Page 4 of 61

Authors who belong to Writers in Kyoto

Anger Management

A short story by Andrew Innes

Andrew writes: “Anger is an emotion that you seldom see expressed in Japan. I did however once see an old man at a festival repeatedly try to start a fight in front of a large crowd with a rather reluctant participant who simply bowed in response each time. The spectacle became more interesting than whatever was on stage at the time. Ten or so years later, I wondered what it would be like to reunite the two together: the conflict of living with anger management issues in a society where it is very much frowned upon.”

**********************

He’d only gone and done it again. Sitting on a barrel, Satoshi clutched a single bottle and surveyed the damage. Jagged shards of glass like shark’s teeth glinted menacingly under the strip lights of the stock room. Surrounded by a sea of alcohol that permeated the senses and intoxicated the very air he breathed, his head began to swim. He ran his thumb over a small salamander on the label that indicated this was a bottle of the brewery’s flagship product, his pride and joy. He knew that he really had gone too far. Having destroyed most of his stock, it was the last remaining bottle – the only one that met the strict standards passed down from one generation to the next. Slipping it safely under his arm, he walked outside to where the moonlight glinted off a river that ran past the centuries-old sake brewery and headed back into the sanctity of the family house.

“Okaeri nasai,” Satoshi’s wife greeted him as she fussed over a frying pan, the sound of a family game console being played in the background. Satoshi left his shoes in the entrance hall and stepped over the threshold where his two daughters, Haruka and Maho, ran to greet him, each grabbing a leg as he struggled to walk into the living room.

“Daddy, did you bring us any sweets today?”

“Oh. Ah!” he slapped his forehead in fake incredulity as he gave them a disappointed look, “I forgot to go to the stall on the way home, sorry!”

“But you promised,” one of them shot back as she stuck out her bottom lip.

“Ah, but wait just a minute. Maybe I put them…here?” He pulled two slabs of rainbow-striped youkan wrapped in plastic from his jacket pocket and handed them out. The girls cheered and gave their dad a hug before running back to their game of Mario Kart.

“No sweets before dinner, thank you,” came a voice as Michiko emerged from the kitchen with a large plate of watermelon slices, “and you, don’t forget your appointment tomorrow morning.”
“What appointment’s that, daddy?” asked Haruka as she struggled to pour a heavy bottle of barley tea into her glass.

“Oh, er. The dentist. Yes. Got to get the old teeth checked up, ah, or the tooth goblin will get me,” he said while pouring the tea for her.

“The tooth goblin?”

“Daddy’s just telling silly stories again. Isn’t he?” said Michiko as her eyes shot daggers at her husband.

“Oh, but I saw that old goblin around here just the other day. He was asking if there were any young girls who hadn’t been brushing their teeth.”

“Enough! There’s no tooth goblin.”

“Daddy’s being silly again,” parroted Maho as she took a bite of watermelon.

“Will the dentist give you some youkan, daddy?” asked Haruka.

“Maybe. Although the tooth goblin said I shouldn’t eat too many sweets. He doesn’t like people who eat sweets, especially youkan.” Michiko watched as her daughter’s eyes widened.

“Yes, anyway. Daddy’s just joking, girls.”

“Yes, there’s no tooth goblin. But don’t forget to brush your teeth before you go to bed, or you might turn into a pair of goblins.”

“Hai,” they both said in unison.

Later that night, with the girls fast asleep in bed, Satoshi slipped on his wooden geta sandals, closed the front door quietly behind him, and headed down a narrow stone path into the balmy summer night. The sound of crickets chirruped, and above, a billion stars sparkled in a bottomless pool of black. After lighting a cigarette and opening a small, glass jar of sake, he exhaled a plume of smoke and watched the river as it patiently gurgled across rocks made smooth over millions of years. The river had all the time in the world. It had no need to rush, no pressing concerns around koji fungus, sake contests, or optimal fermentation conditions.

It had been several weeks since his last outburst had strained the family’s finances and brought things into sharp focus and he had decided to do something about it. Stubbing out his cigarette, he took a final swig of the Ozeki One-cup sake his wife had brought home from the supermarket. “Ah, cheap rubbish,” he winced before tipping it into the river. He couldn’t be late for his one o’clock appointment and needed to have a clear head.

The next day, Satoshi sat hunched over the steering wheel of his car as he waited for the traffic lights to change. The lush fields and fresh air of the countryside had given way to the smog of the city. The traffic and maze of roads added to the fact that he was already running late and made him irritable. He turned the air conditioner up and massaged his head. His shirt clung to his back in the humidity of summer as a rivulet of sweat ran under his arm. This was why he rarely ventured out beyond the peace and tranquillity of Ikuno—that had been the doctor’s recommendation. Outside, a pneumatic drill hammered relentlessly as several men operated machinery, another bowing to the traffic in a carefully executed lesson in how to do road construction.

The sign changed to green. Yes. Satoshi waited for the cars to move. Nothing. Looking through the centre of the windows, he could just make out a car near the front of the queue. The driver pecked a screen with his finger, unaware that the sign had flashed green. Satoshi pipped his horn. Nothing. Seconds went by. He checked his watch. Peck, peck, peck. He pipped his horn again. Tap, tap, swipe. Suddenly, the driver raised his head and jumped into action as though an electric eel had fallen from the sunshade and was now thrashing around in his lap. Stepping on the gas, the engine of his small boxcar screamed past the roadworks just as a man turned the sign to red again. Satoshi tightened his grip on the steering wheel and let out a drawn-out growl of frustration before remembering what he’d learned in his last anger management session: breathe.

“So, Satoshi. In order to move forward, we must ascertain the source of where your anger comes from.” Satoshi wiped the sweat from his brow and drank hurriedly from a bottle of water. His clothes—clinging to his body like wet papier-mache—contrasted sharply with the impersonal interior of the clinic and immaculate suit of the therapist he’d been seeing for the past six weeks.

“I don’t know. It just seems to come out of nowhere. My family business has always had very high standards. My dad would explode in an incandescent rage if he thought that standards had slipped. It was as though a demon had taken him over. If we hadn’t got it just right, he would throw barrel after barrel into the river, where they would split open on the rocks and spill their contents into the water. The next day, he would joke that the river had been thirsty. He was just keeping it happy. Meanwhile, the brewery’s profits had drifted off to who knows where and we would have nothing to eat except rice gruel and daikon radishes for the next month. Like father like son, I guess you could say.” Satoshi stared at the ceiling as he related his tale.

“Interesting. And would you say that you find these episodes to be an impediment to being a member of Japanese society?”

“Of course,” he shifted on the leather chaise lounge, wiping away the sweat that was beginning to seep into the arms. “As you well know, anger is taboo in Japan. This is probably why, for me, it only comes out behind closed doors and away from the public eye. To all outward appearances, I’m a successful business owner with a lovely wife and two beautiful daughters. But when it comes to anything that threatens the business—bad weather, a poor rice harvest, pollution, a dead deer carcass upstream in your water source. Do you know just how nerve-racking the soaking process is?” he sat up, suddenly shifting gears.

“No,” the therapist replied, taken aback as Satoshi turned to face her.

“Well. It’s absolutely imperative!” he said, as though reprimanding a junior staff member. “It sounds simple, but I can assure you it’s not! The quality of the koji is entirely dependent on the level of water absorption, and just a fraction of a second too long can ruin it. Most breweries use a stopwatch, we use an atomic clock. You just can’t leave these things to chance, you know!” the therapist noted the rise in pitch, and the tension in his voice. “Of course, you’re going to need to make your koji by hand, but above all else, you’re going to need to have the purest water available—from Nada if you can get it,” he took another hurried drink from his bottle. ”Charcoal filtered, strictly no chemicals, you hear? And don’t get me started on saccharification, microorganisms, and multiple parallel fermentation. It’s a complicated process, you know. You can’t just come swanning into it as though you’re taking up a Zumba class or a cooking course,” Satoshi was now gesticulating wildly, his eyes darting around the room. He took a shallow breath and gulped down the last of his water. “Ah, listen to me go on. I’m sure you’ve got no interest in sake production. I’m sorry,” he offered a small bow before his body crumpled into the plush leather.

“No, it’s interesting. But I’d like to know, what do you think would happen if, one year, you produced a sake that was, let’s say, extremely good, but not quite perfect? How do you think your customers would react? Surely, they wouldn’t notice,” the therapist offered in a calming voice.

“Unthinkable! In this business, reputation is everything! I would sooner cut off my right arm than compromise a single ounce of quality!” The therapist noted Satoshi’s shallow breathing, the rigidity of his posture, and the slight flaring of his nostrils. As though seeing himself reflected in her startled expression, his body deflated back into the chaise lounge once more.

“Ah, I’m sorry. I’m doing it again, aren’t I?”

“No, no. It’s quite alright. It’s important to explore hypotheticals in a safe space like this. Roleplaying and running thought experiments are how we can begin to develop long term coping strategies.”

“Yes, yes. Anyway, I’d like you to have a token of my appreciation.” Satoshi reached into his briefcase and pulled out a single bottle of sake which he handed to the therapist—the label embossed with a golden salamander.

“No, no. I couldn’t possibly…”

“It’s the least I can do. My wife seems to think I’m making progress thanks to your sessions. She feels that I should sell the business rather than pass it on to my daughters. Her biggest fear is that history will continue to repeat itself if I decide to train them up as apprentices, and the art of sake brewing won’t be the only thing passed down.”

“You’re worried about the effect your temper will have on your daughters?”

“If there’s one thing more important to me than the sake business, it’s my family.” Satoshi said as he relaxed and stared at the ceiling. “I’d burn the whole place down in a second if I thought I’d raise my voice even an octave in front of them. But I do worry about the consequences my own actions may indirectly have on the girls.”

“Well, just remember what we talked about. You know what to do when you feel the primitive part of your brain hijacking the controls away from the more sophisticated area.”

“Yes. ABC: Assess the situation calmly; Breathe deeply; Consider the consequences of your actions,” replied Satoshi.

“Exactly. And just remember, the more primitive area will fight for control of your actions. And, more often than not, it’s going to win unless you do so.”

“The hairy caveman beating up the wise old professor with his club. That’s not a fair fight, is it?” added Satoshi.

“No, it’s not. Above all else, just remember to breathe.”

Later that day, Satoshi arrived at the fancy hotel and headed up to the members’ club on the top floor. The smell of sake and the chatter of jovial conversation hit him as he opened the oak-panelled door and stepped into the crowded room. Around the perimeter, booths had been set up to showcase samples from ten different breweries who had been invited to the event. Satoshi headed over to the Tatsuriki sake table where he was instantly recognized with a bow of respect from the staff. He sipped a cloudy sake and surveyed the room.

“Ah, Satoshi san. Long time no see. You’re looking well.” Satoshi opened his mouth in an exaggerated show of surprise as he turned to find a grey-haired man in a pinstriped suit—his old friend and rival, Masayoshi.

“Oh, Masayoshi san. Osewa ni narimasu. How are you?”

“Ah, can’t complain. A little too much business and not enough play, perhaps.”

“Ah, ha, ha. Nothing ever changes, does it? Are you here for the sake tasting today or are you showcasing?”

“A little of both, actually. It would be a foolish fellow who would come between a sake party and me, let me tell you.” Masayoshi raised his eyebrows and gave a conspiratorial nod. “This is our new sake. Would you care for a sample?” He gestured towards a corner of the members’ club with a flick of his hand where several men in finely tailored suits were chatting over various barrels. The air was drunk with the intoxicating smell of rice wine and occasional laughter as staff ladled the beverage into small ceramic cups.

“This cloudy one here with the turtle on the label is Kameyama. We named it after the birthplace of our company’s secretary. Please…” Masayoshi passed Satoshi a small ceramic cup while surreptitiously taking in the one feature that was said to have made Satoshi the best in the business: his large nose. Inhaling the fumes, he gazed towards the ceiling as Masayoshi looked on in anticipation.

“Apples, melon, strawberries, pears,” he took a sip and held it in his mouth before inhaling to allow the flavours and aromas to explode on his palate. “I’m guessing that the water is sourced from Kyoto—possibly Fushimi. Its low iron and manganese content means that the necessity to chemically filter out any impurities would have been bypassed,” Masayoshi nodded in silence as Satoshi let the liquid play on his tongue. “Balanced astringency, body, and taste, and an attractive umami finish. I’m guessing that of the 46 rice varieties available for sake production, you opted for somewhere in Hyogo. Let me guess, Nada?” he added as he exhaled to allow the ‘fukumi-ka’ through his nose. “Highly commendable.”

“Ah, spoken like a true master of the craft. I’m truly humbled,” Masayoshi laughed as he took the glass and set it down on the table. “Now, this next bottle is inspired by the birthplace of my mother-in-law, Gifu.”

“Ah, famous for its castle, and if I remember correctly, the dying art of cormorant fishing?” added Satoshi.

“Oh, amazing,” Masayoshi took a sharp intake of breath as though momentarily lost for words. “You know Japan much better than I do,” he added with a show of deference. “Cormorant fishing is certainly a dying art, and I was lucky enough to see a demonstration when I was last there on business. The cormorants do all the hard work catching the fish. And then, just before they can gobble one down, their keeper snatches it away and keeps it for himself. The cormorants only get about one in ten, I think.”

“Yes, it’s a wonder they keep doing it, isn’t it? You’d think they’d get wise. Although, it reminds me a little of the way my wife takes all my salary each month before giving me a few thousand yen back for pocket money!” Satoshi shot back.

“Ha, ha, ha!” Masayoshi’s laughter boomed out as he narrowly avoided spilling his sake onto the floor. “No, this bottle is actually inspired by the salamanders that reside in the rivers of Gifu.” He took out a bottle embossed with a silver salamander on the label, chuckling at the joke as he filled a fresh cup.

Satoshi winced as Masayoshi passed him the small cup, his mind suddenly working overtime. His eyes stared at the label as though looking away constituted a tacit acceptance that the balance of their relationship had just shifted beyond repair. Thoughts raced through his head. How on earth did he have the gall to steal the family branding? The sheer audacity! What a flagrant act of copyright infringement! He tried to stay calm, but he knew—as well as every other person gathered in the bar—that in this business, branding was vital. At this level, the difference between the different sakes, as everyone in the business knew, was paper thin, and after a few cups they pretty much all started to taste the same.

No, it was all about the backstory. How old was your brewery? How pure your water source? How deep within the mountains was it? Clever marketing created a veneer of sophistication that demarcated a clear boundary between the high-class product sipped over business deals and talk of kabuki, and the hundred-yen sake that old men slurped outside the convenience store. Masayoshi’s smile turned to an expression of confusion as he registered the red flags in Satoshi’s body language: the hardened jaw, the furrowed brow.

“Satoshi san, is everything okay? Do you need to sit down?” Masayoshi pulled a chair over and gestured for Satoshi to sit down, confusion giving way to concern.

Satoshi felt his hands begin to shake as his body flooded with adrenaline. It was as though he’d downed four double espressos. Fight, flight, or freeze? He couldn’t not mention it, could he? Fight, flight, or freeze? Make a choice. He couldn’t lose his temper in a setting such as this, but then again, he couldn’t just let it pass, either. While all this was happening, and below the level of conscious thought, the wise professor of his brain had long been taken out by the primitive cavemen. Satoshi’s mouth opened and closed as though any rational thought had been short-circuited.

Masayoshi looked on bemusedly as jazz music continued to play at odds with the scene about to unfold in the exclusive members’ club. How could he not know? My life’s work, my father’s legacy, and my reputation are all contained within that one logo. Fight, flight, or freeze? Adrenaline pumped through his veins. Masayoshi gave a quizzical look which turned into one of concern as his eyes surveyed the tell-tale signs of Satoshi’s state of mind. He noticed the pursed lips, the pallid complexion, and the veins raised around the temples. Fight, flight, or freeze. Assess, Breathe, Consider the consequences. Consider the consequences. Consider the consequences. Consider the consequences.

Suddenly, it was as though he was no longer in control of his own actions. His arm, as though acting of its own accord, picked up a heavy glass bottle, raised it above his head and brought it down onto the corner of Masayoshi’s head in one swift motion. Blood sprayed across the sake barrels as people began to scream. There was a curious juxtaposition of terror and light jazz as the skin split open to expose what Satoshi took to be the area of the brain responsible for higher-order functioning. There it was; he could just see it between the rhythmic spurts of blood as Masayoshi writhed on the floor in pain. That was the area his therapist had been talking about—the part of the brain that had once again lost the battle in his own head and would have consequences far exceeding anything he could imagine.

The traffic lights had already changed to green some time ago. Drivers pipped their horns as Satoshi sat staring into space, oblivious even to the sound of the pneumatic drill and the blur of workers in orange jackets as they toiled under the midday sun. His mind had been elsewhere since leaving the clinic. He had been considering the consequences of his actions. The bottle, the blood, the screams. He saw the blue light from a police car light up the river as an officer waded in to take him away. He watched the tears and confusion in his daughters’ eyes as daddy was handcuffed and put into the back of a police van. He felt the shame and humiliation he had brought on his family as his neighbours watched on. He contemplated the end of the business.

Shaking his head, he released the handbrake and cringed at the wildness of his own imagination, shocked at the consequences of what might have been. His wife had been right; he was making progress. Giving a small nod of apology to the traffic behind him, he drove past the roadworks and out of the city limits a free man.

The night had been a success. He had been more than a little taken aback that Masayoshi had used his company’s branding, but, recalling the words of his therapist, had taken a deep breath, and recalibrated. Upon returning to the room after a quick cigarette break, he had calmly suggested that the cormorant would be a far superior image to represent a sake from Gifu. Masayoshi agreed that it was indeed a good idea. There was no need for a lawsuit, no need to make an enemy, and no need to go to prison for the rest of his life over a simple act of violence. He had followed the doctor’s orders: Assess the situation; Breathe; Consider the consequences.

Rolling down the window of his car, he took a deep breath as the sweet smell of rice plants swaying in the warm breeze carried him home to Ikuno. Before long, the city was forgotten; his spirits lifted as the car climbed higher and deeper into the mountains. Now and then, he caught sight of the old, familiar river through the forest as it ran alongside the road and thought of the gallons of stock that he’d thrown into it over the years. He chuckled to himself at the legend of it being thirsty. Perhaps something in there really did have a taste for sake after all.

************************

This story first appeared in a 2021 book by Andrew Innes (The Short Story Collective: 13 Tales from Japan).

Hidden Japan by Alex Kerr

Book Review by Rebecca Otowa
Hidden Japan by Alex Kerr (Tuttle, 2023)

The original Hidden Japan was in Japanese, titled Nippon Junrei, and this translation gives us another example of Alex Kerr’s stupendous literary, cultural and linguistic gifts. It comprises a description of journeys in 2017-2019 and is in a way an extension, or re-visitation, of his earlier book Lost Japan (Penguin 2016), also originally published in Japanese. The subtle and complex parts of the Japanese soul — oneness with nature, dark forests, multi-faceted religion, quirky and non-right-angled art — which he is writing about have receded further into oblivion in the years between then and now.

In the introduction to the Japanese book, reproduced here, we are reminded that in Japanese culture, “hidden”, or “back” things are often seen as more mysterious and thus more desirable than “revealed” or “front” things. (The phrase and idea of “in your face” is not easily translatable into Japanese.) He acknowledges his debt to the writer Shirasu Masako and her book Kakurezato (Hidden Hamlets).

Hidden Japan is a compendium of several trips the author took to ten different parts of Japan including among others Noto peninsula, Amami-Oshima island in the far south, and Yazu and Chizu in Tottori Prefecture. Some are related to his love of old buildings, especially houses, such as his trek to southern Fukushima prefecture; and some are connected to his own history, such as the American Occupation settlements of the Miura Peninsula, Kanagawa Prefecture near Yokohama, where he lived when his father was stationed in Japan in 1965. It also branches out into such areas as trees and tree cultivation, cedarwood shingles in temple and shrine architecture, and the complex origins of the elemental and avant-garde Butoh dance tradition. In a passionate opinion piece modestly titled “Postscript”, Kerr outlines his ideas for “a new philosophy of tourism”, and indeed he has become one of the most important voices for saner policies of tourism in Japan. The book also includes a comprehensive glossary and useful maps.

It’s typical of Kerr’s outlook that he writes in this Introduction, “please enjoy learning about the places in this book. But please never, ever go there.” He quotes Shirasu Masako describing the imperative to share one’s experiences of “hidden” places as “cruel” because it contributes to the place becoming more well-known and more visited, which inevitably changes it and may eradicate the very things that made it charming in the first place. In labeling some places “hidden”, he harks back to the days when people read travel books because they would probably never go to a place, rather than as a preparation for going there. That was the era of the “armchair traveler”. Occupants of the armchairs of those days asked of a travel book that it not only give information about the place described, but also sprinkle in some history, personal adventures, cultural points, and literary worth in the form of quotations and allusions, as well as good writing. Hidden Japan amply provides all these things.

When you read this book, if you find yourself thinking, “I must make that part of my next itinerary”, Kerr implores you to think again. Would the place in question benefit from your visit, or would your presence just make it that much less hidden? Would you be able to refrain from boasting that you had visited one of Japan’s most isolated backwaters, and thus make it likely for friends to visit too? It’s certain that many of these places would benefit financially from a few more visitors. But it is equally certain that many of them, faced with the possibility of a tourist influx, would haplessly destroy the very thing they have set themselves up to be famous for.

As a painful example of this, Kerr mentions the spectacular steep-hilled rice field terraces of Shiroyone, on the Noto Peninsula, which he says “feel a bit staged” because of their close proximity to the cement Michi-no-Eki (“break point on the road”, usually a cement building where local produce and souvenirs are sold). But then he goes oan to say, “Maybe a convenient parking lot right there, with an observation platform from which you can easily snap a shot and then be quickly on your way, is just what people are looking for.” It is certainly what the Chamber of Commerce in this area is looking for, and if we think about various people we know, we could probably think of many who fit neatly into this slot too.

The hidden places that Kerr writes about are certainly enticing, if you seek “the real Japan”, and especially if you like old buildings, nature, and historical associations. It’s very tempting to feel that you are one of only a very few people who have set foot in some isolated locale or other. But especially in these times when “reality” itself is taking a beating as a concept, to be able to say you have “actually visited” some place or other is rapidly losing its meaning. For a second, let’s imagine doing “remote” traveling — sitting comfortably at home and, with such a book in your lap, imagining trekking the mossy paths of Itaibara hamlet, or sampling the fare beneath the grass-grown thatched roof of Mitake-en restaurant, or unraveling the esoteric attractions of Butoh dance as described by a visit to Kami Itachi Museum, to name but a few? Kerr re-introduces us to this type of traveling, done in the mind with one’s imagination as a surprisingly lucid guide. If one is stretching a muscle long disused, all the better. Think of what you are missing — long boring hours in a car or in public transport, all the mundane problems of “getting there”, and most of all, that moment when you finally arrive and are distracted by something else, or inevitably think, “Is this all?” I am reminded of a humour book I once read in which an American, visiting the Louvre, accosted a docent with the question: “Excuse me, where is the BIG Mona Lisa?”

There are many things in this book that fire the imagination, especially if one knows a bit about Japanese history, and one is certain to learn many things that one did not know before. Especially, one learns about the changing attitudes and beliefs of the Japanese people themselves, and how these affected manifestations of culture.

In many ways, though it harks back to a quiet, mysterious country that many want to experience directly though the opportunities get fewer every year, a Japan of the past, Hidden Japan is a book for the future. It conjures up a time when the drive to “go, go, go” to places will be stilled, either by choice or because of dwindling resources or other global contingencies, and we will turn to other means of getting that thrill. At this time of the world, when Covid is relaxing its grip and travel is once more possible, it is a paradox — a travel book that asks, for good reasons, that people not visit the places described. I’m not sure if this was the original object, but it is what I took away from reading it.



Local Prize — Carter Hale (Eighth Annual Kyoto Writing Competition)

From the Judges:
“In this piece, the reader is moved through three distinct but complementary scenarios, all quintessentially Kyotoesque: the herons along the Kamo River, the Miyako Odori, and the deep-rooted pleasantries which oil the local social life. The performative aspect of the city is explored in a creative and slightly mystical way. In a sense, this is a series of three word-pictures, the last of which is an ancient umbrella shop. The description of the mossy old wooden sign will give a thrill of recognition to anyone who has glimpsed such signs around the city. They are disappearing, but some are still there to be discovered.”

*  *  *

Umbrella Store

Lady Kyoto sat backstage removing her makeup and inspecting her wrinkles in the
mirror. A woman my age, she thought, can’t be made to look twenty. She leaned back and propped a dainty foot upon the vanity, kicking aside a pile of creams and powders. Koto music played from a speaker; a plastic sakura branch hung still by the door. Exposing the edges of the oshiroi on her chest, she threw her head back and rued that she had ever been made to play the part of herself. She was unaware that her wilting is a perennial bloom.

Step down from the harassed boulevard into the calm of the ankle-deep water. The river’s flow is ageless. Lovers in pairs are spaced along the riverbank with mathematical precision. On the opposite shore, lonesome herons wear expressions of widower contemplation and perch at intervals derived from the same formula. A cyclist comes too near and startles one from its meditation, prompting it to launch into flight above the river and, like a languorous boomerang, circle back to resume its vigil. A breeze soon bears them off together toward mountaintops; the cars bear themselves off to office garages and cramped side-streets.


An old shop still stands on Kawaramachi; the owner’s wife is bent double sweeping the storefront. Spying a passing acquaintance, she nods and smiles warmly. In another time, they may have approached one another in the middle of the street and taken the time to remove their coats, fold them overarm, and exchange bows. The number of appointments being made between this and that side of the street poses new hazards now. At the very least, they nod and smile. The mossy illegibility of the signboard overhead testifies to having survived the conflagration. “Kasaya”, umbrella store.

Photo Credit: Carter Hale

*  *  *

Carter Hale was born in the USA in 1994. He left his native country when he was 22 and worked various jobs in different countries, such as restaurant manager in Vietnam and Taekwondo instructor in South Korea. He is a self-taught classical guitarist and an aspiring writer. He has been based in Kyoto since 2022, where he is currently delivering groceries by bicycle and performing in a guitar+shinobue duet.

Carter receives his ceramic prize (Bizen tokkuri) from the Robert Yellin Yakimoto Gallery

For the full list of this year’s competition winners, click here.
For the original competition notice (with prize details), click here.

Writers in focus

On Turning Seventy-Five

Malcolm Ledger
Thursday, 7th September 2023, Kyoto

It makes you think. A time to reflect and take stock. Three-quarters of a century. An easily comprehensible number, in a way that fifty-million, say, is not. Twenty-seven thousand, three-hundred and three days, each lived second written, engraved, on your face, body, and heart. The joys and griefs, the heartaches, regrets, and the moments of brief, shattering ecstasy.

A time to begin letting go, to put things in order, to get rid of the detritus of a life. What has been carefully accumulated over many years will eventually be dispersed and thrown away. Photos, letters, books, manuscripts, keepsakes, and mementoes; all the things that bolstered a false sense of self — “This is who I was. This is what made me, me.” All no longer needed. All will finally go.

And what will remain? The results of work, if any. The ripples from deeds, both good and bad, that have spread out, like gravity waves, into the world. And for a while, treasured memories in the hearts of those left behind who knew and loved you, as well as more unpleasant, ambivalent ones in the minds of those you hurt or wounded, whether intentionally or otherwise. Then these, too, will fade and disappear in their turn. And so you are finally brought face to face with the inescapable fact of death and oblivion, the inevitable, yet still incomprehensible, end of all things.

“And drop from out the universal frame
Into that shapeless, scopeless, blank abyss,
That utter nothingness, of which I came”
(The Dream of Gerontius—J.H.Newman)

Shakespeare summed it up inimitably in the mouth of Macbeth.

To-morrow, and to-morrow, and to-morrow,
Creeps in this petty pace from day to day
To the last syllable of recorded time,
And all our yesterdays have lighted fools
The way to dusty death.
Out, out, brief candle!
Life’s but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more: it is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.

But knowing that, then what? Though each is given the priceless gift of time, in the face of death are despair and helplessness the only options? Is it easier to ignore the truth, to act as if life were everlasting, or to open the eyes, to see the natural wonder of each fleeting moment, to appreciate, and be grateful for, the uniqueness and evanescence of existence, its constant sweeping away of the old and regeneration of the new? It means to live fully in the time remaining to you, in the eternal moment, which is all we shall ever have.

It makes you think.

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More by Malcolm Ledger…
= For his prize-winning entry in WiK’s Seventh Writing Competition, see here.
= For a selection of his poems, see here and here.
= His other writing includes the following: Prologue to a War, An Unveiling, Ohigan

Authors who belong to Writers in Kyoto

Crossing the Path of Bonsai

by Robert Weis

Photos by Robert Weis

The following text is an excerpt from the self-published volume A tiny nature – recollections of poems and trees (August 2023), available exclusively from Amazon. It features a collection of poems, short prose texts and photographs of bonsai trees from Japan and Europe.

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I was gazing at the landscape from behind the window of the local train running from Takamatsu to Kinashi and I was thinking about to what extent the nature of this country, Japan, was different from the nature I was familiar with back in Europe. Japan is a land of mountains, accounting for 63 per cent of its surface area: these mountains paraded before my eyes, shrouded in that quintessentially Japanese moisture that brought out the nuances of color in a soft, subdued light, just like in some photographs from the 1970s in my parents’ house. Nostalgia for an unknown life was one of the reasons that made me return to a country so far away and yet so familiar.

Another reason that brought me on this short trip to the island of Shikoku was my attraction to bonsai trees, the small potted plants that materialize a connection with nature which I had felt since childhood. My interest in growing these miniature trees was indeed sparked by a book on bonsai found in my father’s library.

My father had acquired this book in the 1970s, although he never put into practice the cultivation advice it contained. And yet he had planted the seed in his son’s mind: what a marvel it was to look at these images of potted plants that were like the great, venerable trees that grow freely in open spaces. This ‘larger than life’ aspect was deliberately emphasized by the art and expertise of the bonsai Master. Like contemplating a work of art, this feeling of naturalness touched me intuitively at the very core of my being. As I stared at the photos of these trees, I felt myself shrinking in my dreams, until I was able to sit under the knotty, tangled branches.

It was a sensation similar to the one I experienced many years later when I visited Kyoto and the famous Zen garden Ryoan-ji, created in 1473 under the influence of Zen Buddhism; a simple square courtyard, covered in gravel, with a few rocks in the middle. The gravel is raked into regular grooves that surround the rocks like the waves of a sea. Looking at the view, one realizes that it is a representation of a sea, with bizarre rocky islands battered by the waves. And it makes you feel as if you were free as a bird flying over the vast ocean.

The town of Takamatsu, whose name translates literally as “the high pines”, and its surrounding area are famous for growing goyomatsu (white pine) and kuromatsu (black pine) bonsai. The village of Kinashi is home to the greatest number of pine nurseries, about a hundred of them, which have been in business since the Edo period 250 years ago – and now account for 80% of Japan’s pine bonsai production. Pine is a particularly popular tree in Japan, and not only for bonsai cultivation. With an appearance that does not change with the seasons and its resistance to the ravages of the passing years, the Japanese pine is synonymous with virtue and longevity. Traditionally, like all conifers, it has a masculine connotation, as opposed to deciduous trees, which are associated with femininity. The pine is also associated with the Japanese New Year celebration, as a symbol of renewal. It is therefore no coincidence that the Japanese pine is often found in bonsai and in all traditional Japanese gardens.

Takamatsu is home to one of Japan’s most important gardens, the Ritsurinkoen. Here you can admire over 1,400 Japanese pines, some over three hundred years old, trimmed according to very precise rules. These pines have been shaped by gardeners to create evocative forms, such as the famous pine that reminds us of a crane about to fly away on the back of a tortoise. The shape resembles large bonsais, but they are trees planted in the ground, and the aim in this horticultural discipline called niwaki is not to reduce them to a size that can be associated with a pot. As indicated by the name bon for pot and saï for cultivation, a true bonsai is thus by definition a plant cultivated in a pot, whatever its dimensions.

You could say that a bonsai is a nomad tree, not tied to a particular place for its survival. It is perhaps for this reason that bonsai is now enjoying a worldwide popularity that outstrips the waning interest in its country of origin. In any case, the travelling nature of bonsai is a blessing for people like myself who change homes frequently.

But the reason I’ve come to the Ritsurin garden today is to be inspired by these deep-rooted pines, shaped by wind, sun, rain and generations of gardeners who have all contributed to this diversity of forms: sloping trunks, double, triple or even multiple trunks, cascading or semi-cascading trees, wind-beaten branches, trees with exposed roots. The Japanese poet Matsuo Basho said that to learn more about the nature of pine trees, you must go and have a look at pine trees.

The art of bonsai is fundamentally a journey back to the roots, a process that owes much to the observation of nature, whether in the wild or shaped by the hand of man. A Japanese garden is the ideal place for this: a synthesis of nature revisited by gardeners who are artists, craftsmen and spiritual masters all at once.

In the words of Nobel prize-winner Yasunari Kawabata, a great bonsai enthusiast himself, the Japanese garden is a representation of nature, and bonsai is its most accomplished expression. In bonsai, we find the epitome of a Japanese sensibility that brings together aesthetics and spirituality, the outside and the inside world, in a journey that lasts lifelong: this is the essence of the way of bonsai.

*****************

About the author:
Robert Weis works as a natural scientist, and nature is also at the core of his non-fiction and poetry writing. In 2022 he published, together with Davide S. Sapienza, the travelogue Rocklines — a Geopoetic Journey Across Minett Unesco Biosphere (Editions Phi, Luxembourg). He is a contributor to Luxembourgish travel magazine Diariesof, the French Japanophile magazine Ryoko and Japan-based Kyoto Journal as well as Writers in Kyoto anthologies. His first poetry volume, Rêves d’un mangeur de kakis (Michikusa Publishing) came out in January 2023. In summer 2023, the travel narrative Retour à Kyoto (Editions Transboréal) was released. Visit him at www.theroutetokyoto.com.

Mike Freiling on AI

Zoom talk, August 20, 2023, reported by Kirsty Kawano

Writers in Kyoto member and AI professional Mike Freiling shared his knowledge of ChatGPT in a Zoom presentation on August 20, 2023. The sheer speed at which ChatGPT’s capabilities are evolving is a concern for writers, and even people involved in the development of AI are asking for regulations to direct the technology’s extreme pace of advancement into unchartered waters. The implications of ChatGPT are something we all need to think about, says Mike; “It will affect everyone on the planet sooner or later.”

Mike gave an overview of how ChatGPT has been developed and the parameters that can be used when operating it. The program has been trained on up to 300 billion words. In addition to the data we know about (books, websites, etc.) its training set also includes some data “specifically engineered by human trainers.” What this last category is has not been revealed and it raises questions about the altruism of the tool. It has already been used to create fake financial and legal documents.

With an estimated $100 million already spent on its development, this technology is here to stay. This is why Mike encourages us to try ChatGPT now. Currently, the system is available free because its widespread use is helping it acquire “naturalness.” Yes, by using it you are helping to refine its functions. How valuable is that contribution? Mike says it costs the company responsible for ChatGPT, OpenAI, $700,000 a day to make it publicly available. So, explore what it can do, now. When the “honeymoon period” is over, you may find yourself having to pay for the same level of access.

What can we do with ChatGPT?
Mike suggests that the most effective uses of ChatGPT are as a research tool and an idea generator. He has experimented with a wide variety of prompts, from “How is equity risk premium calculated?” to “Where are the best places in Kyoto to meet ghosts,” and finds it much quicker and to the point than a Google search. If you’re writing a murder mystery, you can use ChatGPT to capture the steps that a skilled detective might take, for instance, to spot the symptoms of a rare poison, or determine the geographical location of a soil sample.

It can also help in coming up with the twists and turns that add interest and texture to a plot line. Chasing a suspect across Kyoto, for instance, might be interrupted by a flash flood on the Kamo River, or a traffic accident that blocks the Sanjo Bridge.

Another creative application would be to explore connections between two words, “cat + Kyoto,” for example. (I’ve been told that Shinichi Hoshi’s process for writing his short science fiction works was to pick three words or so out of a hat, so there is precedence for this approach.)

Hints for using ChatGPT
As it is not good at aggregate functions, avoid asking about the “earliest,” or “latest” of something
Ask for an analysis of two sides of an issue, as in “the pros and cons” or “lover vs fighter”.
Seek objective, or measurable, evaluation, so “most popular” rather than “best”
To deviate from the more common answers, or shift further “out of the box,” adjust the temperature parameter higher. Do this by including in your prompt, “temperature = 10,” for example

The future with ChatGPT
As many observers have pointed out, this technology is already proving advantageous in many fields, and Mike mentioned its beneficial use in personal counseling. For writing, he proposed instituting a content rating, where GPT=20% would indicate that 20% of a particular book or other text is AI derived. He also anticipated that we may see exams at university, for example, shift from written format to oral, in order to make sure that the students are able to take ownership and explain their ideas, rather than use ChatGPT as a shortcut.

In the field of translation, the Zoom discussion seemed to agree that while technical translation may fall prey to the power of AI, literary translation, where nuance is vital, is likely to remain in the domain of humans.

The topic of AI eventually leads to the questioning of what it is that makes us human, Mike said; “We will all be asking ourselves that question, either explicitly or inexplicitly.”

Mike is keen to conduct regular discussions about ChatGPT and invites others who are interested to join him on the Facebook group, “Fun with ChatGPT: A forum for people to share oddities they discover when using ChatGPT.”

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About Mike Freiling:

Mike earned his PhD in 1977 from the MIT Artificial Intelligence Laboratory, one of the earliest degrees granted in the field of AI. After spending the next year as a Luce Scholar at Kyoto University, Mike returned to the US, working in a variety of roles related to AI and knowledge-based products, from Assistant Professor to Principal Scientist to Director of Product Marketing. Most recently, he has been developing models for detecting fraud in the areas of payment processing and capital market manipulation.

Mike has been a member of Writers in Kyoto since 2019. His poems and translations appear in the WiK anthologies #3 and #4, and he recently co-authored They Never Asked, a translation of Japanese senryu written by Japanese-Americans incarcerated during World War II, which is available here:
https://www.amazon.com/They-Never-Asked-Portland-Assembly/dp/0870712357

For Mike’s self-introduction to Wik, see here.

Writings about Kyoto, whether by Japanese or foreign observers

Kyoto Visual Stories

By Edward Levinson

During the 1990’s when I visited Kyoto on photo trips, I often stayed with an American friend who lived just across the street from Shisendō, the famous poets’ retreat temple on the north side of Kyoto. As a photographer and poet, I have always seen Shisendō as a favorite place to visit in Kyoto. The small hermitage established in 1641 is situated on a hill, the building and garden meticulously maintained.

The privately owned primitive rental bungalows across the street, with their thin clapboard wood siding and close-to-the-elements airy environment, somehow seemed just as close to the hermit poets’ hillside experience, especially the humble poorer ones that we often hear and read about. Rattling windows and doors, outside air streaming in, and of course mildewy with mosquitoes in the rainy season and summer – all may inspire poetry if you are lucky.

Worshiper Greeting the Spirits at Tanukidani Fudō-in, lens photograph

One fall morning while staying there in 1993, I ventured further up the road into the mountains past Shisendō. Near the top is Tanukidani Fudō-in Temple and along the way there, passing through Tanukidanijizoson, some graveyards, tanuki (racoon-like) figures and Buddha statues. I had just recently begun using my wooden box pinhole camera and found many images that I would later call and include in my series “Sacred Japan – Myth or Reality”. As many who live in or study Japan know, there are often paradoxes and ironies that don’t always mesh with the traditional sense of sacred places. Too much new concrete, various flags cluttering the way, loudspeakers asking you to be quiet and other such things. It is often a dilemma for photographers and writers.

On this particular morning walking up, I came across an interesting statue that seemed to have a story to tell. It was cloudy and dark in the woods, making for a difficult long exposure using a tripod. The plus side for these long exposures is that I get to commune with the subject while the shutter is open capturing the image on film. Its a bit of bonus meditation time. Later at home, when I developed the film and made some prints, here was this imposing figure who I named Forest Sage.

Forest Sage, pinhole photograph

By 1997, I eventually I had enough images in this series to hold their debut exhibition in Kyoto. We used this image on the invitation DM postcard. In town for hanging the exhibition and the opening, lodging again at the Shisendō bungalow, I ventured up the road to pay my respects, say thanks to “sensei” and to say a prayer that the show would be successful. I hadn’t visited him since I took the photo in 1993. To my great surprise it was a very small statue, not life size as I remembered it, but something like a big doll. Most people would likely walk past him and not really notice. But for me he was and still is a big influence.

As of early spring 2017, “my” bungalow was still there, though my friend had moved on, someone was still renting the place. It was nice to see that not everything had changed. And of course, Shisendo which I visited on that trip when making my pinhole film about Kyoto, was still looking and feeling peaceful in the afternoon light.

In Shisendo’s Garden, pinhole photograph

Now on most of photo/filming to trips to Kyoto I stay at economy business hotels for a neutral home base, the small rooms, sometimes in a quiet place, sometimes in the thick of things along the Takasegawa canal, offer a different kind of retreat from my everyday country life in the “other Kamogawa” on Chiba’s Boso Peninsula. At night I lay on the hotel bed, stare at my wide-open paper map of Kyoto with my red-circled areas and wait for an inspiration on where to go the next day. I generally pick just one area to concentrate on as my visual creative methods are slow moving. I can easily spend two hours at one temple or shrine or beside one of the rivers or streams, before I move on to the next place. And importantly, I tend to visit the same places over and over again, then find pleasure discovering some hidden corner I have never been before.

Temple Doors, Otagi Nenbutsu-ji Temple in Arashiyama, pinhole photograph

A few years after meeting up with Forest Sage, I again found myself up the mountain in the woods somewhere behind Tanukidani Fudō-in Temple. I came across a simple wooden shrine. Not so inspired to make an image, I went further into the woods behind the shrine to find some nature energy as I often do. It was late morning and I had been on the road for a few days. I laid down on the ground in the sun to rest and just enjoy the place without the camera or pen and paper. Nearly 20 years later in the woods behind my own house I occasionally repeat this retreat practice, which finally inspired a poem. It has nothing per se to do with Kyoto, but it easily fits with the Shinto or Zen spirit of “Sacred Japan”. It is certainly no accident that this series and theme started in Kyoto. I continue to search for both the myth and the reality.

On the Ground

A snake on the ground
tree roots curling
up and down
a log on the forest floor
prostrating to the universe
connecting
as birds twittering here and there
pay me no mind
could care less if
I am here or not
if I rot or not into the Earth
and feed these trees
adding to this bed of leaves
upon which I lay my bare head
with humble desire and honor
to touch Oneness.

============================

References:
“Sacred Japan” Gallery

Edward’s photo website

Edward’s Essay/Memoir book website

More writings by Edward on Pinhole Photography

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

Five Cooling Tanka

by Lea Millay

Lea writes: ‘I offer a few winter tanka inspired by my time in Kyoto last December. May they give a brief respite from the summer heat.’

climbing the steep hill
a pillow of stone offers
deep and dreamless sleep
as wind rustles winter pines 
a clear moon graces the sky

When I was walking alone on Shirakawa near Gion Shinbashi—

clear cold winter’s morn
heron in the quiet stream
longing to return
up into the icy air
wings against the silver moon

Stopping at Seishin-in off Shinkyōgoku-dori—

each time I return
to feel the pulse of ages
beat beneath the new
lone monk chanting the sutras
shadows on a mossy stone

Returning to Daishū-in after many years—

there across the lake
a verandah smooth and still
early morning light
I can’t recall his face now
only the sound of light snow

small glimmer of hope
woven into the fabric
the pattern will show
moonlight in the sky above
stardust in the lake below

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Lea writes, ‘In my early twenties I journeyed to Kyoto to teach English at Heian Jogakuin. I lived near Kinkaku-ji and it was during this time that I started Zen meditation at Daishu-in, a sub-temple of Ryōan-ji. Eventually I was able to meet and study with Morinaga Sōkō, the abbot of Daishu-in, and although I was his least promising student, the spirit of his teaching is with me still.

After returning to Seattle, I completed an MA and a PhD in Comparative Literature (Japanese and French) and in the intervening years taught Japanese Literature and Culture at the University level, retiring in the spring of 2022. I live now in Portland, Oregon and thrive with hiking, gardening, practicing taiji, traveling, and writing poetry.’

Alert readers may have noticed that Lea follows the 5-7-5-7-7 syllable pattern that characterises Japanese poems. Here are her thoughts on writing tanka in English:

‘For me writing tanka in English using the 5/7/5/7/7 syllable pattern evolved out of many years of translating Heian-period waka, particularly the poems of Izumi Shikibu. It certainly was not natural at first, but is becoming part of my practice more and more. The biggest obstacle is the kakekotoba (a poetic code word based on homonymy that contains two different meanings, each intended to function as a part of the poem’s imagery and content, which does not exist in English). I have to let this go. Still, I hope there is a resonance for those who have a spiritual connection with Kyoto—present and past.’

Writers in focus

STRAIGHT IN THE EYE

by Amanda Huggins

Beth and James arrived in the Japanese Alps after yet another petty argument. It had started before they left Tokyo and then worsened when they reached Shinshimashima train station and were unable to agree on their onward bus route. When they finally found the right bus for Kamikochi, a previous disagreement resurfaced regarding their accommodation. Beth had wanted to book a hotel; James had insisted on the log cabins at the edge of the campsite. He’d won in the end, but when she was tired and hungry she started grizzling about his choice again.

Beth read in their guide book that there was a healthy population of bears in Kamikochi, but no one they spoke to at the campsite had seen one. That evening, they sat outside in the half-light of dusk and listened to the macaques chattering in the trees. Beth couldn’t settle, sure there were bears all around them, convinced they would come down to the cabins in search of food in the night, that they would rummage through the remains of barbecues and tear the lids off bins. When they went to bed, their hair scented with woodsmoke from the camp fire, she lay awake until the early hours, listening out for the slightest noise, watching the moon through the skylight.

She thought about getting up, considered taking James’s mobile from the shelf at the side of his futon so she could check his messages and calls. But Beth knew she had to start trusting him again, that she couldn’t spend her whole life suspecting him, searching his pockets, monitoring his phone, inventing scenarios in her head. He told her he had ended things with Tanya, that he wanted them to try again, that now it was up to her. So, she had several choices. She could believe him, or make plans to leave him, or spend every waking hour worrying about where he was and what he was doing. Or she could do all of those things in turn, as she had been doing for the past two months. It was easy for James to say that it was “up to her”. It was and it wasn’t. Her heart was broken, but she still loved him. He seemed to think she could click her fingers and forgive and forget, that they could move on and not look back. Beth knew it was too soon to forgive him, yet for the next three weeks she was determined to try to forget. She didn’t want to spoil the trip they’d been planning for over two years.


When they walked across to the café for breakfast, they noticed signs at the visitor centre which chalked up details of recent bear sightings – none – and offered safety advice: Please walk with the bell for giving bear notice!

The campsite shop was filled with a plethora of jangling kumayoke suzu and Beth insisted they bought a shiny red bell. However, they still set off unarmed, James having decided that the constant clanking would disturb the birds they hoped to see, and scare off the elusive kamoshika mountain goats. He wrapped the bell in a bandana to silence it, then tucked it in the side pocket of his rucksack. Beth was still unsure, but somehow everything seemed safer when the sun was shining and crowds of Japanese tourists were strolling back and forth along the paths.

Their day’s climb started at Taisho Pond, a place Beth found strangely haunting. Blackened, withered trees reached up out of the clear water, a reminder that the lake was formed by the last eruption of a nearby active volcano. James had picked up a map of the different walking trails in the visitor centre, and Beth followed him up the lower slopes through the trees, jumping at the snap of a twig or the whir of a bird’s wings. James climbed fast, striding ahead, and as the canopy became denser and the forest darkened, Beth became more nervous. She wanted to turn back, even though she knew she was being foolish, and she found herself constantly looking over her shoulder, then up towards where the tree line ended, convinced she could see shapes moving in the gloom.

After two hours of climbing they emerged from the forest, and Beth stopped for a few moments in the sudden warmth, catching her breath before the final ascent, any fear of bears dissipated by the sunshine. James carried on, scrambling up the scree towards the higher path. He turned and shouted to her as he reached the top of the ridge.

‘The first of the mountain huts is up here, Beth, exactly where I thought!’ He pointed with his walking pole. ‘I’ll see you there.’

She followed him up the slopes, stopping occasionally to admire alpine flowers, turning to take in the view as she put some distance between herself and the tree line. She found the marked path which led to the hut and followed the route James had just taken. As she climbed the last fifty metres she was sure she heard the brief high-pitched beep of a text notification, and the sound filled her with dread and suspicion. When she reached the plateau of flat-topped stones, she caught James slipping his phone back into his pocket. He walked towards her, his face flushed with guilt and embarrassment, and she felt her stomach twist.

‘Let’s have our rice snacks and water,’ he said quickly. ‘There’s a great place to sit in front of the hut – fabulous views.’

She followed him and sat down on the flat rocks, her heart still racing, her ribcage aching with the familiar foreboding. Still high above them were the snow-capped peaks of Hotaka, and below them the river flowed like mercury through the valley. In the distance, barely perceptible wisps of white smoke hung in the still air above the sleeping fire dragon of Yakedake volcano, and Beth found herself shivering despite the warm autumn sunshine.

‘Was that your phone I heard?’ she asked.
‘Phone? Do you really think there’d be a signal up here? You’re becoming paranoid, Beth. Don’t spoil the day.’
‘Me? Me spoil the day? It’s you who’s made me paranoid. I’m on edge all the time, wondering about every text and every call, about where you are when you’re late home from work. If you’ve nothing to hide, then look me straight in the eye and tell me she hasn’t contacted you. Better still, let me see your phone messages.’
‘Don’t be ridiculous, Beth.’ He laughed, but he didn’t make eye contact with her, he looked up at the mountains instead.
She held out her hand. ‘Go on, give the phone to me. Show me you’re innocent.’
‘You’re being . . .’ He suddenly faltered, lifting his hand in greeting to someone on the slope above – a man in a red jacket waving a silver walking pole.
James stood up. ‘Quit it now, Beth; this guy is heading over here.’
‘I know it’s still going on, James, I absolutely know,’ she hissed.

As she finished speaking, the climber arrived at the hut, announcing his presence with the clanking of a large bear bell. Beth managed to feign a smile as he introduced himself to them, but she left most of the talking to James. Motoki spoke little English, and when he ran out of vocabulary the three of them communicated with exaggerated gestures. They laughed too loudly and nodded too wildly, and when Beth did join in the conversation there was a brittle brightness to her words.

They offered their new acquaintance chocolate, and he offered a flask of green tea in return. Beth and James didn’t exchange a word between them as they packed away the remains of their food, and when they set off, they began their slow descent close on Motoki’s heels. As they walked in silence, Beth completely forgot about the possibility of bears, her mind still whirring, wondering if James was telling the truth and if she was simply being paranoid. After all, was it likely there was a phone signal on the top of a mountain?

Deep in thought, she was caught off guard when Motoki’s outstretched arm brought them to an abrupt standstill. They froze mid-step as though competing in a game of musical statues. When she looked up, her eye was caught by a dense black rock just above the tree line. It stood out against the pale scree, and when she refocused, the boulder became bear. She could make out the tilt and sway of his salt and pepper muzzle as he tried to catch their scent, and the glint of eyes like polished coals. When they stumbled to a halt there was a mesmeric moment as he continued to walk towards them. As he reared up onto his hind legs, Beth swore he looked her straight in the eye, poised and sure, calmly weighing up his options. Not afraid to let her see what he was thinking, quite prepared to show his cards, to be clear about his intentions.

Then Motoki jangled the bell on his rucksack, and just as swiftly as he’d turned towards them, the bear dropped to the ground and loped away without looking back.

Dizzy with adrenaline, they remained motionless, stiff as statues, until Motoki gestured down the mountainside with sweeping arm movements to indicate that they should keep moving. Beth scrambled after him, pleased to have company and not to be alone with James, happy with their enforced silence, relieved to listen to nothing more than the clamorous clanking of the bear bell until they reached the campsite.

James dropped a short way behind them to take some final photographs of the views across the mountains in the afternoon light. It was the last chance to see Yakedake before they were plunged deep into the forest again. Beth turned back at one point, reluctant to lose sight of him despite her current anger. James waved her on, told her he’d catch up with them, shaking his belt to show her he’d clipped on the bear bell they’d bought that morning.

At the edge of the trees, Beth stopped for a moment again, sure she had heard something behind her: rocks tumbling; scree scattering; a muffled cry, eerily human; a soft growl. The sounds echoed across the mountain in the stillness, and her heart raced. She tried to call out, but the words stuck in her throat, and when she listened again all she could hear was the fading tinkle of a bell.

***********************
The story first appeared in the collection An Unfamiliar Landscape (Valley Press 2022), which is available from Amazon, Waterstones online etc, or via the Valley Press online shop: https://www.valleypressuk.com/shop/p/unfamiliar-landscape

Amanda Huggins is the author of the award-winning novellas All Our Squandered Beauty and Crossing the Lines and seven collections of short stories and poetry. She has won numerous prizes for her work, including the Colm Tóibín Short Story Award, the H. E. Bates Short Story Prize and the BGTW New Travel Writer of the Year. Her fiction has been broadcast several times on BBC Radio. To see her award-winning entry in the WiK Competition, please look here.

Writings about Kyoto, whether by Japanese or foreign observers

The Day I Met the Photographer

By Sara Ackerman Aoyama

[The author was a member of the 1976 Associated Kyoto Program and this was her first, but certainly not her last, visit to Kyoto. This is an excerpt from her memoir in progress on learning to read with the counterculture in Kyoto.]

Photo by Kai Fusayoshi of Sara as a student in the 1970s

The three of us Midwesterners had become close friends quickly. We’d experienced the group orientation of our program together and privately figured we were one step ahead of the others in navigating Kyoto. We were finding our “places” for quick meals and just hanging out after or between classes. And we thought we fit in just fine at Honyarado. It was just down the street from Doshisha University where our program was located. We liked the music. We could count on hearing Bob Dylan and the Grateful Dead there. And we’d climbed the creaky staircase to the right of the wooden front door and discovered the second floor which held a big table and walls of bookshelves.

Of course, with just a year or two of the Japanese language under our belts, we couldn’t read any of the books so we ignored them and instead spread out our own textbooks to study. I loved being surrounded by books and my eyes often wandered over to the shelves. I wished that I could magically wake up with the ability to read in Japanese. But, it would take years before that happened.

One day there was a cute older guy upstairs with us sitting in the corner immersed in a book, his long legs propped up on a folding chair. He ignored us and we ignored him. We’d gotten used to talking about any old thing at all rather blithely in front of Japanese people. The chances that they’d understand our rapid-fire English were close to zero. So, yes, we discussed him. In fact we dissected him to pieces. One of my friends was really interested in him. He yawned unknowingly.

As the days got shorter I became more adventurous about going out on my own. I’d been in Kyoto just a few short months. I knew what bus to take downtown and it was fun to explore. I’d discovered that everything was open on Sundays, a day we had off from school. One Sunday I was walking down Shjodōri and I saw an antique shop. It was a little daunting to go in, but when I did I saw something that was new to me. I’d been missing music in my life and this was a little koto. Later I found out that it was called a taishōgoto. I rashly made a purchase. I was excited and feeling confident.

When I walked out of the store and went back to the Shijo Kawaramachi intersection, I saw someone who looked familiar. At first, I couldn’t quite place him, but he smiled at me and then it clicked. He worked at Honyarado. The guy who took all the photos. Out of context, it had been hard to recognize him. But he recognized me easily. He came up to me and we started talking. Or rather we attempted talking. Between my limited Japanese and his limited English conversation was almost impossible. He invited me to walk back to Honyarado with him. Or more likely he indicated the direction he was heading which was the same direction as I needed to go since my homestay family lived just a few blocks from Honyarado. Since it was a Sunday evening I didn’t need to be home for dinner that night. So we walked and I watched him as he snapped photo after photo.

When we got to Honyarado, it was almost empty. The photographer quickly went behind the counter and got me a cup of coffee. I was confused. I hadn’t ordered it. Was this hospitality or business for him? He got himself a cup of coffee as well and called upstairs to someone to come down. It was the cute guy that my friend was crushed out on. Cute Guy swung his legs over the bench on the other side of the table and sat down next to the photographer. He introduced himself in almost flawless English. Oops. Wait until I tell the others, I immediately thought. He had probably understood every word we’d said about him. This was going to be embarrassing. He was a professor at Seika University (then Seika Junior College). In fact, years later he’d become the president of the university.

The photographer had thoughtfully (and necessarily) called him over to interpret. WIth the professor in the middle, we could communicate easily and the photographer had a lot of questions. Being there in the evening when it was mostly staff milling about was exciting. I was the only foreigner in the room and I felt like I’d made an entry to a whole other world. Probably I had, but I didn’t really know the full impact of this until much later. After awkwardly trying to pay for the coffee and having my money rejected, I went home feeling excited. I’d promised to meet the photographer again at 10 AM by the river the next day. After all, why not?

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Learn more about Sara’s life in Japan here. Visit her book review site here.

A selection of Honyarado books
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