could watch Hideki’s team live. Even though they’d lost, she’d felt emotionally involved in the game. Being there made her feel closer to Hideki, almost as if they were in it together.

“Do you have any children?” Sophia asked, bringing her cup to her lips. Christine saw that her fingernails had been manicured. A diamond glinted off her ring finger. In a couple of months, she won’t be wearing that, Christine thought. She’d figure out that it was way too gaudy for rural Japan.

“Yes, two. A boy and a girl.”
“Do they go to school?” Sophia asked.
“Koji’s at Aizumi West. He just started first grade today.”
“And your daughter? You said you have a little girl?”

Christine nodded. “Her name is Emma, after Queen Emma of Hawaii.” Christine and Hideki had gotten married at a plantation on Oahu. Afterwards, they’d done some sightseeing around the islands, and Christine had become captivated by the biography of Queen Emma, who was both Anglo and Hawaiian – a multicultural woman who did good deeds, a mixed race royal. The perfect role model and namesake, Christine thought. “My daughter goes to the kindergarten at the School for the Deaf.”

“Oh!” Surprise and pity flashed across Sophia’s face. By now, Christine was used to apologies and embarrassment at the revelation of her daughter’s disabilities. She forced a smile to show that it was no big deal, that there was no need to feel sorry for them. Everything was fine!

“Have you thought about taking her to the States?” Sophia asked. “My husband and I had a little scare after an ultrasound, and we decided that if our child had any handicap, we would stay in the U.S. Japan is a couple decades behind in that area, isn’t it?”

Christine felt the blood rush to her face. “We’re keeping our options open,” she murmured, though that wasn’t exactly true. Hideki was passionate about his job and she would never ask him to quit. He had become something of a local celebrity. People respected him, just as they seemed to respect her for being married to him. Whenever she dropped by the baseball field, say, to bring Hideki his forgotten cell phone, or drop off Koji to “help out” with Saturday afternoon practice sessions, the players doffed their caps and bowed to her, the coach’s wife. It made her feel like a First Lady. More importantly, as a public school teacher, Hideki was assured lifetime employment, and he also had good health insurance. With a kid like Emma, you had to have ample coverage. Christine suspected that with all of her pre-existing conditions, Emma was uninsurable in the States. And last, but not least, as the only and eldest son of his widowed mother, Hideki was expected to look after her and act, when necessary, as head of the family, representing the Yamada clan at weddings and funerals that his mother didn’t want to attend. He had responsibilities.

Not every family had the resources – or desire – to up and move across the world every time circumstances changed. And yet, Christine had often wondered if Japan was the best place for their daughter. Or for their son, for that matter. At times, she thought they’d be better off in Sweden, where parents were required by law to teach their deaf children sign language. (Here in Japan, Hideki was too busy to study anything but baseball stats, and Christine often had to interpret between father and daughter.) Other times she fantasized about moving to Hawaii, where multicultural was the norm.

“Well, then, ladies,” Trina said, clapping her hands together. “I think it’s time for some games.”

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American Suzanne Kamata has lived in Tokushima Prefecture for over 30 years. She is the award-winning author or editor of 15 books, including, most recently, the novel THE BASEBALL WIDOW (Wyatt-Mackenzie Publishing, 2021) and the story-in-verse WAITING (Kelsay Books, 2022). She is an associate professor at Naruto University of Education. Her homepage can be accessed here.

Glimpses of a Unique Past

REVIEW by Rebecca Otowa

THE WIDOW, THE PRIEST AND THE OCTOPUS HUNTER
By Amy Chavex (Tuttle 2022) Available on Amazon

Amy Chavez has had an unusual life in Japan. Beginning in a teaching position in Okayama, a city between Kobe and Hiroshima, she moved to an island in the nearby Japan Sea known as Shiraishi (White Rock) Island, where she has now lived for a quarter of a century. She is a familiar figure on the island, along with her husband Paul, living near the port and operating the Mooo Bar, a little café right on the beach, with a sandy floor and rough wooden tables, catering to the dwindling tourist-and-beach-lovers’ trade.

This latest book of hers is a labor of love which has been in the making for many years. With a population of only 430 souls (at the time of writing), mostly old folks, Shiraishi is one of those rural communities destined to disappear with this generation. Before that happens, Chavez has made it her mission to record the stories of many of these people. The result is a book that is not only a valuable peek into the lives of Japanese in the last century, but also a very entertaining read. Each story is so different that I won’t pick up individual ones here, but try to convey a general idea of topic and feeling.

The book is redolent of one of Japanese culture’s several ground notes, the ocean. There is a wonderful sea tang in every word. Those of us lucky enough to have experienced at first hand this island, or indeed any slightly down-at-heel Japanese seaside community, will immediately be able to picture the scenes she shows us. These are places of weathered wood buildings facing the sea across a narrow road; plastic buckets, nets, and floats piled up against the sides of houses; ferry boats with chains and ropes, and rust showing through multiple layers of white paint; large geometrical concrete blocks spilled across the beach like a giant child’s toy construction; smells of fish, salt and seaweed from the catch spread out or hung up to dry everywhere. On Shiraishi these images are augmented by the inland communities surrounded by rice fields and vegetable patches, the shrines and local gods immortalized in stone markers, and the seaside quarries on the other side of the island, which provided its name back in the days when the prized “white stone” was cut and carried by boat to build castle walls and other lasting structures far away.

Amy talked to many residents of the island, recorded the conversations, translated them, and worked them up into some thirty vignettes telling their stories. Truly a long and, I imagine, deeply satisfying project. There are some story arcs that span the entire book, but I won’t give these away here, preferring to let readers discover them for themselves.

If you wish to know more of Amy’s own story, the Foreword, Introduction and Epilogue, as well as the penultimate story, “The Foreigner”, talk about how she felt on experiencing such an island community for the first time, and the twists and turns in the road as she gradually accustomed herself to it. And it to her. Her description of the local authority who decides which “people from elsewhere” (yosomono) will be allowed to take up residence here, was striking to me. The culture would definitely be vulnerable to “undesirables”, especially perfect strangers with no relatives or family ties to the place. (The author herself was looked at askance in the early days, as she describes, for loud barbecue parties and blaring music in front of her house.) At the same time, depopulation threatens to put paid to centuries-old traditions. This dichotomy of needs – the economic need for “new blood” versus the need of the residents to exist quietly in familiar, traditional surroundings – is felt in many rural communities throughout Japan, but the very isolation and insularity of this place as she describes it make the situation here particularly precarious and disturbing. The island residents probably see their situation as symbolized by the danger of the giant boulders dotting the hillsides, poised to come rolling down onto their houses, as indeed happened to Amy herself (“The Foreigner”). These people live between a (white) rock and a hard place, neither of the two choices of the dichotomy of needs being feasible for more than a few more years into the future.

Like many of us, she wonders what the next years hold in store. “Those previously dedicated to evening strolls along the road… have gradually bent over like rice heads at harvest time. I’ve watched my neighbors’ flawless skin furrow to deep wrinkles, and I know they must be observing the same in me.” Not only do aging rural people have to contend with the indignities of their years, they also have to cope with the sadness of cultural discontinuity – the neighborhood will not continue when they themselves die, a continuity which used to be the reassuring norm; the future is a blur of unfamiliar sights, customs and materials, with no one to mark and remember their lives of hard work and faithfulness to the old rituals and traditions handed down from time immemorial. It’s really heartbreaking, though probably inevitable. I myself live in such a community and family, I myself am aging and have watched my neighbors age. Our children have escaped to wider horizons and more choice; the continuity of centuries is breaking up. My own house, 350 years old, is one of only two of that vintage left in our area. The structures may endure, but the lifestyle they were built for will not, as they are increasingly demolished outright or at best taken over by people who have no connection to the land that spawned them.

But I digress. For me the value of Amy’s wonderful collection of stories lies here, that these tales of real human beings have been lovingly collected and preserved in this form. We too may enter into their lives and experience what they felt to be important, from carefully maintained octopus pots and fish nets to wedding photos and kimonos in drawers that immediately evoke memories of occasions and dances. The people in these stories aren’t just quaint puppets dancing for our pleasure. Personal idiosyncracies, sufferings, and joys abound; they could be the inhabitants of any human community of the past 300 or so years. At the same time, their world has been even more traditional and slow to change than mainland communities, and each small detail of their lives has been preserved here for us to enjoy, savor, and ultimately, sigh over. It’s a book that breathes of the sea and those who make their living on it, and a unique relationship to the pullulating life of “over there” (the mainland). One comes away happy to have made the acquaintance of these strong, no-nonsense souls. At the same time, one feels the melancholy of inevitable endings.

Thank you, Amy, for writing a book that allows us to feel these things by keeping a vanishing culture safely cupped within these pages as in an octopus pot.

There is a fascinating section with old photographs, and also lovely line drawings by Okae Harada. 

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