She went up to him and bowed. She told him who she was and why she had come. She said that she was one of the group that had commissioned the circus but that she had decided not to come, despite her misery. So she was here alone to learn from the master the meaning of his final performance.
He broke into a gloomy laugh and began striding around the ring cracking his whip, hissing orders through his megaphone. He talked about faith, deception, disguises. He swept his arms through history gathering up emperors and peasants, barbarians, poets. He sank into a confused monologue on love, love that was and love that might have been.
The words cracked, the whip flew, the megaphone defied an imaginary audience. This man, she realized, had lost his way in a land of strange beasts and savage costumes.
She couldn’t understand the nature of his despair, but as she watched him stalk himself in the ring a curious image stirred within her. She saw a naked giant slumped beside a lamp that dimly projected meaningless figures on the wall.
The image was so vivid it startled her. Why had it come to her then? What connected these two anonymous men, a nameless projectionist and a nameless circus master?
She gazed at the skylight, at the invisible corners of the warehouse, at the tiny sawdust ring. She listened to the raving voice of the circus master and heard within it her own voice whispering, whispering night after night to a silent fat man who sat naked and immobile, impassive, oblivious to every horror she recounted, untouched by the terrors she wished upon herself.
Quickly then she slipped off her clothes and went up to the circus master, stopped his pacing, and took from him the megaphone, the whip, emptied his hands, and held him in her arms until the sobbing quieted, until the spasms subsided and he felt in her a blessing that he had lost long ago, a blessing that she had lost as well, forever she thought, not having known until that moment that the gift had been returned to her by the naked giant who nodded forgiveness.
Their act of love lasted until dawn. When she left him she walked for miles, making her plans to return to Japan.
That night she sat by an open window looking at the stars. Midnight passed, the hours wore on. She considered her past grief, she reflected on the torment of the circus master who at that very moment was introducing the ghosts of his years in their terrible costumes, opening the cages of the savage beasts, celebrating his circus of death. But at that very moment, as well, new life was moving within her.
In the course of knowing ten thousand men she had conceived only once. Now she knew it had happened again. Through the intercession of the naked giant she had learned once more to love, she had loved well, and now she would bear the circus master’s son.
• • •
The boy was born in the General’s old villa in Tokyo. Because he was half-Caucasian she could not keep him. War was coming with the West and it would be unfair to have him grow up in Japan. Despite herself, she had to get him out of the country while there was still time.
She went to the one man she felt could help her, the missionary who was a friend of the General’s brother. Father Lamereaux listened to her story and agreed to send the baby to America. Sadly she gave him up.
War with the West came, then defeat. Before the war doors were never locked in Japan, but now desperate men stole everything they could find. Her house was broken into nightly, a new gang of starving thieves entering as soon as one had left.
The General’s chauffeur, who had come to work for her at the end of the war, suggested hiring one of these gangs of combat veterans to guard the house and keep the others away. But Mama had a different idea, one consonant as always with the Tao. She quoted Lao-tzu.
When there is Tao in the empire, the galloping steeds are turned back to fertilize the ground by their droppings.
But what does it mean? asked the corporal.
It means, she said, that these men who were heroes yesterday, who are thieves today, will one day be heroes again. They are galloping steeds, and if we treat them with the wisdom of the Tao their droppings will fertilize the future.
Droppings? said the corporal.
A man has several, answered Mama. There are still three or four women servants in this house, and I am sure there are other women near here who are lonely after so many years when the men were away fighting. So instead of posting guards we will invite every passing steed into the house. You will see.
The corporal feared what might happen, but the Tao was in Mama and she knew it. Before many years went by a new Japan began to emerge, an ingenious and industrious Japan, energetic, prosperous.
Many of the old ways had changed, but none more noticeably than the tradition Mama had become skilled in as a child, perfected in girlhood, and left as a young woman, the delicate and profound knowledge of men that for centuries had made the entrance to a Japanese brothel, no matter how humble it might appear to the passing stranger, one of the few truly exquisite gateways in the world, a portal unparalleled save by the path of mystics seeking comfort not in this world but another.
The elaborate brothels of the prewar years gave way to the garish bars of the early postwar years, but then the American soldiers left and Japanese men settled down to learning the lessons of the war and the Occupation. Having been defeated in their venture at Asian conquest, the Japanese combat veterans embraced peace and built industries to supply the Americans, who in turn, having been victorious, were now fighting wars all over the continent, bringing a devastation everywhere that required ever more Japanese goods and industries to replenish what was destroyed, bringing a prosperity to Japan that no warlord or ultranationalist could have conceived possible two decades earlier.
But the unexpected turn of history whereby Japan achieved the goals of the war by losing the war, was not without its victims. Somewhere in the hectic confusion of democratic expansion the traditional Japanese brothel disappeared, taking with it the Orient’s artistic contribution to originality and one of man’s rarest creations, the Japanese whore.
No longer was anyone willing to pay money for a woman’s educated body, a woman’s aristocratic smile, a woman’s subtle remarks and incomparable cleverness at match-stick games. The businessmen in the new Japan were preoccupied with their wares and the wares that were soon to be theirs, so when the hour came for relaxation they preferred lying on their backs in a massage parlor staring through the steam at the ceiling, calculating profits, considering new markets, dreaming alone and grandly as a firm, anonymous hand reached out from the mists to masturbate them with swift efficiency.
Or they preferred a pornographic film parlor, where such individual democratic acts could be recalled and anticipated.
As was necessary, Mama adapted to the times. She remembered the films shown in Shanghai before the war by a naked clown and built The Living Room with those films in mind. And the combat veterans she had entertained after the war, before they had learned the ways of the new democracy and become successful, certainly didn’t forget the little woman who had provided for them when they were penniless.
They remembered and they returned, gratefully spending large sums of money at Mama’s nightclub, the most famous place of entertainment in Asia, a club that was almost as much of a legend as its mysterious owner, a tiny old woman whose compassion and mercy were so great that many wondered if she might not be a reincarnation of the Kannon Buddha.
War, disaster, turmoil. Despite it all Mama had followed the Tao.
And now more recently in her old age she had acquired the kind of retreat she had always wanted, a quiet shrine where she could contemplate the sunrise high above the Imperial moat and the Imperial palace. From there she descended to the world below only in passing to accrue some minor transitory wealth, some award or honor, before returning to her real home far above the city, a spiritual temple carried on the back of the mythical dragon that had guided her through the years of loss and love.
Kikuchi-Lotmann
Now we see him stepping into the ring, the master of ceremonies d
ressed in boots and frock coat, carrying whip and megaphone, a shaman and arbiter of marvels.
• • •
Quin came and went. Big Gobi left the apartment with him once, for the first visit to Father Lamereaux, but he was so confused by the meeting Quin left him behind after that. Quin said something about the names Father Lamereaux had given him. Big Gobi nodded and kept his eyes on the television screen.
Names are fine, he muttered as Quin closed the door.
The Living Room was an underground bar many levels below the street. Quin knew the Japanese custom of referring to all female proprietors of bars as Mama.-san, so as soon as he came upon a waiter, after having walked down several hundred steps, he asked for Mama-san saying they had a mutual friend, Father Lamereaux.
The suspicious waiter directed him to a corner where there stood a man of some four hundred pounds, a former sumo wrestler with a huge mallet resting on his shoulder. The former sumo wrestler held the mallet over Quin’s head until the waiter returned.
The waiter bowed. He apologized for his family and education, his meanness of spirit, his boorish and crass behavior, his whining voice, his unsavory appearance and total incompetence. Mama would see him presently.
In the meantime Quin was invited to be her guest in the Round Room, reserved for the most honored guests. They left the wrestler in the shadows and started down an interminable spiral staircase. Occasionally the waiter stopped to ask Quin if he liked Japan, and when Quin reassured him that he did the man sucked air noisily through his teeth out of wonder or gratitude, or simply because nothing else seemed appropriate.
After descending another three or four hundred feet they entered a circular room where a dozen men or more sat at a counter facing the wall, or rather small windows recessed in the wall. Their backs were to him and no one turned when he came in. The waiter directed him to an empty stool, sucked air, and disappeared.
A face peered up at him from the bartenders’ runway, which was sunken so the heads of the bartenders would not protrude above the counter. Quin ordered a drink and saw a hand come up over the edge with a glass.
On the counter in front of him there was a console of buttons. Family portrait, said one. Small projection lamp, said another. Tattoos. Kobe cameras. Quin arbitrarily pressed the button for Nose.
The screen that Quin had mistaken for a mirror flickered. The screens were built in such a way that only the man directly in front of one could see which private movie he had selected. To everyone else the screens remained mirrors reflecting a distorted view of the small round room.
The first nose was flat and spreading. It grew in size until the screen could no longer contain it. The pores, rich dark holes, were soon big enough to put a fist in, as big as craters in a desert. The rims of the craters were cracked, deep down inside lay heaps of fertile material. The picture continued to expand until there was only one enormous pore on the screen, a volcanic crater not unlike the one to be found on top of Mt. Fuji, the sides of the pore cut by ancient landslides, the center black with dormant bacterial lava.
The frame faded and another nose appeared, life-size, narrower than the first, quivering, and undeniably sensitive. A chrysanthemum or a cherry blossom presented itself to the nose. The nose hesitated and then inhaled deeply, bringing on a multitude of tender sensations.
The third nose moved rapidly. The hairs in the nostrils flapped as a bowl of custard slipped into view. The nose slammed itself into the custard, emerged, rammed itself into the waxy cartilage of an ear.
The same nose moved down a neck, across an armpit, through the crevice made by two pendulant breasts. It nudged a woman’s erect nipples, poked the ridges of her rib cage, shook itself vigorously in her navel, pecked at the mound of her smooth belly. It caressed the thighs and burrowed between the toes, sampling, working swiftly.
Quin’s head jerked back. For an instant a totally different image had appeared on the screen, or so it seemed. A scene from what looked like a barnyard, healthy animals being cared for by healthy, smiling peasants wearing starched muslin and embroidered blouses, East Europeans of some kind, Slavs perhaps, cheerfully tending their animals under the benign guidance, the approving fatherly gaze of a dashing man with a moustache and a worker’s cap, dressed in a loosely fitted black suit and a high celluloid collar.
Lenin?
The image was gone at once and not so much seen as imagined, an effect that made the tale of the nose curiously disturbing. Somehow the suggestion of an actual historical event added authenticity to a film that might otherwise have been merely obsessive and unreal.
The nose lay on its back as a woman’s legs opened at the top of the screen. The legs descended, spread wide, bringing down a curtain of wiry hair that ended the film.
Quin’s glass was empty. Even the ice was gone. A legend beside the buttons on the counter noted that all the films were changed every third day. It also invited the guest to indulge himself in combinations by pressing several or all of the buttons at once, thereby creating unique themes previously unwitnessed. Quin was about to order another drink when the waiter reappeared, apologizing as before, and invited him to pay a visit to Madame Mama.
Once more they walked down a spiral staircase, but this one was narrow and plain and neither carpeted nor lit by chandeliers. It wound down between weathered boards that formed a square shaft, reinforced at every level by what appeared to be a roof. In fact, Quin wondered if they were descending through a pagoda that had been built under the ground instead of above, narrowing into the earth instead of the sky.
She sat at the bottom of the well in a bare wooden room, a tiny white-haired woman in black kimono, her only decoration an oval emerald resting on her forehead. She inclined her head as she greeted him, a kindly, aristocratic woman who spoke precise English with a slightly archaic accent.
The sages like to remind us, she said, that the only life we know here is as one underground, that we must pass through many incarnations before we finally see the sun. A pagoda can also have three or five stories, but mine has seven. Is Father Lamereaux still alive?
Yes he is, answered Quin.
How strange. I always thought he died during the war.
No, but it seems he’s been pretty much of a recluse since then.
I see. Well he was very kind to me once and we must never forget a kindness. What may I do for you, Mr. Quin?
Father Lamereaux thought you might have known my father in Shanghai. He thought you might have been there when he died.
And when was that?
About 1937 I think.
Mama’s face showed no expression.
I was there about then, she said, and I did know many foreigners, many of whom died, most of them in the end. But they were all nameless to me. We didn’t use names then. Ever,
And you’ve never heard of someone called Quin?
Mama frowned. She unfolded her hands, paused, refolded them in a different way.
Yes, I believe I have. But it wasn’t in Shanghai, it was in Tokyo. It was in connection with something that had happened in Shanghai eight years before I lived there.
Mama spoke slowly. She talked of Japan before the war, of Shanghai and the desperation she had known there. She said that to recall the events of that lurid era would be to play an uneasy, painful game with the past. She talked for over an hour and asked him to come to see her again. Meanwhile she offered him the use of an interpreter to help him find the other person Father Lamereaux had mentioned.
Quin left feeling oddly close to the ancient little woman even though she had not discussed the circumstances in which she had heard his father’s name. Instead she had talked at length about herself. Why had she avoided his questions?
Quin thought he knew the answer. Geraty had said the espionage ring operated for eight years. If his father had died in Shanghai when Mama was there, then the event she had alluded to, the episode that occurred eight years before that time, might be connected with the beginning of the ring. Mama had
said it would be an uneasy, painful game of memory to recall that era and Quin believed her, for the uneasy, painful game could have only one name.
Shanghai.
• • •
The interpreter, a meek elderly man, suggested they begin their search at once in Tsukiji, the area of Tokyo where Quin had been told to look for the gangster Kikuchi-Lotmann. Since it was the fish market district, Tsukiji had the best sushi restaurants in the city. The interpreter led Quin to one on a main street and indicated a table by the window.
If we sit there, he said, we should be able to get our bearings. Shall we?
The interpreter spoke to the waiter and plates of sushi began to appear, those for Quin heavy on the cheaper cuts of octopus and squid, those for the interpreter tending toward expensive sea urchin and expensive salmon roe and an extremely expensive northern whitefish that was so rare it was seldom available at any price.
Quin drank beer. The interpreter drank a premium iced sake from a brewery in Hiroshima that bottled the special brand only once a year on the Emperor’s birthday.
Quin finished his beer waiting to hear the interpreter’s plan for finding Kikuchi-Lotmann. The man said nothing, instead he ordered a second plate of sushi and a third. Quin found himself paying the bill, which was exorbitantly high, while the interpreter exchanged pleasantries with the man at the cash register. Once outside, the interpreter walked a few steps to a doorway and stopped.
Careful, he whispered. We must act naturally.
They stood on the sidewalk facing the door. The interpreter rolled his eyes to heaven meaningfully, hiccuped, unzipped his trousers. Quin went over to wait by the curb as a stream of urine splashed between the interpreter’s legs and slithered across the crowded sidewalk. The elderly man wiped his hands with a newspaper before joining Quin at the curb.
First piece of information, he whispered. There appears to be a houseboat in the neighborhood that everyone is afraid to talk about.
Quin’s Shanghai Circus Page 15