by David Peace
‘Yes,’ I say. ‘We’ve just finished our morning meeting.’
Adachi smiles. Adachi asks me, ‘And you saw Fujita?’
‘Yes,’ I tell him again. ‘Why are you asking me?’
Adachi smiles again. Adachi takes his time now. ‘Do you remember the body we pulled out of the Shiba Canal…?’
‘It was only yesterday,’ I say. ‘And I was there.’
‘Well, it was the body of a journalist,’ says Adachi. ‘A journalist who used different names for different papers, sometimes writing for Minpo, sometimes for Minshū Shimbun, even Akahata.’
‘Really?’ I ask him. ‘And so what was his name?’
‘You don’t know?’ asks Adachi. ‘Really? ’
I curse you. I curse you. I curse you …
‘Why would I know his name?’
I curse you and I curse myself…
‘Well, just how many journalists do you know who write for three different papers under three different names, inspector?’
I smile. I say, ‘I try not to know any journalists.’
‘Not one called Kato Kotaro of Akahata?’
I laugh. I say, ‘I’ve never heard of him.’
‘Or Suzuki Nobu of Minshū Shimbun?’
I shrug my shoulders. I say, ‘No.’
‘Or Hayashi Jo of Minpo?’
I swallow. I say, ‘No.’
I curse myself…
‘Well, that’s very strange,’ says Adachi. ‘Because late last night I went to the Minpo offices to ask them about this Hayashi Jo, about him being found in the Shiba Canal, about him being nailed and bound to a door, about him being drowned face down and why they think that might be and do you know what the first thing they said to me was? The first thing they said to me was, not again…’
‘Not again,’ I repeat. ‘What did they mean, not again?’
‘That’s exactly what I asked them,’ laughs Adachi. ‘And do you know what they told me? They told me I was the third policeman to have visited the Minpo offices in the last three days…’
I swallow again as Inspector Adachi says –
‘The third one asking after Hayashi Jo…’
I ask, ‘What do you want from me?’
Chief Inspector Adachi steps closer. Chief Inspector Adachi whispers, ‘I don’t want anything from you, inspector, except your gratitude that it was me who pulled this case and not anyone else. But when you do see your Detective Fujita, please send him to me…’
I nod then I ask, ‘But why do you want to see Fujita?’
‘Because Detective Fujita was the first policeman to have visited the Minpo offices in the last three days, that’s why…’
I curse him. I swallow. I curse myself. I ask –
‘And so who was the second policeman?’
Ishida. Ishida. Ishida. Ishida. Ishida …
‘You tell me, corporal,’ says Adachi. ‘You tell me.’
*
I need answers; I need to find Fujita and I need to see Ishida: I want to know how Adachi got this case; I want to know who identified Hayashi’s body. But today is not the day to ask the chief these questions. Today is not a day for talk; today there is no talk of fresh purges; today there is no talk of the Tokyo trials; today there is no talk of SCAP reforms; no talk of better guns; no talk of new uniforms. Because the chief has heard about last night’s party; the good food; their glasses raised; the songs sung; their songs of victory –
‘The suspect Kodaira Yoshio has confessed to the murder of Midorikawa Ryuko and I know many of you think that this means that the case is now closed,’ says the chief. ‘But that is not true. The statements in the confession need to be verified. The addresses of the places the suspect Kodaira claims to have lived and worked need to be checked. And we still have one unidentified body –
‘Inspector Minami, if you would please…’
‘The suspect Kodaira denies any knowledge of the second body found at Shiba. Dr. Nakadate, however, believes this crime to be the work of the same person responsible for the murder of Midorikawa Ryuko, that is to say that Dr. Nakadate believes Kodaira to have been responsible for both crimes…’
‘And you, Inspector Minami?’ asks Chief Inspector Adachi. ‘Do you agree with Dr. Nakadate?’
‘Yes,’ I tell him. ‘I believe that if we can find the evidence or, better still, if we can identify the body and then find witnesses or circumstances that can connect Kodaira to the victim or even to the time we know she was murdered then, faced with the evidence, I believe he will again confess.’
‘And if not?’
‘The murders and rapes of two young women would bring Kodaira the death sentence,’ I say. ‘And he knows it. But only one, in the circumstances in which he has confessed, probably not…’
‘Kodaira murdered his father-in-law,’ says Kai. ‘Midorikawa will be his second murder conviction. Kodaira will hang this time.’
‘Kodaira is an old hand at this,’ I say. ‘If he thinks he can still escape the rope, he has no reason to confess to anything else.’
The chief asks, ‘Do you have any new leads at all on the identity of the second body, Inspector Minami?’
‘A newspaper advertisement seeking staff for a Salon Matsu in Kanda was found in one of the pockets of her dress,’ I tell them. ‘It was clipped from the Asahi of the nineteenth of July and this obviously led us to visit this Salon Matsu in Kanda. Unfortunately, because we had only her clothing to describe, the staff were unable to identify her or confirm whether or not she had been to the salon. However, they suggested we go out to the International Palace…’
Better off dead. Better off dead. Better off dead …
‘The International Palace?’ repeats the chief. ‘Out near Funabashi? Why did they suggest that you ask after her out there?’
‘Ninety per cent of their applicants used to work there.’
‘But that doesn’t mean that this one did,’ says Kai.
I shrug. ‘And it doesn’t mean that she didn’t.’
‘Haven’t the Shinchū Gun placed it off-limits?’ asks Chief Inspector Adachi. ‘Won’t we need clearance…?’
The chief nods. The chief looks at his watch. The chief says, ‘Report back here in three hours, inspector.’
*
I need answers; I need to find Fujita and I need to see Ishida. Chiku-taku. I have to go back to Atago. Chiku-taku. I have to find Fujita. Chiku-taku. I have to see Ishida. Chiku-taku. I have three hours before I have to go out to the International Palace. Chiku-taku. But I need to find Fujita. Chiku-taku. I need to speak to Ishida. Chiku-taku. But first I have to have a drink. Chiku-taku. First I need a drink –
Chiku-taku. Chiku-taku. Chiku-taku. Chiku-taku …
The bar is in the basement of a three-storey reinforced concrete shell. Chiku-taku. Each room above the bar has been blown out so now only exposed steel girders dangle where once there were walls and floors. Chiku-taku. The bar itself was once one of the government-run People’s Bars; bars that opened just once or twice a week during the war to sell cheap domestic whisky, bottles of beer and the low-grade sake known as bakudan; bars where people queued for hours and hours; bars that were meant to lift our morale –
Chiku-taku. Chiku-taku. Chiku-taku …
This bar is now back in private hands, now open twenty-four hours a day but it still sells only cheap domestic whisky, bottles of beer and bakudan sake and people still queue for hours to have their morale lifted. Chiku-taku. But this morning there are only two other customers at the counter; a middle-aged woman dressed in red, smelling of strong perfume and smoking Lucky Strikes and an old man in a shabby dark suit who keeps taking out his pocket watch and winding it up and putting it away again, then taking it out and winding it up and putting it away again, taking it out –
Chiku-taku. Chiku-taku …
There are ugly sores on the skin of the old man’s hands. Chiku-taku. He has had no vitamins and now he has beriberi. Chiku-taku. I down my glass of clouded bakudan. Chiku-t
aku. I feel it explode in my throat and in my belly. Chiku-taku. I cough and now I ask the old man, ‘Is your watch broken, sir?’
‘I was on the train,’ he says. ‘On the day of the surrender, when a woman standing in the aisle ahead of me lost her balance and the large box tied to her back hit me right here in my chest and stopped this watch in my pocket dead…’
Now he shows me the watch –
It says twelve o’clock.
*
I need to find Fujita. I need to see Ishida. I need to speak to Ishida. Detectives Nishi and Kimura are back at their borrowed desks. Detectives Nishi and Kimura are writing up statements –
I ask them, ‘Did you get anything at all?’
They shake their heads. They bow –
‘Have you seen Detective Ishida?’
They shake their heads again –
‘Right then,’ I tell them. ‘Nishi, I want you to come with me out to the International Palace and Kimura, I want you to find Ishida and, when you do, bring him back here and keep him here but don’t let him speak to Chief Inspector Adachi until I’ve spoken to him first. And the same goes for Detective Fujita if he comes back at all…’
*
On the fifteenth of August last year, minutes after the Emperor had surrendered, the Metropolitan Police Board summoned the presidents of the seven major entertainment guilds in Tokyo. These included the heads of the restaurant, cabaret, geisha and brothel associations. The chief of the Metropolitan Police Board feared the Victors would soon be upon Japan, here to rape our wives and our daughters, our mothers and our sisters. The chief wanted a ‘shock absorber’ and so the chief had a proposal. The chief suggested that the heads of the restaurant, cabaret, geisha and brothel associations form one central association to cater for all the needs and amusement of the Victors. The chief promised this new association that it would not lack for funds –
The Recreation and Amusement Association was born.
Recruits were found or bought among the ruins of the cities and the countryside. Dancehalls and houses of entertainment were reopened or created overnight, the biggest and most infamous of them all being the International Palace, a former munitions factory out beyond the eastern boundaries of Tokyo. Five of the workers’ dormitories were converted into brothels. Some of the old management stayed on to administer the new business, some of the prettier girls stayed on to service the new customers, the Victors –
Because only the Victors are welcome at the Palace –
Only Victors allowed to make the Willow Run –
But the toll is heavy and the turnover high –
Most of the first girls were hospitalized –
Many of the rest committed suicide –
Better off dead …
The second set of girls were geishas and prostitutes, barmaids and waitresses, frequent adulterers and sexual deviants, girls built of stronger stuff, too strong for some because the International Palace was placed off-limits this spring –
Supposedly.
Our chief has got the clearance for Detective Nishi and me to go out to the International Palace. Our chief has even found Nishi and me a ride out there in the back of a Victors’ truck. In the back with Larry, Moe and Curly, three well-fed and well-scrubbed GI Joes –
They offer us chewing gum and Nishi chews their gum. They offer us cigarettes and Nishi smokes their cigarettes. They talk about their lucky days and Nishi nods and laughs along. They talk about hitting the jackpot, about kids in candy stores, about Christmases that come early and Christmases that all come at once, and Nishi is nodding and laughing along, shouting out, ‘Merry Christmas!’
He is a good Jap, a good monkey. He is a tame Jap …
I do not chew their gum. I do not smoke their cigarettes. I do not nod or laugh along. I do not shout, ‘Merry Christmas! ’
Because I am the bad Jap. Bad monkey.
The Victors’ truck drives southeast, out towards Funabashi, out of the city until the ruins become fields, the burnt black earth now barren brown soil, until we can see the series of two-storey barrack buildings rising up ahead, until we can read the signs in English:
OFF-LIMITS – VD. OFF-LIMITS – VD …
More smaller signs, hundreds of them, dabbed in red paint the closer we come, thousands of them, on the fences, on the gates:
VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD VD …
The Victors’ truck goes through the open barbed-wire gates and sounds its horn as it pulls into a small, dusty courtyard, a crowd of men and women pouring out of the buildings to greet us –
I have been here before, seen these places before …
Little Japanese men in white waiters’ tunics without trays, tall Japanese women in Western dresses without stockings, all beaming and bowing to us, clapping and calling out to us –
These places, these buildings, these women …
‘All clean, all clean, all clean…’
‘Very clean, very clean…’
‘All cheap…’
Now the tall women lead the driver and Larry, Moe and Curly off towards one of the dormitory buildings, the Victors’ hands already up their skirts, leaving just the little men in their white waiters’ tunics standing with Nishi and me in the dirt of the yard –
I am ashamed to be a policeman, ashamed to be Japanese …
I ask to speak to the manager and the waiters disappear –
I am ashamed to be Japanese, ashamed to be me …
The Japanese manager steps out of another of the buildings. The manager straightens his tie. The manager flattens his greasy hair. He bows. He hands me his heavy, embossed meishi –
The manager is another oily little man –
Just another tame collaborator …
I tell him why we are here. I tell him about Shiba Park. I tell him about a murdered girl aged seventeen to eighteen years old. She is better off dead. I tell him about a yellow and dark-blue striped pinafore dress and a white half-sleeved chemise. She is better off dead. I tell him about a pair of dyed-pink socks and white canvas shoes with red rubber soles. She is better off dead. I tell him about the Salon Matsu. She is better off dead …
The manager shakes his head but he wants to help us because we came here in a Victors’ truck. Because he thinks we have connections to the Shinchū Gun. Because he thinks we have influence. Because he thinks we can help him to get this place reopened –
This place I have seen before. I have been before … He takes us on a tour.
He takes us to the infirmary –
If she was here, then she’s better off dead …
In the infirmary. A huge, bare room lined with tatami mats. Twelve girls lie perspiring on the floor under thick comforters –
They all hide their faces from us, all but one –
I squat down. I smile. ‘How old are you?’
‘Nineteen years old.’
‘How long have you been here?’
‘Six months now.’
‘And before that?’
‘I was a clerk.’
‘Why do you stay here?’
‘I owe them money.’
‘How much do you owe them?’
‘Ten thousand yen.’
‘Ten thousand yen? What for?’
‘The clothes I’ve bought.’
‘Bought from where?’
‘The shop here.’
‘What about your family? Do they know where you are?’
‘I haven’t any,’ she says. ‘They died in the air raids.’
‘You do know that this place is off-limits now?’
She nods her head. She says, ‘Yes.’
‘Because General MacArthur has banned prostitution?’
She shakes her head. She says, ‘I didn’t know that.’
I nod. I squeeze her hand. I look into her eyes. I start to tell her she should
leave here and go back home. But then I stop –
‘We are her only home now,’ says the manager.
He resumes our tour. He takes us to the clinic –
If this was where she was bound …
In the clinic. The girls are examined once a week. In the chairs. Every week. Each chair has a tiny curtain to conceal the faces of the girls from the doctor. Two shallow pools in which each girl must bathe every other day. Every other day, every single week –
‘Very clean,’ says the manager –
She’s better off dead …
He takes us on a tour. He takes us to the dining room –
In the dining room. Here the girls are fed. In shifts –
‘Two good meals a day,’ boasts the manager.
He resumes our tour. He takes us to the ballroom –
In the ballroom. There are a hundred Japanese girls. In Occidental gowns. Nothing underneath. Beneath red paper streamers that hang in the heat from the ceiling. They dance with each other to scratched and deafening records relayed through a battery of amplifiers. Back and forth across the floor in downtrodden heels or scruffy school plimsolls. They push each other. To the distorted American jazz. In the ballroom. Back and forth –
‘They are all very pretty, aren’t they?’ says the manager. ‘But inside they are all very sad and they are all very lonely because General MacArthur won’t let them make friends with GIs any more and so the GIs are homesick and lonely too…’
She’s better off dead …
He takes us on a tour. He takes us to the girls’ rooms –
The girls’ rooms. In the two-storey barracks. Fifty cubicles to a building. Each tiny room separated by a low partition. Thin curtains or sheets for doors. Each entrance with a sign written in a child’s crayon, a sign that says, Well Come, Kimi. Well Come, Haruko …
Well Come Mitsuko. Yori. Kazuko. Yoshie. Tatsue …
Well Come Hiroko. Yoshiko. Ryuko. Yuki …
Inside each small cubicle is a futon and a comforter, a little make-up mirror on the floor, the odd yellowing photograph. The air humid and heavy with the smell of antiseptic –
Better off dead. Better off dead …
At the top of each stairway is one long, narrow room with a painted sign beside the door which says, in English and in Katakana, PRO Station; this is where the Victors get their prophylactics –