Kyoto Japan Quotes

I remembered once, in Japan, having been to see the Gold Pavilion Temple in Kyoto and being mildly surprised at quite how well it had weathered the passage of time since it was first built in the fourteenth century. I was told it hadn’t weathered well at all, and had in fact been burnt to the ground twice in this century. “So it isn’t the original building?” I had asked my Japanese guide. “But yes, of course it is,” he insisted, rather surprised at my question. “But it’s burnt down?” “Yes.” “Twice.” “Many times.” “And rebuilt.” “Of course. It is an important and historic building.” “With completely new materials.” “But of course. It was burnt down.” “So how can it be the same building?” “It is always the same building.” I had to admit to myself that this was in fact a perfectly rational point of view, it merely started from an unexpected premise. The idea of the building, the intention of it, its design, are all immutable and are the essence of the building. The intention of the original builders is what survives. The wood of which the design is constructed decays and is replaced when necessary. To be overly concerned with the original materials, which are merely sentimental souvenirs of the past, is to fail to see the living building itself.

I loved the quiet places in Kyoto, the places that held the world within a windless moment. Inside the temples, Nature held her breath. All longing was put to sleep in the stillness, and all was distilled into a clean simplicity. The smell of woodsmoke, the drift of incense; a procession of monks in black-and-gold robes, one of them giggling in a voice yet unbroken; a touch of autumn in the air, a sense of gathering rain.

The peace within and flowing from sacred spaces and architecture places is clothed in forgiveness, renunciation, and reconciliation.

Peace is not just a desired state of being for people, but also enables the flourishing of nature as well as human-created landscapes.

The pond garden is an intricate phenomenon coalescing the intent and will of various people of influence living at various times.

Integrating the beauty of seasonal change into the residence was a concept that remains true even today even in the more cramped, inner city machiya.

You don’t have to sleep if you don’t want to.” - Masao

Hajime Tanabe was born in Tokyo, Japan, in 1885. After studying at Tokyo University, he was appointed associate professor of philosophy at Kyoto University, where he was an active member of what became known as the Kyoto School of philosophy.

That first bite of fat-streaked tuna sushi was a culinary epiphany. It was as though I had been wearing a mitten on my tongue all those years and had suddenly taken it off. The velvety fish had a rare beef-like core surrounded by a creamy richness from the marbled fat. The lightly vinegared rice and earthy soy were like exclamation points at the end of a perfect sentence. The wasabi added a final unexpected prickle of heat that kindled my desire for more. That night I promised myself that one day I would eat sushi in Japan.

Tea first came to Japan in the sixth century by way of Japanese Buddhist monks, scholars, warriors, and merchants who traveled to China and brought back tea pressed into bricks. It was not until 1911, during the Song dynasty, that the Japanese Buddhist priest Eisai (also known as Yosai) carried home from China fine-quality tea seeds and the method for making matcha (powdered green tea). The tea seeds were cultivated on the grounds of several Kyoto temples and later in such areas as the Uji district just south of Kyoto. Following the Chinese traditional method, Japanese Zen monks would steam, dry, then grind the tiny green tea leaves into a fine powder and whip it with a bamboo whisk in boiling water to create a thick medicinal drink to stimulate the senses during long periods of meditation.

If you blink, you might miss it. You might miss the wet floor at the threshold, symbolically cleansing you before the meal begins. You might overlook the flower arrangement in the corner, a spare expression of the passing season. You might miss the scroll on the wall drawn with a single unbroken line, signaling the infinite continuity of nature. You might not detect the gentle current of young ginger rippling through the dashi, the extra sheet of Hokkaido kelp in the soup, the mochi that is made to look like a cherry blossom at midnight. You might miss the water.

The Heian Period (794–1185) was Japan’s classical era, a time of peace and opulence, when the imperial court in Heian-kyō (“Capital of Peace and Tranquility”: later Kyoto) was the fountainhead of culture, and the arts flourished. Toward the end, however, political power slipped from the aristocracy to the warrior class, the decline of the imperial court led to the decay of the capital, and peace gave way to unrest. This was the part of the Heian Period that interested Akutagawa, who identified it with fin-de-siècle Europe, and he symbolized the decay with the image of the crumbling Rashōmon gate that dominates his story. Director Kurosawa Akira borrowed Akutagawa’s gate and went him one better, picturing it as a truly disintegrating structure, entirely bereft of its Heian lacquer finish, and suggestive of the moral decay against which his characters struggle. His film Rashōmon (1950) was based on two of Akutagawa’s stories, “Rashōmon” and “In a Bamboo Grove.” Both—themselves based on tales from the twelfth century—reach far more skeptical conclusions than the film regarding the dependability of human nature and its potential for good. (Jay Rubin)

The fanciest grade of green tea in Japan goes by the name of gyokuro, meaning "jade dew." It consists of the newest leaves of a tea plantation's oldest tea bushes that bud in May and have been carefully protected from the sun under a double canopy of black nylon mesh. The leaves are then either steeped in boiled water or ground into a powder to make matcha (literally, "grind tea"), the thick tea served at a tea ceremony. (The powder used to make the thin tea served at a tea ceremony comes from grinding the older leaves of young tea plants, resulting in a more bitter-tasting tea.) The middle grade of green tea is called sencha, or "brew tea," and is made from the unprotected young tea leaves that unfurl in May or June. The leaves are usually steeped in hot water to yield a fragrant grassy brew to enjoy on special occasions or in fancy restaurants. For everyday tea, the Japanese buy bancha. Often containing tiny tea twigs, it consists of the large, coarse, unprotected leaves that remain on the tea bush until August. When these leaves are roasted, they become a popular tea called hojicha. When hojicha combines with popped roasted brown rice, a tea called genmaicha results.

Eating a meal in Japan is said to be a communion with nature. This particularly holds true for both tea and restaurant kaiseki, where foods at their peak of freshness reflect the seasonal spirit of that month. The seasonal spirit for November, for example, is "Beginning Anew," because according to the old Japanese lunar calendar, November marks the start of the new tea year. The spring tea leaves that had been placed in sealed jars to mature are ready to grind into tea. The foods used for a tea kaiseki should carry out this seasonal theme and be available locally, not flown in from some exotic locale. For December, the spirit is "Freshness and Cold." Thus, the colors of the guests' kimonos should be dark and subdued for winter, while the incense that permeates the tearoom after the meal should be rich and spicy. The scroll David chose to hang in the alcove during the tea kaiseki no doubt depicted winter, through either words or an ink drawing. As for the flowers that would replace the scroll for the tea ceremony, David likely would incorporate a branch of pine to create a subtle link with the pine needle-shaped piece of yuzu zest we had placed in the climactic dish. Both hinted at the winter season and coming of New Year's, one of David's underlying themes for the tea kaiseki. Some of the guests might never make the pine needle connection, but it was there to delight those who did.

As my grandmother discovered long ago, the Japanese excel in cultivating nature. Their gardens come in numerous styles, including paradise gardens, dry-landscape gardens, stroll gardens, and tea gardens. Although each type has its own goal, tray all share the same principle: nature is manipulated to create a miniature symbolic landscape. A paradise garden is meant to evoke the Buddhist paradise through the use of water dotted with stone "islands." Dry-landscape gardens, usually tucked away in Zen temples, use dry pebbles and stones to create minimalist views for quiet contemplation. Stroll gardens offer changing scenes with every step, a pool of carp here, a mossy trail there, and a small bridge to link them both, while a tea garden provides a serene path to take you from the external world to the spiritual one of the teahouse.

Rice is sacred to the Japanese people," he says. "We eat it at every meal, yet we never get tired of it." He points out that the word for rice in Japanese, gohan, is the same as the word for meal. When he finally lifts the lid of the first rice cooker, releasing a dramatic gasp of starchy steam, the entire restaurant looks ready to wave their white napkins in exuberant applause. The rice is served with a single anchovy painstakingly smoked over a charcoal fire. Below the rice, a nest of lightly grilled matsutake mushrooms; on top, an orange slice of compressed fish roe. Together, an intense wave of umami to fortify the tender grains of rice. Next comes okoge, the crispy rice from the bottom of the pan, served with crunchy flakes of sea salt and oil made from the outside kernel of the rice, spiked with spicy sansho pepper. For the finale, an island of crisp rice with wild herbs and broth from the cooked rice, a moving rendition of chazuke, Japanese rice-and-tea soup. It's a husk-to-heart exposé on rice, striking in both its simplicity and its soul-warming deliciousness- the standard by which all rice I ever eat will be judged.

With each new course, he offers up little bites of the ethos that drives his cooking, the tastes and the words playing off each other like a kaiseki echo chamber. Ark shell, a bulging, bright orange clam peeking out of its dark shell, barely cooked, dusted with seaweed salt. "To add things is easy; to take them away is the challenge." Bamboo, cut into wedges, boiled in mountain water and served in a wide, shallow bowl with nothing but the cooking liquid. "How can we make the ingredient taste more like itself?With heat, with water, with knifework." Tempura: a single large clam, cloaked in a pale, soft batter with more chew than crunch. The clam snaps under gentle pressure, releasing a warm ocean of umami. "I want to make a message to the guest: this is the best possible way to cook this ingredient." A meaty fillet of eel wrapped around a thumb of burdock root, glazed with soy and mirin, grilled until crispy: a three-bite explosion that leaves you desperate for more. "The meal must go up and down, following strong flavors with subtle flavors, setting the right tone for the diner." And it does, rising and falling, ebbing and flowing, until the last frothy drop of matcha is gone, signaling the end of the meal.

We start with a next-generation miso soup: Kyoto's famous sweet white miso whisked with dashi made from lobster shells, with large chunks of tender claw meat and wilted spinach bobbing on the soup's surface. The son takes a cube of topflight Wagyu off the grill, charred on the outside, rare in the center, and swaddles it with green onions and a scoop of melting sea urchin- a surf-and-turf to end all others. The father lays down a gorgeous ceramic plate with a poem painted on its surface. "From the sixteenth century," he tells us, then goes about constructing the dish with his son, piece by piece: First, a chunk of tilefish wrapped around a grilled matsutake mushroom stem. Then a thick triangle of grilled mushroom cap, plus another grilled stem the size of a D-sized battery, topped with mushroom miso. A pickled ginger shoot, a few tender soybeans, and the crowning touch, the tilefish skin, separated from its body and fried into a ripple wave of crunch. The rice course arrives in a small bamboo steamer. The young chef works quickly. He slices curtains of tuna belly from a massive, fat-streaked block, dips it briefly in house-made soy sauce, then lays it on the rice. Over the top he spoons a sauce of seaweed and crushed sesame seeds just as the tuna fat begins to melt into the grains below. A round of tempura comes next: a harvest moon of creamy pumpkin, a gold nugget of blowfish capped with a translucent daikon sauce, and finally a soft, custardy chunk of salmon liver, intensely fatty with a bitter edge, a flavor that I've never tasted before. The last savory course comes in a large ice block carved into the shape of a bowl. Inside, a nest of soba noodles tinted green with powdered matcha floating in a dashi charged with citrus and topped with a false quail egg, the white fashioned from grated daikon.

As I tried various restaurants, certain preconceptions came crashing down. I realized not all Japanese food consisted of carefully carved vegetables, sliced fish, and clear soups served on black lacquerware in a highly restrained manner. Tasting okonomiyaki (literally, "cook what you like"), for example, revealed one way the Japanese let their chopsticks fly. Often called "Japanese pizza," okonomiyaki more resembles a pancake filled with chopped vegetables and your choice of meat, chicken, or seafood. The dish evolved in Osaka after World War II, as a thrifty way to cobble together a meal from table scraps. A college classmate living in Kyoto took me to my first okonomiyaki restaurant where, in a casual room swirling with conversation and aromatic smoke, we ordered chicken-shrimp okonomiyaki. A waitress oiled the small griddle in the center of our table, then set down a pitcher filled with a mixture of flour, egg, and grated Japanese mountain yam made all lumpy with chopped cabbage, carrots, scallions, bean sprouts, shrimp, and bits of chicken. When a drip of green tea skated across the surface of the hot meal, we poured out a huge gob of batter. It sputtered and heaved. With a metal spatula and chopsticks, we pushed and nagged the massive pancake until it became firm and golden on both sides. Our Japanese neighbors were doing the same. After cutting the doughy disc into wedges, we buried our portions under a mass of mayonnaise, juicy strands of red pickled ginger, green seaweed powder, smoky fish flakes, and a sweet Worcestershire-flavored sauce. The pancake was crispy on the outside, soft and savory inside- the epitome of Japanese comfort food. Another day, one of Bob's roommates, Theresa, took me to a donburi restaurant, as ubiquitous in Japan as McDonald's are in America. Named after the bowl in which the dish is served, donburi consists of sticky white rice smothered with your choice of meat, vegetables, and other goodies. Theresa recommended the oyako, or "parent and child," donburi, a medley of soft nuggets of chicken and feathery cooked egg heaped over rice, along with chopped scallions and a rich sweet bouillon. Scrumptious, healthy, and prepared in a flash, it redefined the meaning of fast food.

WHEN on the Magpies' Bridge I see The Hoar-frost King has cast His sparkling mantle, well I know The night is nearly past, Daylight approaches fast. The author of this verse was Governor of the Province of Koshu, and Viceroy of the more or less uncivilized northern and eastern parts of Japan; he died A.D. 785. There was a bridge or passageway in the Imperial Palace at Kyoto called the Magpies' Bridge, but there is also an allusion here to the old legend about the Weaver and Herdsman. It is said, that the Weaver (the star Vega) was a maiden, who dwelt on one side of the River of the Milky Way, and who was employed in making clothes for the Gods. But one day the Sun took pity upon her, and gave her in marriage to the Herdboy (the star Aquila), who lived on the other side of the river. But as the result of this was that the supply of clothes fell short, she was only permitted to visit her husband once a year, viz. on the seventh night of the seventh month; and on this night, it is said, the magpies in a dense flock form a bridge for her across the river. The hoar frost forms just before day breaks. The illustration shows the Herdboy crossing on the Bridge of Magpies to his bride. A Hundred Verses from Old Japan (The Hyakunin-isshu), tr. by William N. Porter, [1909],

But like so many things in Japan, behind the façade lay another view. So it was only after I had hiked into the woods far from the bridge that I found a fluttering world of persimmon, ocher, scarlet, and cabernet secreted away in a mossy garden of curving stone paths. When it began to rain, the colors deepened and the leaves, shaped like a baby's hands, spiraled down onto the plush green carpet and sleek dark rocks.

I lost Tomiko and her mother at the eel stall. It was the place to buy prepared fillets of unagi, as meltingly tender as a stick of soft butter. A spotlight shone down on the delicate fillets, gleaming under a varnish of sweet soy glaze. Every eel shop and restaurant makes its own special glaze, which eel purists often forgo. All eel lovers, however, sprinkle on sansho, the tingly tongue-numbing green powder from the ground dried seedpods of the prickly ash tree that lifts the dish from sumptuous to sensational. At that particular eel shop, the fillets, priced according to their fatty succulence, were still warm and drenched with sauce. The next few shops were a sashimi lover's paradise. Spiky forest-green sea urchins swollen with creamy yellow eggs sat in green plastic baskets beside huge steak-like sides of tuna, caught only hours ago from the icy waters off Japan. Gigantic octopuses with suction cups like the bottom of rubber bathtub mats rested on ice near sapphire-silver mackerel imbricated on round white platters.

As Yasu popped open a giant Kirin- the champagne of Japanese beers- Tomiko placed bowls of special buckwheat noodle soup at everyone's place, since the noodles represent long life. They are also said to bring prosperity, because in the past silversmiths and goldsmiths used to pick up the scraps of metal in their workshops with soba noodle dough. A salty seafood vapor wafted up from my soup bowl, holding a wobbly poached egg in a nest of gray noodles. A pink wheat gluten flower and sprig of Japanese chervil lay submerged in the hot dashi broth, along with two round slices of kamaboko, the springy sweet fish paste eaten all over Japan.

Like families all over Japan, that morning we tucked into a special New Year's breakfast soup called ozoni. Although recipes vary from region to region, they all contain mochi because the pounded rice dumplings symbolize the breaking of "bread" with the New Year's deity Toshigami-sama. The rest of the ingredients in the soup, aside from the dashi base, vary according to what is fresh and regionally available. So around Hiroshima, for example, cooks add oysters, prawns, and saltwater eel caught from the nearby Inland Sea to their ozoni, while natives of Tokyo toss in nubbins of chicken, sliced fish cake, and spinach-like greens. For those living in Kyoto, the ozoni always includes lots of sweet white miso.

The key to great bamboo, Yamashita tells me, is space. Bamboo trees can reproduce for six years, but their roots need room to spread, and the sun needs room to bake the forest floor. More than a farmer, Yamashita is a constant gardener, pruning branches, keeping the trees to a height of six meters, using rice husk to sow nutrients into the soil. The best bamboo is found deep underground, safely away from sunlight, turning the harvest into something resembling a truffle hunt. We walk carefully and quietly through the forest, looking for little cracks in the earth that indicate a baby bamboo trying to make its way to the surface. When we spot cracks, Yamashita comes by with a small pick and gently works the soil until he reaches the bulb. Most bamboo you see is ruddy brown or purple, but Yamashita's takenoko comes out lily white, tender, and sweet enough to eat like an apple. "You have to cook it right away, otherwise you begin to lose the flavor," says Shunichi.

He's on to sashimi now, fanning and curling slices of snapper and fugu into white roses on his cutting board. Before Toshio can plate the slices, Shunichi reaches over and calmly replaces the serving plate his son has chosen with an Edo-era ceramic rectangle more to his liking. Three pieces of tempura- shrimp, eggplant, new onion- emerge hissing and golden from the black iron pot in the corner, and Toshio arranges them on small plates with wedges of Japanese lime. Before the tempura goes out, Shunichi sneaks in a few extra granules of salt while Toshio's not looking. By now Dad is shadowing his son's every move. As Toshio waves a thin plank of sea cucumber eggs over the charcoal fire, his dad leans gently over his shoulder. "Be careful. You don't want to cook it. You just want to release its aroma." Toshio places a fried silverfish spine on a craggy ceramic plate, tucks grated yuzu and sansho flowers into its ribs, then lays a sliver of the dried eggs over the top. The bones shatter like a potato chip, and the sea cucumber detonates in my mouth.

Spanning from the turn of the twentieth century to the mid-1960s, [D. T.] Suzuki's work played a major role in the constitution of a Zen discourse in Japan and the West. In the wake of Suzuki, a significant contribution to the elaboration of a Zen philosophy was made by the so-called Kyoto School, which was founded by Suzuki's friend Nishida Kitaro (1870–1945). Despite their different intellectual itineraries, both Suzuki and Nishida were still speaking from within the discursive arena opened by Western Orientalism. That is to say, their description of Zen is in many respects an inverted image of that given by the Christian missionaries, and they relied on Christian categories even when rejecting them.

Ishida Mitsunari, the general of the defeated Western Army, was beheaded in Kyoto.

Capa left for Japan on 11 April and was delighted with the reception he received. He travelled to Kyoto, Nara, Osaka, Kobe and Amagasaki, thoroughly enjoying being in a country he described to a friend as a ‘photographer’s paradise’ and unaware that mundane events would soon interrupt his idyll.

The province’s most lucrative agricultural export market was Matsutake pine mushrooms, prized in Japan for their fragrance and taste. Consumers in Tokyo and Kyoto were willing to pay up to 10,000 yen (US$110) for the best specimens.34 Chinese consumers preferred the caterpillar fungus Cordyceps sinensis, which consumed its host, the ghost moth caterpillar, from inside out as it hibernated on the mountain grasslands. But rising demand and intense competition is driving foragers to collect earlier in the year, sometimes before the fungus has had time to release spores. This means it has no way to reproduce. Production has plummeted over the past twenty years, driving up the price of the fungus to almost twice the price of gold, gram for gram.35 Many Chinese believe this ghoulish parasite, known in Tibetan as yartsa gunbu, or bu, is variously a cure for cancer, an aphrodisiac, and a tonic for long-distance runners.

As the historic capital of the country and the stronghold of the nation’s most celebrated traditions, the city of Kyoto holds a unique place in the Japanese imagination.

This may appear as a counterintuitive choice: not only is the city the undisputed stronghold of Japanese traditional high culture, but also its residents’ more mundane practices are widely regarded as highly distinctive. Yet still, not everything that occurs in that city is typically Kyotoite, or typically Japanese.

Travel is fatal to prejudice, bigotry, and narrow-mindedness, and many of our people need it sorely on these accounts. Broad, wholesome, charitable views of men and things cannot be acquired by vegetating in one little corner of the earth all one's lifetime.

Ontario was putting real policies in place to honor that commitment (unlike the Canadian government as a whole, which has allowed emissions to balloon, leading it to withdraw from the Kyoto Protocol rather than face international censure). Most importantly, the program was working. How absurd, then, for the WTO to interfere with that success—to let trade trump the planet itself. And yet from a strictly legal standpoint, Japan and the EU were perfectly correct. One of the key provisions in almost all free trade agreements involves something called “national treatment,” which requires governments to make no distinction between goods produced by local companies and goods produced by foreign firms outside their borders. Indeed, favoring local industry constitutes illegal “discrimination.” This was a flashpoint in the free trade wars back in the 1990s, precisely because these restrictions effectively prevent governments from doing what Ontario was trying to do: create jobs by requiring the sourcing of local goods as a condition of government support. This was just one of the many fateful battles that progressives lost in those years.

Mr. Premier, we’re running out of time,” I said, “so let me cut to the chase. Before I walked into this room, I assume, the plan was for all of you to leave here and announce that the U.S. was responsible for the failure to arrive at a new agreement. You think that if you hold out long enough, the Europeans will get desperate and sign another Kyoto-style treaty. The thing is, I’ve been very clear to them that I can’t get our Congress to ratify the treaty you want. And there is no guarantee Europe’s voters, or Canada’s voters, or Japan’s voters, are going to be willing to keep putting their industries at a competitive disadvantage and paying money to help poor countries deal with climate change when the world’s biggest emitters are sitting on the sidelines. “Of course, I may be wrong,” I said. “Maybe you can convince everyone that we’re to blame. But that won’t stop the planet from getting warmer. And remember, I’ve got my own megaphone, and it’s pretty big. If I leave this room without an agreement, then my first stop is the hall downstairs where all the international press is waiting for news. And I’m going to tell them that I was prepared to commit to a big reduction in our greenhouse gases, and billions of dollars in new assistance, and that each of you decided it was better to do nothing. I’m going to say the same thing to all the poor countries that stood to benefit from that new money. And to all the people in your own countries that stand to suffer the most from climate change. And we’ll see who they believe.

did not see much of Kara after we returned to Tokyo. My honorary position in the Situation Theater had come to an end. Kara was right, of course: I was just an ordinary gaijin after all. It was as though I had flunked an important test; my immersion in a Japanese gang had run into an insurmountable barrier. That last night in Kyoto had been the moment of truth that all foreigners face in Japan at one point or another. No matter how much you might behave as a Japanese, you never will be Japanese. Some foreigners find this painful. But you cannot blame the Japanese for failing to comply with the illusions of foreigners. Just as Kara faced his Japaneseness in the Chelsea Hotel, every gaijin in Japan must realize that a gaijin he or she will always remain, no matter how well a person speaks Japanese or has mastered the etiquette of Japanese social life.

I put my phone away and stare out the window at Japan's countryside, watching the scenery zip by at 320 kilometers per hour. Mount Fuji has come and gone, as have laundry on metal merry-go-racks, houses plastered with party signs, weathered baseball diamonds, an ostrich farm, and now, miles of rice paddy fields tended by people wearing conical hats and straw coats. Japan is dressed in her best this morning, sunny and breezy, with few clouds in the sky as accessories. It's the first official day of spring. Cherry blossoms have disappeared in twists of wind or trampled into the ground. Takenoko, bamboo season, will begin soon.

I lose my breath, find it again. I don't want to break this spell. I'm completely besotted. In love with Kyoto, with Japan. We come to the end, to the palace gates as they open. At the gate, I turn and bow. Thank you. Mr. Fuchigami is there, enjoying the lanterns with the rest of the staff. "Your Highness, did you enjoy your dinner?" he asks. I nod. Can he see how happy I am? How my eyes shine with joy? He steps toward me. "You've won the heart of Kyoto." The lantern bearers surround me and all at once, they let go. Glowing orbs drift to the sky in a perfect circle of light. It's beautiful. Truly beautiful. A golden crown.

Until recently - perhaps mid-2010s - accounts of being a foreigner in Japan were dominated by white, usually male, Anglo-centric perspectives. (Alright, not that much as changed.) They talk about 'doing the gaijin nod when you see another gaijin on the street.' (No one has ever done this to me.) They talk about playing the 'gaijin card' to get out of sticky situations, like, say, pretending not to speak any Japanese when they've forgotten to buy the correct ticket for the express train, so the hapless station attendant decides to let them go. There's a certain group of people (men) who drift through life here with the barest smattering of Japanese for decades relying on their Japanese spouses (wives) to keep the cogs of daily life spinning; this will never be viable for me. I will never experience the minor celebrity of being a white person in rural Japan (on balance, much healthier for one's ego), nor will I ever be someone people approach and fawn over because they want to make foreign friends (eventually, I realised this was also better), nor will local people ever compliment my looks (there was always a small part of me that wished I was noticeably beautiful). I've been perceived as a Japanese woman in unexpected ways. For example, at a musical gathering, an older white man once turned to me and asked: So whose wife are you? It took a great deal of self-restraint not to slap him.

Many of the featured establishments have been around for generations, some for hundreds of years. The reason is that whilst Kyoto is a modern city, it is also an ancient city where much of Japanese culture sprouted and developed, including many aspects of the Japanese kitchen. Visiting these establishments, experiencing their hospitality, and sampling their wares is literally taking a tour through a significant part of Japanese culinary history, often in the original setting. It’s a unique opportunity for anyone with an interest in Kyoto and Japanese culture more generally. Through these establishments, you can feel the Kyoto style and by extension a core aspect of Japanese style.

One of the recurring themes mentioned in this guide is the quality of well water in Kyoto. Their soft water is an essential ingredient in making many of their gastronomic creations exceptional. However, it takes people to recognise its importance and use the resource appropriately and responsibly. It requires care. It requires sensibility. The availability of their superior well water is happenstance, but the creative use of it is hardly an accident. It’s because of the crafts practised by the people.

This little place is a jewel that is quite possibly my #1 eatery in the world. Pre-publication, I said that [O] is in my global top five, but after actually giving the notion some thought, I don’t think there is another restaurant anywhere in the world that I would rather visit.

The earliest attempt to form an independent Zen group in Japan seems to have been led by Nōnin, who taught his form of Zen at Sanbōji (a Tendai temple in Settsu) during the latter part of the twelfth century. Because Nōnin's following, which styled itself the Darumashū (after Daruma, i.e., Bodhidharma, the semilegendary founder of the Chinese Ch'an school), failed to secure a permanent institutional base, scholars had not fully realized Nōnin's importance until recently. As early as 1272, however, less than eighty years after Nōnin's death, Nichiren had correctly identified Nōnin as the pioneer leader of the new Zen groups. Eisai, a contemporary of Nōnin, also founded several new centers for Zen practice, the most important of which was Kenninji in Kyoto. In contrast to Nōnin, who had never left Japan, Eisai had the benefit of two extended trips to China during which he could observe Chinese Ch'an (Jpn. Zen) teachers first hand. The third important early Zen leader in Japan was Dōgen, the founder of Japan's Sōtō school. Dōgen had entered Eisai's Kenninji in 1217 and, like Eisai, also traveled to China for firsthand study. Unlike Eisai (or Nōnin), after his return to Japan Dōgen attempted to establish the monastic structures he found in China. Dōgen's monasteries, Kōshōji (Dōgen's residence during 1230–1243) and Eiheiji (1244–1253), were the first in Japan to include a monks' hall (sōdō) within which Zen monks lived and meditated according to Chinese-style monastic regulations.

Forging Mettle In popular depictions of Musashi’s life, he is portrayed as having played a part in the decisive Battle of Sekigahara on October 21, 1600, which preceded the establishment of the Tokugawa shogunate. A more likely hypothesis is that he was in Kyushu fighting as an ally of Tokugawa Ieyasu under Kuroda Yoshitaka Jōsui at the Battle of Ishigakibaru on September 13, 1600. Musashi was linked to the Kuroda clan through his biological birth family who were formerly in the service of the Kodera clan before Harima fell to Hideyoshi.27 In the aftermath of Sekigahara, Japan was teeming with unemployed warriors (rōnin). There are estimates that up to 500,000 masterless samurai roamed the countryside. Peace was tenuous and warlords sought out skilled instructors in the arts of war. The fifteen years between Sekigahara and the first siege of Osaka Castle in 161528 was a golden age for musha-shugyō, the samurai warrior’s ascetic walkabout, but was also a perilous time to trek the country roads. Some rōnin found employment as retainers under new masters, some hung up their swords altogether to become farmers, but many continued roving the provinces looking for opportunities to make a name for themselves, which often meant trouble. It was at this point that Musashi embarked on his “warrior pilgrimage” and made his way to Kyoto. Two years after arriving in Kyoto, Musashi challenged the very same Yoshioka family that Munisai had bettered years before. In 1604, he defeated the head of the family, Yoshioka Seijūrō. In a second encounter, he successfully overpowered Seijūrō’s younger brother, Denshichirō. His third and last duel was against Seijūrō’s son, Matashichirō, who was accompanied by followers of the Yoshioka-ryū school. Again, Musashi was victorious, and this is where his legend really starts to escalate. Such exploits against a celebrated house of martial artists did not go unnoticed. Allies of the Yoshioka clan wrote unflattering accounts of how Musashi used guile and deceit to win with dishonorable ploys. Meanwhile, Musashi declared himself Tenka Ichi (“Champion of the Realm”) and must have felt he no longer needed to dwell in the shadow of his father. On the Kokura Monument, Iori wrote that the Yoshioka disciples conspired to ambush Musashi with “several hundred men.” When confronted, Musashi dealt with them with ruthless resolve, one man against many. Although this representation is thought to be relatively accurate, the idea of hundreds of men lying in wait was obviously an exaggeration. Several men, however, would not be hard to believe. Tested and triumphant, Musashi was now confident enough to start his own school. He called it Enmei-ryū. He also wrote, as confirmed by Uozumi, his first treatise, Heidōkyō (1605), to record the techniques and rationale behind them. He included a section in Heidōkyō on fighting single-handedly against “multiple enemies,” so presumably the third duel was a multi-foe affair.

The study was done in a relatively small town in Kyoto named Kyotango.  What makes this town special and a very good place to conduct the study was the fact that its population of people above 100 years old was the highest in Japan - 3 times more than the average for any town in the country.  The program - Takeshi no katei no igaku - specifically wanted to find out what these very old - but very joyful - bunch of people in Kyotango had in common when it comes to living their daily lives.  The program followed 7 people who were already in their late 90s and early 100s from sunrise to sunset.  The program also subjected them to health checkups such as blood tests, among others.  One of the interesting findings of the study was that all of the 7 subjects had very high levels of DHEA, which is a steroid hormone produced by the body's adrenal glands.  DHEA has a solid reputation of being a miracle hormone that's highly associated with longevity.  And as the study continued following the 7 super senior citizens, they discovered another commonality:  they all did things that they really enjoyed.  Each of them had different hobbies they passionately practiced every day such as painting, fishing and making traditional Japanese masks, among others. Given these findings, is it possible then that doing something you really love to do, something you're very passionate about, is the key to higher levels of DHEA and, therefore, a much longer life?  The science on this relationship hasn't been established yet, but the program concluded that regularly doing something that you're very interested in, passionate about, and focused on can give you a long-lasting and deep sense of personal satisfaction in life, which in turn can help elevate your DHEA levels.  And when such levels are very high, a long and joyful life isn't far behind.  And guess what, the program repeatedly made mention of Ikigai in discussing this concept of conclusion.

First, a sizzling stone, the same one Toshio introduced to Ducasse years back. Today it's filled with rice and ginger juice and baby firefly squid, which crackle wildly as he tosses it all like a scalding salad and pushes it over to me. The squid guts coat the rice like an ocean risotto, give it body and funk, while the heat from the stone crisps the grains like a perfect bibimbap.

Next comes chawan mushi, a delicate egg custard studded with wild mountain vegetables and surrounded by flowers from the bamboo forest. A dish as old as Kyoto itself. Toshio plucks two sacs of cod milt from the grill, slides them off the skewer into a squat clay box filled with bubbling miso. He comes back a second later with a scoop of konawata, pickled sea cucumber organs. A dish as new as the spring flowers blooming just outside the window. One by one, the market stars reappear on the plate. A black-and-gold lacquered bowl: Toshio pulls off the top to reveal thin slices of three-year-old virgin wild boar braised into sweet, savory submission with Kyoto white miso and chunks of root vegetables. Uni- Hokkaido and Kansai- the first atop a wedge of taro root dusted with rice flour and lightly fried, the other resting gently on a fried shiso leaf. Two bites, two urchins, an echo of the lesson in the market this morning.

I celebrated my arrival in Kyoto with a dinner of grilled eel, a sublime delicacy in Japan. In the water the fish resembles a ferocious jagged-toothed snake. But when sizzled over hot charcoal it looks like a fillet of sole that has spent the winter in Palm Beach. The skin turns crisp and smoky and the fatty white flesh, basted with a sweet soy syrup, becomes deeply tanned and as succulent as foie gras.

There was also a peculiarly Japanese adaptation of things foreign. I first noticed this one rainy November evening when I stopped by Rub-a-Dub, a funky reggae watering hole located near the Pontocho, the city's former red-light district now known for its restaurants, bars, and geisha teahouses. After ordering one of the bar's famous daiquiris, I anticipated receiving an American-style rum-in-your-face daiquiri with an explosive citrus pucker. Instead, I was handed a delicate fruity drink that tasted more like a melted lime Popsicle. Over time I noticed other items had been similarly adapted. McDonald's offered hamburgers with sliced pineapple and ham to satisfy Japanese women's notorious sweet tooth. "Authentic" Italian restaurants topped their tomato-seafood linguini with thin strands of nori seaweed, instead of grated Parmesan. And slim triangles of "real" New York-style chizu-keki (cheesu-cakey) in dessert shops tasted like cream cheese-sweetened air.

The meal begins the way all kaiseki meals begin, with hassun, a mixed plate of small bites- fish and vegetables, usually- used to set the tone for the feast to come. In a bowl of pine needles and fallen leaves he hides smoky slices of bonito topped with slow-cooked seaweed, gingko nuts grilled until just tender, a summer roll packed with foraged herbs, and juicy wedges of persimmon dressed with ground sesame and sansho flowers. Autumn resonates in every bite. While the rice simmers away, the meal marches forward: sashimi decorated with a thicket of mountain vegetables and wildflowers; a thick slab of Kyoto-style mackerel sushi, fermented for a year, with the big, heady funk of a washed cheese; mountain fruit blanketed in white miso and speckled with black sesame and bee larvae.

The green sponge turned out to be fu (wheat gluten), a high-protein Buddhist staple food often flavored with herbs and spices. The pink-and-yellow cigarette lighters turned out to be yogurts. The lime-green yo-yos were rice taffy cakes bulging with sweet white bean paste. As for the vermilion-colored mollusks, they were a kind of cockle called blood clams (or arc shell) and, according to Tomiko, "delicious as sushi." The jumbo green sprouts came from the daikon radishes and were "tasty in salads." And the pebbly-skinned yellow fruit was yuzu, an aromatic citrus with a lemony pine flavor that was "wonderful in soup.

Stimson flew to Potsdam the next day to see me,” Truman remembered, “and brought with him the full details of the test. I received him at once and called in Secretary of State Byrnes, Admiral Leahy, General George Marshall, General Henry Arnold, and Admiral Ernest King.” It was too early to understand the implications and as Truman recalled, “we were not ready to make use of this weapon against the Japanese.” In his memoirs, Truman wrote that the plan was to stay the course “with the existing military plans for the invasion of the Japanese home islands.”102 Truman’s diary reveals a different and more telling narrative. His mind appears to have already been made up shortly after confirmation of the Alamogordo test, which is not surprising given he had a full understanding of what an invasion would entail. “We have discovered the most terrible bomb in the history of the world,” he confided to his diary in a July 26 entry. “This weapon is to be used against Japan between now and August 10th. I have told the Sec. of War, Mr. Stimson, to use it so that military objectives and soldiers and sailors are the target and not women and children.”103 That same entry reveals not just the intent, but also the thinking behind the target. “Even if the Japs are savages, ruthless, merciless and fanatic, we as the leader of the world for the common welfare cannot drop this terrible bomb on the old capital [Kyoto] or the new [Tokyo] . . . The target will be a purely military one and we will issue a warning statement asking the Japs to surrender and save lives.”104 Truman was face-to-face with Stalin, aware that he possessed the deadliest weapon the world had ever seen.

Monastery Nights I like to think about the monastery as I’m falling asleep, so that it comes and goes in my mind like a screen saver. I conjure the lake of the zendo, rows of dark boats still unless someone coughs or otherwise ripples the calm. I can hear the four AM slipperiness of sleeping bags as people turn over in their bunks. The ancient bells. When I was first falling in love with Zen, I burned incense called Kyonishiki, “Kyoto Autumn Leaves,” made by the Shoyeido Incense Company, Kyoto, Japan. To me it smelled like earnestness and ether, and I tried to imagine a consciousness ignorant of me. I just now lit a stick of it. I had to run downstairs for some rice to hold it upright in its bowl, which had been empty for a while, a raku bowl with two fingerprints in the clay. It calls up the monastery gate, the massive door demanding I recommit myself in the moments of both its opening and its closing, its weight now mine, I wanted to know what I was, and thought I could find the truth where the floor hurts the knee. I understand no one I consider to be religious. I have no idea what’s meant when someone says they’ve been intimate with a higher power. I seem to have been born without a god receptor. I have fervor but seem to lack even the basic instincts of the many seekers, mostly men, I knew in the monastery, sitting zazen all night, wearing their robes to near-rags boy-stitched back together with unmatched thread, smoothed over their laps and tucked under, unmoving in the long silence, the field of grain ripening, heavy tasseled, field of sentient beings turned toward candles, flowers, the Buddha gleaming like a vivid little sports car from his niche. What is the mind that precedes any sense we could possibly have of ourselves, the mind of self-ignorance? I thought that the divestiture of self could be likened to the divestiture of words, but I was wrong. It’s not the same work. One’s a transparency and one’s an emptiness. Kyonishiki.... Today I’m painting what Mom calls no-colors, grays and browns, evergreens: what’s left of the woods when autumn’s come and gone. And though he died, Dad’s here, still forgetting he’s no longer married to Annie, that his own mother is dead, that he no longer owns a car. I told them not to make any trouble or I’d send them both home. Surprise half inch of snow. What good are words? And what about birches in moonlight, Russell handing me the year’s first chanterelle— Shouldn’t God feel like that? I aspire to “a self-forgetful, perfectly useless concentration,” as Elizabeth Bishop put it. So who shall I say I am? I’m a prism, an expressive temporary sentience, a pinecone falling. I can hear my teacher saying, No. That misses it. Buddha goes on sitting through the century, leaving me alone in the front hall, which has just been cleaned and smells of pine.

Japan’s institutions proved just as fragile as its supposedly unshakeable buildings. In Tokyo, it took politicians several hours to work out what was going on. A cabinet meeting in the morning had been told erroneously that a quake had hit Kyoto, fifty miles from the actual site of the disaster. Communications had collapsed, meaning little information was getting in or out. Authorities dithered about whether they should send in the Self Defence Forces, Japan’s army-equivalent, which was still mistrusted by the public half a century after the war. The rescue response was so haphazard that yakuza gang members … were reported to be firs ton the scene with food and blankets. Into the institutional vacuum poured hundreds of thousands of volunteers whose actions began to see the idea that people, not governments, or bureaucrats, were the ones who could get things done. It was an unsettling turn of events for a population that had, by and large, trusted the authorities for four decades to do the right thing.