Changes … I must be careful on departing this place. There are precincts to be avoided, precautions to be taken. I have worked out all of my movements—from putting down the cup, rising, turning, recovering my gear, walking—until I am back in the country again. I must still make patterns, for the world is a number-line, everywhere dense. I am taking a small chance in being here.
I am not so tired as I had thought I would be from all yesterday’s walking, and I take this as a good sign. I have tried to keep in decent shape, despite everything. A scroll hangs on the wall to my right depicting a tiger, and I want this too, for a good omen. I was born in the Year of the Tiger, and the strength and silent movements of the big striped cat are what I most need. I drink to you, Shere Khan, cat who walks by himself. We must be hard at the right time, soft at the proper moment. Timing…
We’d an almost telepathic bond to begin with, Kit and I. It drew us to each other, grew stronger in our years together. Empathy, proximity, meditation … Love? Then love can be a weapon. Spin its coin and it comes up yang.
Burn bright, Shere Khan, in the jungle of the heart. This time we are the hunter. Timing is all—and suki, the opening.…
I watch the changes of the sky until a uniform brightness is achieved, holds steady. I finish my tea. I rise and fetch my gear, don my backpack, take up my staff. I head for the short hall which leads to a side door.
“Madam! Madam!”
It is one of the place’s employees, a small man with a startled expression.
“Yes?”
He nods at my pack.
“You are leaving us?”
“I am.”
“You have not checked out.”
“I have left payment for my room in an envelope on the dresser. It says ‘cashier’ on it. I learned the proper amount last night.”
“You must check out at the desk.”
“I did not check in at the desk. I am not checking out at the desk. If you wish, I will accompany you back to the room, to show you where I left the payment.”
“I am sorry, but it must be done with the cashier.”
“I am sorry also, but I have left payment and I will not go to the desk.”
“It is irregular. I will have to call the manager.”
I sigh.
“No,” I say. “I do not want that. I will go to the lobby and handle the checking out as I did the checking in.”
I retrace my steps. I turn left toward the lobby.
“Your money,” he says. “If you left it in the room you must get it and bring it.”
I shake my head.
“I left the key, also.”
I enter the lobby. I go to the chair in the corner, the one farthest from the work area. I seat myself.
The small man has followed me.
“Would you tell them at the desk that I wish to check out?” I ask him.
“Your room number …?”
“Seventeen.”
He bows slightly and crosses to the counter. He speaks with a woman, who glances at me several times. I cannot hear their words. Finally, he takes a key from her and departs. The woman smiles at me.
“He will bring the key and the money from your room,” she says. “Have you enjoyed your stay?”
“Yes,” I answer. “If it is being taken care of, I will leave now.”
I begin to rise.
“Please wait,” she says, “until the paperwork is done and I have given you your receipt.”
“I do not want the receipt.”
“I am required to give it to you.”
I sit back down. I hold my staff between my knees. I clasp it with both hands. If I try to leave now she will probably call the manager. I do not wish to attract even more attention to myself. I wait. I control my breathing. I empty my mind.
After a time the man returns. He hands her the key and the envelope. She shuffles papers. She inserts a form into a machine. There is a brief stutter of keys. She withdraws the form and regards it. She counts the money in my envelope.
“You have the exact amount, Mrs. Smith. Here is your receipt.”
She peels the top sheet from the bill.
There comes a peculiar feeling in the air, as if a lightning stroke had fallen here but a second ago. I rise quickly to my feet.
“Tell me,” I say, “is this place a private business or part of a chain?”
I am moving forward by then, for I know the answer before she says it. The feeling is intensified, localized.
“We are a chain,” she replies, looking about uneasily.
“With central bookkeeping?”
“Yes.”
Behind the special place where the senses come together to describe reality I see the form of a batlike epigon taking shape beside her. She already feels its presence but does not understand. My way is mo chih ch’u, as the Chinese say—immediate action, without thought or hesitation—as I reach the desk, place my staff upon it at the proper angle, lean forward as if to take my receipt and nudge the staff so that it slides and falls, passing over the countertop, its small metal tip coming to rest against the housing of the computer terminal. Immediately, the overhead lights go out. The epigon collapses and dissipates.
“Power failure,” I observe, raising my staff and turning away. “Good day.”
I hear her calling for a boy to check the circuit box.
I make my way out of the lobby and visit a rest room, where I take a pill, just in case. Then I return to the short hall, traverse it, and depart the building. I had assumed it would happen sooner or later, so I was not unprepared. The microminiature circuitry within my staff was sufficient to the occasion, and while I would rather it had occurred later, perhaps it was good for me that it happened when it did. I feel more alive, more alert from this demonstration of danger. This feeling, this knowledge, will be of use to me.
And it did not reach me. It accomplished nothing. The basic situation is unchanged. I am happy to have benefited at so small a price.
Still, I wish to be away and into the countryside, where I am strong and the other is weak.
I walk into the fresh day, a piece of my life upon the breakfast moment’s mountain.
3. MT. FUJI FROM HODOGAYA
I find a place of twisted pines along the Tokaido, and I halt to view Fuji through them. The travelers who pass in the first hour or so of my vigil do not look like Hokusai’s, but no matter. The horse, the sedan chair, the blue garments, the big hats—faded into the past, traveling forever on the print now. Merchant or nobleman, thief or servant—I choose to look upon them as pilgrims of one sort or another, if only into, through, and out of life. My morbidity, I hasten to add, is excusable, in that I have required additional medication. I am stable now, however, and do not know whether medication or meditation is responsible for my heightened perception of the subtleties of the light. Fuji seems almost to move within my gazing.
Pilgrims … I am minded of the wanderings of Matsuo Bashō, who said that all of us are travelers every minute of our lives. I recall also his reflections upon the lagoons of Matsushima and Kisagata—the former possessed of a cheerful beauty, the latter the beauty of a weeping countenance. I think upon the complexion and expressions of Fuji and I am baffled. Sorrow? Penance? Joy? Exaltation? They merge and shift. I lack the genius of Bashō to capture them all in a single character. And even he … I do not know. Like speaks to like, but speech must cross a gulf. Fascination always includes some lack of understanding. It is enough for this moment, to view.
Pilgrims … I think, too, of Chaucer as I regard the print. His travelers had a good time. They told each other dirty stories and romances and tales with morals attached. They ate and they drank and they kidded each other. Canterbury was their Fuji. They had a party along the way. The book ends before they arrive. Fitting.
I am not a humorless bitch. It may be that Fuji is really laughing at me. If so, I would like very much to join in. I really do not enjoy moods such as this, and a bit of meditation interruptus wou
ld be welcome if only the proper object would present itself. Life’s soberer mysteries cannot be working at top-speed all the time. If they can take a break, I want one, too. Tomorrow, perhaps…
Damn! My presence must at least be suspected, or the epigon would not have come. Still, I have been very careful. A suspicion is not a certainty, and I am sure that my action was sufficiently prompt to preclude confirmation. My present location is beyond reach as well as knowledge. I have retreated into Hokusai’s art.
I could have lived out the rest of my days upon Oregon’s quiet coast. The place was not without its satisfactions. But I believe it was Rilke who said that life is a game we must begin playing before we have learned the rules. Do we ever? Are there really rules?
Perhaps I read too many poets.
But something that seems a rule to me requires I make this effort. Justice, duty, vengeance, defense—must I weigh each of these and assign it a percentage of that which moves me? I am here because I am here, because I am following rules—whatever they may be. My understanding is limited to sequences.
His is not. He could always make the intuitive leap. Kit was a scholar, a scientist, a poet. Such riches. I am smaller in all ways.
Kokuzo, guardian of those born in the Year of the Tiger, break this mood. I do not want it. It is not me. Let it be an irritation of old lesions, even a renewal of the demyelination. But do not let it be me. And end it soon. I am sick in my heart and my reasons are good ones. Give me strength to detach myself from them, Catcher in the Bamboo, lord of those who wear the stripes. Take away the bleakness, gather me together, inform me with strength. Balance me.
I watch the play of light. From somewhere I hear the singing of children. After a time of gentle rain begins to fall. I don my poncho and continue to watch. I am very weary, but I want to see Fuji emerge from the fog which has risen. I sip water and a bit of brandy. Only the barest outline remains. Fuji is become a ghost mountain within a Taoist painting. I wait until the sky begins to darken. I know that the mountain will not come to me again this day, and I must find a dry place to sleep. These must be my lessons from Hodogaya: Tend to the present. Do not try to polish ideals. Have sense enough to get in out of the rain.
I stumble off through a small wood. A shed, a barn, a garage … Anything that stands between me and the sky will do.
After a time I find such a place. No god addresses my dreaming.
4. MT. FUJI FROM THE TAMAGAWA
I compare the print with the reality. Not bad this time. The horse and the man are absent from the shore, but there is a small boat out on the water. Not the same sort of boat, to be sure, and I cannot tell whether it bears firewood, but it will suffice. I would be surprised to find perfect congruence. The boat is moving away from me. The pink of the dawn sky is reflected upon the water’s farther reaches and from the snow-streaks on Fuji’s dark shoulder. The boatman in the print is poling his way outward. Charon? No, I am more cheerful today than I was at Hodogaya. Too small a vessel for the Narrenschiff, too slow for the Flying Dutchman. “La navicella.” Yes. “La navicella del mio ingegno”—“the little bark of my wit” on which Dante hoisted sail for that second realm, Purgatory. Fuji then … Perhaps so. The hells beneath, the heavens above, Fuji between—way station, stopover, terminal. A decent metaphor for a pilgrim who could use a purge. Appropriate. For it contains the fire and the earth as well as the air, as I gaze across the water. Transition, change. I am passing.
The serenity is broken and my reverie ended as a light airplane, yellow in color, swoops out over the water from someplace to my left. Moments later the insectlike buzzing of its single engine reaches me. It loses altitude quickly, skimming low over the water, then turns and traces its way back, this time swinging in above the shoreline. As it nears the point where it will pass closest to me, I detect a flash of reflected light within the cockpit. A lens? If it is, it is too late to cover myself against its questing eye. My hand dips into my breast pocket and withdraws a small gray cylinder of my own. I flick off its endcaps with my thumbnail as I raise it to peer through the eyepiece. A moment to locate the target, another to focus…
The pilot is a man, and as the plane banks away I catch only his unfamiliar profile. Was that a gold earring upon his left earlobe?
The plane is gone, in the direction from which it had come. Nor does it return.
I am shaken. Someone had flown by for the sole purpose of taking a look at me. How had he found me? And what did he want? If he represents what I fear most, then this is a completely different angle of attack than any I had anticipated.
I clench my hand into a fist and I curse softly. Unprepared. Is that to be the story of my entire life? Always ready for the wrong thing at the right time? Always neglecting the thing that matters most?
Like Kendra?
She is under my protection, is one of the reasons I am here. If I succeed in this enterprise, I will have fulfilled at least a part of my obligation to her. Even if she never knows, even if she never understands…
I push all thoughts of my daughter from my mind. If he even suspected.…
The present. Return to the present. Do not spill energy into the past. I stand at the fourth station of my pilgrimage and someone takes my measure. At the second station an epigon tried to take form. I took extreme care in my return to Japan. I am here on false papers, traveling under an assumed name. The years have altered my appearance somewhat and I have assisted them to the extent of darkening my hair and my complexion, defying my customary preferences in clothing, altering my speech patterns, my gait, my eating habits—all of these things easier for me than most others because of the practice I’ve had in the past. The past … Again, damn it! Could it have worked against me even in this matter? Damn the past! An epigon and a possible human observer this close together. Yes, I am normally paranoid and have been for many years, for good reason. I cannot allow my knowledge of the fact to influence my judgment now, however. I must think clearly.
I see three possibilities. The first is that the flyby means nothing, that it would have occurred had anyone else been standing here—or no one. A joyride, or a search for something else.
It may be so, but my survival instinct will not permit me to accept it. I must assume that this is not the case. Therefore, someone is looking for me. This is either connected with the manifestation of the epigon or it is not. If it is not, a large bag of live bait has just been opened at my feet and I have no idea how to begin sorting through the intertwined twistings. There are so many possibilities from my former profession, though I had considered all of these long closed off. Perhaps I should not have. Seeking there for causes seems an impossible undertaking.
The third possibility is the most frightening: that there is a connection between the epigon and the flight. If things have reached the point where both epigons and human agents can be employed, then I may well be doomed to failure. But even more than this, it will mean that the game has taken on another, awesome dimension, an aspect which I had never considered. It will mean that everyone on Earth is in far greater peril than I had assumed, that I am the only one aware of it and that my personal duel has been elevated to a struggle of global proportions. I cannot take the risk of assigning it to my paranoia now. I must assume the worst.
My eyes overflow. I know how to die. I once knew how to lose with grace and detachment. I can no longer afford this luxury. If I bore any hidden notion of yielding, I banish it now. My weapon is a frail one, but I must wield it. If the gods come down from Fuji and tell me, “Daughter, it is our will that you desist,” I must still continue in this to the end, though I suffer in the hells of the Yü Li Ch’ao Chuan forever. Never before have I realized the force of fate.
I sink slowly to my knees. For it is a god that I must vanquish.
My tears are no longer for myself.
5. MT. FUJI FROM FUKAGAWA IN EDO
Tokyo. Ginza and confusion. Traffic and pollution. Noise, color and faces, faces, faces. I once loved scenes such as thi
s, but I have been away from cities for too long. And to return to a city such as this is overpowering, almost paralyzing.
Neither is it the old Edo of the print, and I take yet another chance in coming here, though caution rides my every move.
It is difficult to locate a bridge approachable from an angle proper to simulate the view of Fuji beneath it, in the print. The water is of the wrong color, and I wrinkle my nose at the smell; this bridge is not that bridge; there are no peaceful fisher-folk here; and gone the greenery. Hokusai exhales sharply and stares as I do at Fuji-san beneath the metal span. His bridge was a graceful rainbow of wood, product of gone days.
Yet there is something to the thrust and dream of any bridge. Hart Crane could find poetry in those of this sort. “Harp and altar, of the fury fused …”
And Nietzsche’s bridge that is humanity, stretching on toward the superhuman…
No. I do not like that one. Better had I never become involved with that which transcends. Let it be my pons asinorum.
With but a slight movement of my head I adjust the perspective. Now it seems as if Fuji supports the bridge and without his presence it will be broken like Bifrost, preventing the demons of the past from attacking our present Asgard—or perhaps the demons of the future from storming our ancient Asgard.
I move my head again. Fuji drops. The bridge remains intact. Shadow and substance.
The backfire of a truck causes me to tremble. I am only just arrived and I feel I have been here too long. Fuji seems too distant and I too exposed. I must retreat.
Is there a lesson in this or only a farewell?
A lesson, for the soul of the conflict hangs before my eyes: I will not be dragged across Nietzsche’s bridge.
Come, Hokusai, ukiyo-e Ghost of Christmas Past, show me another scene.
6. MT. FUJI FROM KAJIKAZAWA
Misted, mystic Fuji over water. Air that comes clean to my nostrils. There is even a fisherman almost where he should be, his pose less dramatic than the original, his garments more modern, above the infinite Fourier series of waves advancing upon the shore.
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