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Writings about Kyoto, whether by Japanese or foreign observers

Cheerful Bones

by Lisa Twaronite Sone

The man must have been hiking alone in the mountains when he keeled over dead.

A group of university students came upon him — the wholesome, outdoorsy type of youths who would have certainly called for help immediately if the man had shown any signs of life. But no, he was already stiff.

One boy pulled out his cell phone, thinking they should report finding a dead body. But another said, “Wait.”

As it turned out, the second boy was the son of a forensic zoologist, so he was no stranger to dead things: he had spent many happy hours of his childhood experimenting on animal carcasses, and he recognized a long-awaited opportunity to try his skills on a human.

“He’s so small and old! Look, his clothes are old, too — he was obviously just a homeless guy living in the woods, so no one will even miss him,” he assured his friends, with a twinkle in his eye. Some of them were initially uneasy with the whole scheme, but their friend’s confidence and his obvious pleasure in what lay ahead overcame their doubts.

Instead of calling the authorities, the boys hid the man in the underbrush, and returned later under cover of darkness to retrieve him in a big sports duffle bag. They laughed nervously every time they dropped him in their careless enthusiasm, but he was long past the point of feeling any earthly pain, so what did it matter?

When they got back to their dormitory, they told all of the other residents about the plan. The zoologist’s son quickly had everyone convinced of its merits, and sworn to secrecy.

First, the boys bought some thick plastic tarps at the home center. They wrapped the man in them, and buried him in a shallow grave in the dirt crawl space under their old wooden dorm. Then they ordered some dermestid beetles online, and released them to do their work.

For a while, they couldn’t quite ignore the funny smell in that corner of the building, but really, it was no worse than the stench of their ripest socks.

A few of the boys felt twinges of guilt in the weeks that followed, whenever they saw the news about the missing person; the man who lay beneath them hadn’t been homeless after all, but was in fact a family’s beloved grandfather. What could they do, though? They had all taken a solemn vow to never tell anyone about their plan, and a promise was a promise.

Besides, they all knew it was far too late to contact the authorities. It would be too hard to explain everything, and they were all complicit now. They rationalized that the man was already dead, so returning his body wouldn’t bring him back to life, right? His family would still have to cope with their loss just the same.

A few months later, when the odor had completely faded away, the zoologist’s son dug up the man and carefully boiled him, piece by piece, in peroxide. When everything was finally ready, he staged a dramatic unveiling, pulling back a bedsheet: Ta da! Their dorm now had its very own set of human bones! Even the initial doubters among them had to admit that the man looked pretty damn amazing in their entrance hall.

A fluffy Santa hat covered the man’s skull at Christmas time, but the rest of the year he sported a jaunty baseball cap and a tee-shirt with their university’s logo. New residents of the dorm would henceforth be required to kiss his lipless, toothy smile as a drunken initiation rite.

Couples posed for photos in front of him, his bony arm draped across the shoulders of cringing girls, whose boyfriends hugged them tight to comfort them and whispered that they had nothing to fear from a friendly old skeleton.

Over the years, dorm life took its toll on the man. No one could ever get rid of those red wine stains on his pelvis, and some of his ribs had to be glued back together after a wanna-be musician tried to use them as a xylophone.

The man eventually lost bits of his fingers and toes, as graduating seniors surreptitiously hacked off a knuckle as a souvenir to take on their journeys into the adult world — like a lucky rabbit’s foot, or the relics of saints inside Catholic altars.

Which is a better fate for your bones: to be surrounded by the silent dignity of dust, or the cheerful chaos of life and laughter?

It doesn’t matter what we choose, because it’s not up to us, anyway.

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To learn more about Lisa, check out this interview with her.

Writings about Kyoto, whether by Japanese or foreign observers

Circling the Mountain

by Edward J. Taylor

We arise at 1:00 am, behind a man who has trekked Hiei-zan’s 40 kilometer Kaihōgyō over a thousand times before. After a quick prayer at Konpon-chu-dỏ, we suddenly move along the paths at a surprisingly quick pace. The rain has cleared but the clouds keep everything below the knees in darkness. I am carrying a small flashlight, but after the first initial descent down a long flight of stone steps wet with rain, I decide to trust my footing, rely on instinct.

I had wanted to take part in the Kaihōgyō for about a decade, after reading about the Marathon Monks of Mt. Hiei in John Stevens’ classic book. The practice united two themes that had been important cornerstones of my life in Japan: mountaineering and a physically-challenging spiritual practice, both of which draw upon the reserves of what in Japanese is known as jiriki, ones own inner strength.

As this is a pilgrimage, I channel Thich Nhat Hanh, peace and mindfulness in every step. I do slip a few times, mainly snagging my feet on tree roots. Even those with lights slip occasionally, firing a kaleidoscope of flashlight beams into the trees. A lot of these pilgrims are past middle age, and as I watch them slip, I begin to see the nature of broken hips: of the shock at the sudden loss of balance and the quick, jerky, unconscious thrust of a leg to stop the fall. The only one of us with sure footing is the monk’s dog, which dashes along the trail, appearing and disappearing into the dark.

During our walk, we stop to pray at various spots that our guide has long ago memorized. Many are temples, some are statues, but most are simply trees or stones, signifying that this pilgrimage goes back to more animistic times. The prayers last only a few seconds–a rustle of beads, a few muttered words, then we’re off again. We walk on, along the ridges, the lights of Kyoto far below us, but above the heads of people sanely sleeping away the muggy mid-summer night. Up here, the man-made concepts of time and distance mean nothing. We will finish this hike when it was finished. I like the idea of this, of doing a task for its own sake. I am beginning to envy the monks, passing a life this way for seven years. But then it hits me. Isn’t their training, as amazing as it is, merely a long, deluded attachment to the completion of it?

We have a long tea break in the far western part of the mountain, then the sixty of us commence our descent east toward Lake Biwa. The sun begins to rise now, finally offering a clue as to the chronological time. In the dull blue light, I think that lakeside Shiga looks a little like Hong Kong.

It’s full dawn when we reach Hiyoshi Taisha and the base of the mountain. We take a long break at a nearby temple for more tea and onigiri. We’ve lost quite a few people on the way, but I am surprised to see one woman in her 70s who I’d met on the bus. I chat with a smiling, almost Gollum-like 85-year-old sitting beside me. I wonder how they’ll fare next, on an almost vertical fourteen kilometer climb back up to the temple.

Six hours after we set off, I am among the first to arrive back at Enryaku-ji. There are only about fifteen people present for the closing prayers. I have no idea whether the rest were still behind or had given up and are snoring comfortably in their hotel beds. Not a bad idea, I think, so after a long bath I return to my room, and seek out emptiness in sleep.

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For more by Edward J. Taylor, please check out this travel piece along Korea’s east coast, or this account of the Hoshi Matsuri, or this personal account of Japan’s hosting of the World Cup, or this article on visiting Cuba, or this lighthearted look at walking along the Kamogawa.

Writings about Kyoto, whether by Japanese or foreign observers

Mind games in Arashiyama

by Robert Weis

«Playin’ those mind games…»

John Lennon’s soundtrack rhythms my steps as I move like a ghost from Saga Arashiyama station towards the silhouette of the western hills. My physical persona has arrived in Japan the very same morning, on an overseas flight from Amsterdam to Kansai airport. My conscious mind has yet to follow though – so I look at myself as a stranger, a dazed vagabond approaching Kyoto for the first time, with the eyes of an explorer.

Starting my stay-over in Kyoto at the Arashiyama neighbourhood has been a well-established ritual for several years now; a simple beer and yakisoba lunch along the shaded western river banks, followed by a matcha green tea at Okochi Sanso garden. From there, at the top of the hill, the view extends to a mountain temple on the other side of the valley.

Daihikaku Senko-ji is a somewhat hidden spot, which I reach by walking along the river into the mountains, occasionally soaking my feet in the clear waters, here where the city and the mountains interlace and the reign of the kami begins. The stillness of the forest is only occasionally interrupted by the Romantic Saga train running towards Kameoka and the temple bell echoing in the forest. And then, suddenly again, that song in my head: “So keep on playing those mind games together, faith in the future, out of the now…”.

Following the notes like a dream, I let myself drift with the stream and when I reach Togetsu Bridge I cross the path back to the here and now. It is with a renewed presence, similar to the clear waters, that I travel downtown. There I have friendship, shelter, and the full range of earthly pleasures this city has to offer awaiting me. And still, I know that my place isn’t yet there:
“We’re playing those mind games forever / Projecting our images in space and in time.”

My home for this time, I know, is Pension Mind Games.

Photos by Robert Weis

Authors who belong to Writers in Kyoto

A Mancunian in Japan

On Compromise: A Mancunian in Japan
by Andrew Innes

“Could you try to sound a bit more American?”

They say that a fish in water has no idea what water is. Likewise, we could surely say the same thing about people and accents. We only really become aware that we have one when we find ourselves on dry land. Having lived in Japan for almost twenty years, I’m sure that I’ve unconsciously modified the way I speak to some extent, but have always felt it important not to compromise too much. Brows furrow and heads cock to the side if I ask students, “How’s it goin’?”, but shoulders relax and faces are lit up with smiles if I meet them in the middle and ask the more textbook, “How are you?” The phenomenon isn’t even limited to non-native speakers; years ago, a Kiwi colleague was adamant that the word ‘Alright’ didn’t constitute a greeting. I begged to differ.

“If the students want American English, we should give them what they want.”

Personally speaking, I’ve always been terrified that the way I speak might have become watered down and become the butt of jokes upon my return to the UK. I now say soccer instead of football when in class, and the word dinner when I formally said tea. Hopefully, that’s about as far as it goes, and it won’t get me raked over the coals or burned at the stake for being a witch the next time I’m back.

“I think that American English is the world standard. That’s what I want to learn.”

In one of my previous incarnations as a foreigner-for-hire, the kids got a sweet after their class. In my own classes at a Buddhist temple in the countryside, I preferred to give them a sticker, but we won’t get into the reasons for eschewing the former. Okay then — bribery through sugar, the slippery slope to harder substances, diminishing returns, a sense of entitlement, shifting the focus from extrinsic to intrinsic motivation, tooth decay.

Permission to have a sweet was contingent upon the young students making the specific request, “May I have a candy?” to which we were to respond, “Yes, you may.” Coming from Manchester, this grated a bit like a cheese grater grating a sunburnt back. So, sticking to my guns, I got the students to ask, “Can I have a sweet, please?” Although slightly less sunny than the prescribed phrasing, the concept of sunshine doesn’t really exist in Manchester. The kids, baffled somewhat that I’d structured the question in a way that deviated from the norm, would nonetheless perk up upon receipt of their treat and go about their day with an extra spring in their step. I don’t think the boss liked me corrupting young minds and smashing the system in such a way, but I saw it as an opportunity to teach them about language diversity and environmental determinism. That’s my excuse anyway.

“American English is easy to understand.”

We often hear words like diversity and inclusion these days. Who doesn’t want to get on board with that? Yet many teaching materials still seem premised on the notion that English is spoken the same the world over. Exposing English learners to the myriad ways that it is used can only be a good thing, even if it does cause a degree of confusion. Of course, it would simplify things if we all used the same accent, words, and pronunciation, and there were no such things as dialects, but unfortunately, that isn’t the way things work in the real world.

The message being sent out to English learners is that there exists a standard, correct way of speaking, and deviating from it is to be avoided. Taken to the extreme, this can result in being delegitimized or falling into the category of ‘non-standard’. We only need go as far back as the Oakland School Board ruling of 1996 to see the importance of fighting for what you believe in. As the Yiddish scholar, Max Weinreich puts it, “A language is a dialect with an army and navy.” Put another way, that which is considered the norm is merely that which is legitimized by the powerful group in a society.

“So go on. How can I sound more American?”

Well, I’m not sure. American English?”

“Okay, but which American English in particular? New York? Boston? DC? A Texan drawl, perhaps? Besides, I’m not sure I’d be able to nail the alveolar flap, which turns butter into budder. Or the retroflex approximant, which produces that strong rhotic R out of thin eə(r). But then again, surely that wouldn’t apply if I were using a New York or Boston accent, would it? You’d need to be more specific. And what about herbs? Would I have to say ‘erbs, or could I have my ‘erbs with a side order of h? Could I say that I’d just come back from a holiday on the continent? Or would I have to employ the glottal stop to say that I’d just vacationed on the ‘kɑ:nʔɪnənt’? And then we get into vocabulary. Of course, I could remember to say that I’d seen a guy jaywalking from one sidewalk to another, but I might forget to add that he’d been wearing pants and let slip that he’d had on a pair of trousers. You see, it really is a minefield.”

“Now you’re just being facetious.”

This wasn’t how the conversation went. It was almost nineteen years ago. Hindsight is a wonderful thing. It probably went something like this:

“Could you try to sound a bit more American?”

“Hmm.”

Sometimes it’s best to appease those around you by appearing to give them what they want. That way, you get to stay true to yourself, and they get that lovely feeling of self-satisfaction they’re after — no matter how hollow their victory might be.

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Andrew teaches at three universities in Japan. He is a short story writer and author of the forthcoming book, The Short Story Collective.

Writers in focus

Nervous Nun Limericks

The following limericks are selected from a collection entitled 101 Nervous Nun Limericks by shakuhachi maestro, Preston Keido Houser. These follow his love limericks from a monk’s perspective.

The verses are much in the spirit of koans and Zen humour, lighthearted yet hinting at something deeper. They also have a deliberately irregular syllable pattern from the conventional limerick, because, in the words of the author, they are meant ‘to challenge the reader’.

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There once was a nun from paradise
Who sought enlightenment at any price.
Yet for all her acuity
She was unable to see
The water that hides in the ice.

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There once was a nun from Koblentz
Who spoke up in heaven’s defense.
‘For all the pejoratives
Hurled at hell’s narratives,
In the end all life makes sense.’

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There once was a nun from Whitstable
Whose sultry allure was irresistible.
‘Though many monks seek my hand
One principle they don”t understand:
The sexual is simply transitional.’

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There once was a nun most dejected
When she detected her teaching was rejected.
‘It seems I spoke too soon,
For what I thought was the moon
Turned out to be sunlight reflected.’

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There once was a nun from Wye
Whose husband made her hue and cry.
‘For all the expectations,
Frustrations, and jubilations,
I still can’t believe I married this guy!’

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There once was a nun from Botany Bay
Who tried to console a family facing doomsday.
‘I know the news is bad,
But please don’t be sad,
Even if it’s not okay it’s gonna be okay.’

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There once was a nun from Cherokee Nation
Who pondered the XR situation.
‘Despite environmental calamity,
Is the purpose of humanity
To make the world safe for annihilation?’

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As well as performing at WiK events, Preston has produced a stream of poetry in the Villanelle form. For other verse by Preston, please see his Improv Poesy or for a selection of four poems, click here. To hear him talk about shakuhachi and Zen, or to hear him play, please listen to the following podcast: https://www.ancientdragon.org/podcast-library/

First Prize – Sixth Annual Kyoto Writing Competition

The judges of this year’s competition offer their heartfelt congratulations to Stephen Benfey for his masterful piece “Kyoto Time”, which is full of rich and dramatic imagery depicting an older and quieter Kyoto. The main character seems to embody this aspect of the city herself — multilayered and untouchable by the time that speeds by. The author builds tension and pulls us into the scene with visual details and subject matter that is unusual and fresh.

* * *

Kyoto Time

First light rouses Shizuka from her futon. She dons an indigo kimono. Skirts and blouses are not for her. Maybe, if she had been an actress … Silly thought! Barefoot, she descends the ladder-steep staircase to her speck of a bar just off Pontocho.

Before breakfast every morning, she walks to Nishiki Tenmangu Shrine at the east end of Nishiki-Ichiba — the old market street north of Shijo Dori. There she prays to the god of business acumen. The shrine gates are locked at this hour but Shizuka has a key to the service entrance. The priest’s wife is a friend from childhood.

Her rounded zori sandals tick an adagio tempo on the pavement. Ahead lies Kawaramachi Dori, one of Kyoto’s main north-south thoroughfares. Later in the day, it will be jammed. But now, it is empty, silent.

Shizuka cherishes silence. She loves the hush of the tea ceremony. Silence nourishes her after the nights of music, talk, and laughter.

She steps out onto Kawaramachi — two lanes going south, then two more going north. No lights here, no crosswalk, no traffic. She reaches the first lane marker when an engine’s whine rends the silence. She looks to her right. Two taxis are bearing down on her at full speed. Shizuka turns to face them. She bows deeply in apology — for being a nuisance, the nuisance of an older, quieter, slower Kyoto.

Shizuka relaxes, ready for the “other world.” The cars roar past, their wheels a blur to either side. Shizuka stays bowed in their wake, her kimono still rustling as the exhaust clears.

Is this heaven? But nothing has changed! She rises, slowly. She can see all the way to the mountains.

The taxis have left her alive. Untouched, like the soul of the city itself, by time.


Stephen Benfey, fiction writer, copywriter, and father, lived in Kyoto during the 70s, attending college, helping a Japanese gardener, producing videos, and listening to Osaka blues bands. There, he met his future wife and began writing copy. After raising their children in Tokyo, the couple moved to their current home in a coastal hamlet on the Boso peninsula.



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Congratulations, again, to all winners of the Sixth Annual Writing Competition. Details about the next competition will be posted to the Writers in Kyoto website this autumn. We look forward to receiving many entries in 2022 and having the opportunity to award more wonderful prizes, as well as to sharing the winning submissions within the WiK community and beyond.

Ginny Tapley Takemori

Zoom talk on June 13, 2021
Report by John Dougill

Ginny Tapley Takemori making a point during the Zoom session (photos by John Dougill)

Few people manage to make a career out of literary translation, so those who do must be special indeed. One of them is Ginny Tapley Takemori, the award-winning freelance translator of Sayaka Murata’s worldwide sensation, Convenience Store Woman.

WiK’s Zoom manager and fellow translator, Lisa Wilcut, provided the questions for Ginny, who was open and fulsome in her answers, with an obvious concern to give the best advice she could. The incisive questions ranged over tricky translation problems as well as what Lisa called ‘the meta aspect’ to do with building a career and getting published.

In terms of translation, the speaker discussed such matters as how to convey the author’s voice, and what to do with loaded cultural words like kotatsu. In one example she cited a Sayaka Murata short story that began with the pronoun boku – seemingly simple enough, except that in Japanese it is gender specific and that mattered to the meaning of the story.

As it happens, Ginny started her career translating in a completely different language – Spanish. Study of Japanese followed at London’s prestigious SOAS and a distance learning MA with leading Japan specialists, Sheffield University, in-between which she took a job with Kodansha. This enabled her to get an understanding of the publishing industry as well as making useful contacts in the book world. It was a career path she thoroughly recommended for budding translators.

Following further questions by Lisa, Ginny went on to cover two important subjects, namely how to get permission from authors to translate works, and the separate but equally vital matter of how to get a publishing contract. As stepping stones along the way, Ginny recommended translating short stories for literary magazines.

Socialising before the talk begins

Other topics that Ginny covered included the issue of social media and how best to use them. In terms of finding material, she suggested book reviews, browsing book shops, keeping up with prize winners and reading some of the many literary magazines in Japan. She stressed too the importance of having a personal connection to the material.

The recent boom in Japanese translated works, Ginny pointed out, is not a country specific phenomenon but part of a worldwide trend to greater acceptance of translated works. The trend has been furthered by a concerted campaign by translators, and as a result worldwide translations have increased from 3% of total sales to around 7%.

Lisa Wilcut, who managed the Zoom session and put the questions to Ginny

And to what did Ginny ascribe the global success of Convenience Store Woman? A top quality writer in Sayaka Murata. The appeal of social alienation as a theme to a generation of contract workers. Good PR from the publisher in Japan, followed by US marketing that created a buzz before the translation came out. Also in the UK a great design team at Granta, who even created promotion goods like T-shirts. There was one more factor in the book’s success which Ginny was too modest to mention – a great translation by a great translator.

Many thanks to Ginny for sacrificing her Sunday morning to give WiK a most informative and instructive talk. Earthlings is her latest translation of a Sayaka Murata novel, and we look forward to seeing where her translating skills will take her next.

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To see Ginny’s career record and 32 publications, take a look at her LinkedIn page and scroll down to Accomplishments.

Writings about Kyoto, whether by Japanese or foreign observers

Portraits of Uji

Uji as seen by three ladies from the West
by Yuki Yamauchi

(picture sourced from Eliza Ruhamah Scidmore’s Jinrikisha Days in Japan)

Uji has been a favourite destination of mine since I noticed my favorite author Lord Dunsany had written about the bodhisattvas on clouds in the Hoo-do hall of Byodo-in. (You can see the details here.)

Though there is no telling exactly how he came to know them, researching the possible source of his imagination helped me find three Western women who had visited Uji before 1933.

First, the renowned British traveler Isabella Bird (1831-1904) wrote how she entered the area in Volume Two of Unbeaten Tracks of Japan (1880). Her letter LV goes:

We crossed the broad Ujikawa, which runs out of Lake Biwa, by a long and handsome bridge, and went as far as the pretty little town of Uji, which has some of the loveliest tea-houses in Japan, hanging over the broad swift river, with gardens and balconies, fountains, stone lanterns, and all the quaint conventionalities which are so harmonious here. These tea-houses are ceaselessly represented by Japanese art, and if you see a photograph of an ideal tea-house, you may be sure it is at Uji.

The persevering explorer also recalls her experience with Orramel Hinckley Gulick (1830-1923), a member of the American Board of Commissioners for Foreign Missions, at a tea-house in the town:

I had not before seen a European man in one of these fairy-like rooms, and Mr. Gulick being exceptionally tall, seemed to fill the whole room, and to have any number of arms and legs! I knew that the tea-house people looked at us with disgust.

Afterwards, the writer explains the history of tea in Uji in detail:

Uji is one of the most famous of the Japan tea-districts, and its people told us that two crops a year have been taken from the same shrubs for 300 years. The Japanese say that tea was drunk in the Empire in the ninth century, when a Buddhist priest brought the teaseed from China; but it seems that its culture died out, and that it was naturalised a second time in the twelfth century, when a Buddhist priest again brought seed from China, shortly after which tea was planted at Uji.

Next, a similar theme with a focus on tea gardens is taken up by the American geographer Eliza Ruhamah Scidmore (1856-1928), one of the proponents of planting Japanese cherry trees in Washington, D.C. In her book Jinrikisha Days in Japan (1891), the Iowan writes of “the finest tea district of Japan” together with a photo entitled “Picking Tea”:

Groups of bobbing hats beside the tea-bushes, carts loaded with sacks and baskets of tea-leaves; trays of toasting tea-leaves within every door-way, a delicate rose-like fragrance in the air; women and children sorting the crop in every village; and this was the tea season in its height. Here were bushes two and three hundred years old yielding every year their certain harvest, and whole hill-sides covered with matted awnings to keep from scorching or toughening in the hot sun those delicate young leaves, which are destined to become the costly and exquisite teas chosen by the sovereign and his richest subjects.

Following this, Uji is featured in the book In Bamboo Lands (1895) by the American writer, Katharine Schuyler Baxter (1845-?). In a way reminiscent of Bird, she points out, “The tea-houses of Uji are ideal and are ceaselessly represented by Japanese art.” However, she also refers to how good Japanese tea tastes and the reason why:

The tea was delicious and brewed to perfection, as the Japanese are tea epicures. The water for making the beverage is heated but never allowed to boil, and after remaining on the leaves for a moment, until it becomes a greenish straw color, the infusion is poured off, or the result would be bitter.

In addition, Baxter mentions another attraction of Uji – Byodo-in temple.

Our inefficient guide, anxious to redeem his reputation, induced us to visit an old Buddhist temple founded in 1052, and noted for its kakemonos, scrolls, and relics of Yorimasa – a warrior of the twelfth century, who, after “prodigies of valor,” hard pressed by his enemies, committed harakiri at the age of seventy-five. Phoenix Hall, in the same grounds, is an ancient building, reproduced at the World’s Fair in 1893.

Not everything in Uji was pleasant to the traveler, though. She bought bamboo shoots to decorate the carriages that she and her companion boarded, but her purchases proved a source of trouble:

Then, as a bolt out of the blue, and without knowing the cause, we were stopped by an official, who demanded our passports, opened them, and pointed angrily to a certain line. We glanced at the translation and learned that we were accused of “injuring plants,” and were answerable for a breach of the law. I can imagine what a forlorn appearance we must have presented at that moment, as, surrounded by an excited crowd, we waited for our stupid guide to explain to the not less stupid official that the bamboo had been paid for with good, honest silver. Another five minutes was consumed in appeasing the villagers, who could not comprehend why foreigners should be allowed to destroy shrubs to adorn kurumas. Peace was restored at last, and we were allowed to proceed after the offending branches had been torn away and hidden under the seats.

Unfortunately, the lingering pandemic has made tourism in Japan more sluggish than ever, and Uji is no exception. The city is one of the places which I am eager to visit when the state of emergency is lifted and we are completely free from pathological threats. Ah, how I miss the days when I could take an occasional look at the Uji River while walking across the bridge, see a stone statue of Lady Murasaki close to the entrance of Byodoin Omotesando, stroll along the stone-paved approach, and imprint on my mind the beauty of the Amida Buddha statue surrounded by bodhisattvas on clouds inside the Hoo-do hall!

Photo by Yuki Yamauchi

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Sources

Isabella Bird https://archive.org/details/unbeatentracksin02bird_0/page/262/mode/2up

Eliza Ruhamah Scidmore https://archive.org/details/jinrikishadaysin00scid/page/n321/mode/2up

Katharine Schuyler Baxter https://archive.org/details/inbamboolands00baxt/page/278/mode/2up (pp.278-280)

Second Prize – Sixth Annual Kyoto Writing Competition

The judges were unanimous in their deep appreciation of “Love on a Low Flame” by Amanda Huggins. While the longing for a lover is expressed amidst the passing of seasons, the final line reverberates winningly, as if someone truly has come home. Apt phrase after apt phrase were also noted elsewhere in the piece, which prompted the judges to choose it as the winner of Second Prize.

* * *

Love on a Low Flame

The house feels hollow now you’ve gone
and there’s no one to call out to
when the DJ plays our favourite song.

I long for the familiar sound of your key in the lock,
your voice in the hallway
at the same time each day.

Tadaima!

I listen for your footsteps in the street below,
hear the tinkle of laughter, sweet as temple bells,
as girls hurry by, kimonos bright with peonies.

When summer wanes, the breeze spins restless leaves,
tangles wind chimes, rattles paper screens,
watches lanterns dance in empty doorways.

Sparrows take their roll call on the wire
and a lone heron flies low along the Kamo
with all Kyoto’s quiet beauty stowed beneath his wings.

So now I will wait out winter, warm our love on a low flame,
fashion its wings from fallen feathers,
anchor it with stones.

I whisper to you in the dark,
breathe my greeting into cupped hands,
hold it close to my ribs in readiness for your return.

Okaeri!


Amanda Huggins is the author of the novellas All Our Squandered Beauty and Crossing the Lines, as well as four collections of stories and poetry. She has received numerous awards for her travel writing and short fiction, and her debut poetry collection, The Collective Nouns for Birds, won a Saboteur Award in 2020.  

Third Prize – Sixth Annual Kyoto Writing Competition

The judges of the WiK Sixth Annual Kyoto Writing Competition once again extend their heartfelt congratulations to Hans Brinckmann, who was awarded Third Prize for his piece “Restaurant Boer”. This is a lovely and generous narrative, full of interesting details about the first Dutch restaurant in Kyoto, and told with humor and warmth. The author seems to be right before us, telling his personal story. While there were cultural factors in the business enterprise which caused confusion, the happy ending brings delight.

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Restaurant Boer

In the spring of 1958, I assisted a close friend, Shoko Fujii, in setting up a small Kyoto eatery in Kiyamachi, Shijo-sagaru, in a rented space owned by a gynecologist, right on the narrow Takasegawa. From the options I offered, she chose the name Restaurant Boer (meaning Farmer), the first Dutch restaurant in Kyoto, if not in Japan.  It featured smoked eels, hearty soups, and – as the house specialty – very tasty veal-and-bacon rolls known in Holland as ‘blinde vinken’, blind finches. The approximate translation, mekura-no-suzume, blind sparrows, sounded so intriguing that we were sure this would guarantee the success of this start-up.

Besides fresh vegetables, they were served with potatoes, jaga-imo in Japanese, introduced by 17th century Dutch traders from the Indonesian capital Jakarta, jagatara in old-Japanese, thus named jaga-imo, imo meaning tuber. Other meals were also served, such as cheese dishes and Jachtschotel, a hunter’s stew.

But after a brief spell of bookings, customer numbers declined fast, perhaps in part because of the shock caused by the mekura-no-suzume, not the taste, but its appetite-destroying name. And the term Boer didn’t help either: what was a “farmer restaurant” doing in Japan’s sophisticated, ancient capital? The restaurant closed its doors within a year.

But at least there was a happy ending: it was in front of Boer that in October 1958 I was introduced in mi-ai style to my future wife, Toyoko Yoshida. Why “in front”? Because although we had planned to meet at Boer, a funeral procession had just crossed the bridge to Boer. “Bad omen!”, she called out. “I avoid that bridge!” Instead, I crossed to her side, and from then on, everything went well. We clicked, found common interests, and married four months later. We had a happy marriage.



Born in Holland in 1932, Hans Brinckmann – though keen on writing – joined an international bank. Assigned to Japan in 1950, he stayed 24 years. He returned to Japan intermittently and since 2003 as a permanent resident and writer of seven works of fiction, non-fiction and poetry, including Showa Japan (Tuttle) and The Call of Japan (Renaissance Books). See his website https://habri.jp

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