Kyoto Quotes

Even in Kyoto/Hearing the cuckoo's cry/I long for Kyoto

Reality is shaped by the forces that destroy it.

Gabrielle was insulted and didn't even bother to hide it. 'Oh, and I suppose you think your dad was alone when he free-climbed the Kyoto Banking Tower on a windy day last September.

None of the things in life - like love or faith - was arrived at by thinking; indeed, one could almost define the things that mattered as the ones that came as suddenly as thunder.

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.

we missed you at the wedding," he said. "Yeah." puck shrugged. "I was in Kyoto at the time, visiting some old kitsune friends. We were travelling up to Hokaido to check out this old temple that was supposedly haunted. Turns out, a yuki-onna had taken up residence there and had scared off most of the locals. She wasn't terribly happy to see us. Can you believe it?" He grinned. "Course, we, uh, might've pissed her off when the temple caught fire-you know how kitsune are. She chased us all the way to the coast, throwing icicles, causing blizzards...the old hag even tried to bury us under an avalanche. We almost died." He sighed dreamily and looked at Ash. "You should've been there ice-boy.

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.

An accomplished woman is one who has a thorough knowledge of music, singing, drawing, dancing and the modern languages; she must be well trained in the fighting styles of the Kyoto masters and the modern tactics and weaponry of Europe.

There is evidence that the honoree [Leonard Cohen] might be privy to the secret of the universe, which, in case you're wondering, is simply this: everything is connected. Everything. Many, if not most, of the links are difficult to determine. The instrument, the apparatus, the focused ray that can uncover and illuminate those connections is language. And just as a sudden infatuation often will light up a person's biochemical atmosphere more pyrotechnically than any deep, abiding attachment, so an unlikely, unexpected burst of linguistic imagination will usually reveal greater truths than the most exacting scholarship. In fact. The poetic image may be the only device remotely capable of dissecting romantic passion, let alone disclosing the inherent mystical qualities of the material world. Cohen is a master of the quasi-surrealistic phrase, of the "illogical" line that speaks so directly to the unconscious that surface ambiguity is transformed into ultimate, if fleeting, comprehension: comprehension of the bewitching nuances of sex and bewildering assaults of culture. Undoubtedly, it is to his lyrical mastery that his prestigious colleagues now pay tribute. Yet, there may be something else. As various, as distinct, as rewarding as each of their expressions are, there can still be heard in their individual interpretations the distant echo of Cohen's own voice, for it is his singing voice as well as his writing pen that has spawned these songs. It is a voice raked by the claws of Cupid, a voice rubbed raw by the philosopher's stone. A voice marinated in kirschwasser, sulfur, deer musk and snow; bandaged with sackcloth from a ruined monastery; warmed by the embers left down near the river after the gypsies have gone. It is a penitent's voice, a rabbinical voice, a crust of unleavened vocal toasts -- spread with smoke and subversive wit. He has a voice like a carpet in an old hotel, like a bad itch on the hunchback of love. It is a voice meant for pronouncing the names of women -- and cataloging their sometimes hazardous charms. Nobody can say the word "naked" as nakedly as Cohen. He makes us see the markings where the pantyhose have been. Finally, the actual persona of their creator may be said to haunt these songs, although details of his private lifestyle can be only surmised. A decade ago, a teacher who called himself Shree Bhagwan Rajneesh came up with the name "Zorba the Buddha" to describe the ideal modern man: A contemplative man who maintains a strict devotional bond with cosmic energies, yet is completely at home in the physical realm. Such a man knows the value of the dharma and the value of the deutschmark, knows how much to tip a waiter in a Paris nightclub and how many times to bow in a Kyoto shrine, a man who can do business when business is necessary, allow his mind to enter a pine cone, or dance in wild abandon if moved by the tune. Refusing to shun beauty, this Zorba the Buddha finds in ripe pleasures not a contradiction but an affirmation of the spiritual self. Doesn't he sound a lot like Leonard Cohen? We have been led to picture Cohen spending his mornings meditating in Armani suits, his afternoons wrestling the muse, his evenings sitting in cafes were he eats, drinks and speaks soulfully but flirtatiously with the pretty larks of the street. Quite possibly this is a distorted portrait. The apocryphal, however, has a special kind of truth. It doesn't really matter. What matters here is that after thirty years, L. Cohen is holding court in the lobby of the whirlwind, and that giants have gathered to pay him homage. To him -- and to us -- they bring the offerings they have hammered from his iron, his lead, his nitrogen, his gold.

There is no doubt that the United States has much to atone for, both domestically and abroad...To produce this horrible confection at home, start with our genocidal treatment of the Native Americans, add a couple hundred years of slavery, along with our denial of entry to Jewish refugees fleeing the death camps of the Third Reich, stir in our collusion with a long list of modern despots and our subsequent disregard for their appalling human rights records, add our bombing of Cambodia and the Pentagon Papers to taste, and then top with our recent refusals to sign the Kyoto protocol for greenhouse emissions, to support any ban on land mines, and to submit ourselves to the rulings of the International Criminal Court. The result should smell of death, hypocrisy, and fresh brimstone.

If you are not happy, act the happy man. Happiness will come later. If you are in despair, act as though you believe. Faith will come afterwards.

Between now and when we graduate next year there are at least ten weeks' holiday and five random public holidays. There's email and if you manage to get down to the town, there's text messaging and mobile phone calls. If not, the five minutes you get to speak to me on your communal phone is better than nothing. There are the chess nerds who want to invite you to our school for the chess comp next March and there's this town in the middle, planned by Walter Burley Griffin, where we can meet up and protest against our government's refusal to sign the Kyoto treaty.

If you go to Singapore or Amsterdam or Seoul or Buenos Aires or Islamabad or Johannesburg or Tampa or Istanbul or Kyoto, you'll find that the people differ wildly in the way they dress, in their marriage customs, in the holidays they observe, in their religious rituals, and so on, but they all expect the food to be under lock and key. It's all owned, and if you want some, you'll have to buy it.

Even in Kyoto     longing for Kyoto            hototogisu

Just say after Wednesday we never see each-" "Don't" he says, angry. "Jonah, you live six hundred kilometres away from me," I argue. "Between now and when we graduate next year there are at least ten weeks' holiday and five random public holidays. There's email and if you manage to get down to the town, there's text messaging and mobile phone calls. If not, the five minutes you get to speak to me on your communal phone is better than nothing. There are the chess nerds who want to invite you to our school for the chess comp next March and there's this town in the middle, planned by Walter Burley Griffin, where we can meet up and protest against our government's refusal to sign the Kyoto treaty.

A woman must have a thorough knowledge of music, singing, drawing, dancing, and the modern languages; she must be well trained in the fighting styles of the Kyoto masters and the modern tactics and weaponry of Europe. And besides all this, she must possess a certain something in her air and manner of walking, the tone of her voice, her address and expressions, or the word will be but half-deserved. All this she must possess, and to all this she must yet add something more substantial, in the improvement of her mind by extensive reading, meditation, and Oriental discipline.

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

When the mind is truly at peace, wherever you are is pleasant, Whether you live in a marketplace or in a mountain hermitage.

In Kyoto I never experienced an air raid, but once when I was sent to the main factory in Osaka with some orders for spare parts for aircraft, there happened to be an attack and I saw one of the factory workers being carried out on a stretcher with his intestines exposed. What is so ghastly about exposed intestines? Why, when we see the insides of a human being do we have to cover our eyes in terror? Why are people so shocked by the sight of blood pouring out? Why are a man's intestines ugly? Is it not exactly the same in quality as the beauty of youthful, glossy skin? What sort of face would Tsurukawa make if I were to say that it was from him I had learned this manner of speaking - a manner of thinking that transformed my own ugliness into nothingness? Why does there seem to be something inhuman about regarding human beings like roses and refusing to make any distinction between the inside of their bodies and the outside? If only human beings could reverse their spirits and their bodies, could gracefully turn them inside out like rose petals and expose them to the spring breeze and the sun . . .

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

...everywhere I am is true.

The past cannot be changed, forgotten, edited or erased. It can only be accepted.

Even in Kyoto-- Hearing the cuckoo's cry-- I long for Kyoto

When you're hurrying around too quickly," he had said, "there's a part of the world you can't see. If, for example, you're taking a wrong direction in your life, it's only when you stop and look at things clearly that you can revise your direction and take a more proper course. Then message of Zen is that in order to find ourselves, we've got to learn to stop.

For [Stephen] Harper, a national daycare plan bordered on being a socialist scheme, a phrase he had once used to describe the Kyoto Protocol on climate change. For [Paul] Martin, whose plan would have transferred to the provinces $5 billion over five years, the national program was what Canadianism was all about. "Think about it this way," [Martin] said. "What if, decades ago, Tommy Douglas and my father and Lester Pearson had considered the idea of medicare and then said, 'Forget it! Let's just give people twenty-five dollars a week.' You want a fundamental difference between Mr. Harper and myself? Well, this is it.

As I wandered around the room, with Sachiko by my side, I began to think how much we need space in those we love, space enough to accommodate growth and possibility. Knowledge must leave room for mystery; intimacy, taken too far, was the death of imagination. Keeping some little distance from her was, I thought, a way of keeping an open space, a silence for the imagination to fill. "At the same time that we are earnest to explore and learn all things," Thoreau had written, "we require that all things be mysterious and unexplainable.

The culture's reverence for nature accentuates Kyoto's innate beauty. Designs on fabric, pottery, lacquer, and folding screens depict swirling water, budding branches, and birds in flight. Delicate woodcuts and scrolls celebrate the moonlight, rain, and snow. Elegant restaurant dishes arrive with edible garnishes of seasonal flora.

Pine trees rise through cloud soar up into the blue skies, bush clover spangled with dewdrops sways in the autumn breeze; As I dip cold, pure water at the edge of the stream, a solitary white crane comes lolloping my way.

The camellia against the moss of the temple, the violet hues of the Kyoto mountains, a blue porcelain cup -- this sudden flowering of pure beauty at the heart of ephemeral passion: is this not something we all aspire to? And something that, in our western civilization, we do not know how to attain? The contemplation of eternity within the very movement of life.

Three Haiku, Two Tanka (Kyoto) CONFIDENCE (after Bashō) Clouds murmur darkly, it is a blinding habit— gazing at the moon. TIME OF JOY (after Buson) Spring means plum blossoms and spotless new kimonos for holiday whores. RENDEZVOUS (after Shiki) Once more as I wait for you, night and icy wind melt into cold rain. FOR SATORI In the spring of joy, when even the mud chuckles, my soul runs rabid, snaps at its own bleeding heels, and barks: “What is happiness?” SOMBER GIRL She never saw fire from heaven or hotly fought with God; but her eyes smolder for Hiroshima and the cold death of Buddha.

I look at Connor, and a wave of sadness washes over me. I miss him, even though he’s sitting right in front of me. It’s hard to explain, but it reminds me of a haiku I once read: 'Even in Kyoto—/ hearing the cuckoo’s cry—/ I long for Kyoto.' I feel like that a lot. I get nostalgic before I have to.

Along with the greening of May came the rain. Then the clouds disappeared and a soft pale lightness fell over the city, as if Kyoto had broken free of its tethers and lifted up toward the sun. The mornings were as dewy and verdant as a glass of iced green tea. The nights folded into pencil-gray darkness fragrant with white flowers. And everyone's mood seemed buoyant, happy, and carefree. When I wasn't teaching or studying tea kaiseki, I would ride my secondhand pistachio-green bicycle to favorite places to capture the fleeting lushness of Kyoto in a sketchbook. With a small box of Niji oil pastels, I would draw things that Zen pots had long ago described in words and I did not want to forget: a pond of yellow iris near a small Buddhist temple; a granite urn in a forest of bamboo; and a blue creek reflecting the beauty of heaven, carrying away a summer snowfall of pink blossoms. Sometimes, I would sit under the shade of a willow tree at the bottom of my street, doing nothing but listening to the call of cuckoos, while reading and munching on carrots and boiled egg halves smeared with mayonnaise and wrapped in crisp sheets of nori. Never before had such simple indulgences brought such immense pleasure.

Every time I am shown to an old, dimly lit, and, I would add, impeccably clean toilet in a Nara or Kyoto temple, I am impressed with the singular virtues of Japanese architecture. The parlor may have its charms, but the Japanese toilet truly is a place of spiritual repose. It always stands apart from the main building, at the end of a corridor, in a grove fragrant with leaves and moss. No words can describe that sensation as one sits in the dim light, basking in the faint glow reflected from the shoji, lost in meditation or gazing out at the garden. The novelist Natsume Soseki counted his morning trips to the toilet a great pleasure, ‘a physiological delight’ he called it. And surely there could be no better place to savor this pleasure than a Japanese toilet where, surrounded by tranquil walls and finely grained wood, one looks out upon blue skies and green leaves.

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

Satori (enlightenment) is described as nothing seeing itself as such.

Home has always been where I once was, and wherever I’m coming back to. There’s a Japanese idiom, 住めば都 sumeba miyako, loosely ‘home is where you decide it is’.

When the muscle learns something before the brain, the lesson penetrates the consciousness more deeply.

The first buildings had been erected in 1603, to serve as the Kyoto residence of the first shogun of the honorable Tokugawa family,

In the cyclonic mess of Kyoto traffic, two cars scrape bumpers. Both drivers leap out. Each bows, apologizing profusely for his carelessness.

A woman must have a thorough knowledge of music, singing, drawing, dancing, and the modern languages; she must be well trained in the fighting styles of the Kyoto masters and the modern tactics and weaponry of Europe. And besides all this, she must possess a certain something in her air and manner of walking, the tone of her voice, her address and expressions, or the word will be but half-deserved. All this she must possess, and to all this she must yet add something more substantial, in the improvement of her mind by extensive reading.

The grand Italian churches are covered with detail which is visible at the pace people walk by. The great modern buildings are blank because there is no time to see from the car. A thousand years ago when they built the gardens of Kyoto, the stones were set in the streams askew. Whoever went quickly would fall in. When we slow, the garden can choose what we notice. Can change our heart.

I am not going to be everyone's cup of tea... but I really don't want to be everyone's cup of tea! Who wants to be a cheap ass cup of tea that literally everyone can get? I'm the handmade macha tea that you can only find in that 3,000- year-old tea shop at the top of the enchanted 3-tiered waterfall on that sacred hill in Kyoto. You need to understand culture to find that. You need to appreciate value to have that. You need to be on the path of magic to even know that this tea shop is there! I'm your once-in-a-lifetime cup of tea. I'm surely not everybody's cup of tea but that's the last thing on Earth I'd ever want to be.

The ultimate purpose of Zen," I remembered the röshi telling me, "is not in the going away from the world but in the coming back. Zen is not just a matter of gaining enlightenment; it's a matter of acting in a world of love and compassion.

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.

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.

And just as it is common to hear how, when one is in love, anything one sees reminds one of that love—our feelings remake the world in a secular equivalent of the faith that sees the hand of God in everything—so I began to find that when one is thinking on a theme, everything seems to reflect on it. Suddenly, everything I saw or read, in this girlish city of temples, seemed to take me back to the theme of the lady and the monk.

Kyoto? What? Are we there yet?" Janelle sat up straight and looked around the dimly-lit interior of the high-speed train. She must have slept for hours! She had entirely forgotten where she was. She had even forgotten that she was a prisoner. Her head had been resting on Kenji's shoulder.

When I was nine, in the city now called Kyoto, I changed my fate. I walked into the shrine through the red arch and struck the bell. I bowed twice. I clapped twice. I whispered to the foreign goddess and bowed again. And then I heard the shouts and the fire. What I asked for? Any life but this one.

I had a cousin, Randall, killed on Iwo Jima. Have I told you? Have I told you his was a beautiful smile? Not the smile of a cynic, nor the easy, hungry smile of boys his age, whose smiles that aim to get them somewhere, are a commodity in exchange for God knows what. No. His was completely without intent; an accident of a smile. The kind of smile that would have surprised him if he could have seen it for himself. But he was too young to know his own extraordinariness.

This is the price of leaving: you will always be late to the news, you will always miss the most important and unexpected moments of the lives you left behind, and you will always come back to a place that went on changing without you. I was already familiar with it. I’ve done it so many times. I was going to do it again.

The price for this tea is anything from a hundred in gold to a half sen. If you want to drink free, that's all right too. I'm only sorry I can't let you have it for less.

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.

Girls should be protected by guys.' I think that idea is outdated.

We leave broken eggshells behind us all the time; the point is to make them count.

To do what I want, and not to do what I won't - this is why I entered such a life.

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

I was scared of everything – leaving, moving forward, everything.

The Zen Monk Kyō Has Changed His Name to Mujū Dōryū. I Wrote This Verse to Celebrate The Great Prospects That Lie Before Him Unwillingness to remain in the ruts of former Buddha patriarchs Unsurpassed aspiration and fierce passion to achieve the Way These are precisely the qualities found in a true Zen monk Attained the very moment you "have been there and back.

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)

One consequence, presumably unintended, of America’s failure to ratify the Kyoto Protocol has been the emergence of a not-quite-grassroots movement. In February 2005, Greg Nickels, the mayor of Seattle, began to circulate a set of principles that he called the “U.S. Mayors Climate Protection Agreement.” Within four months, more than a hundred and seventy mayors, representing some thirty-six million people, had signed on, including Mayor Michael Bloomberg of New York; Mayor John Hickenlooper of Denver; and Mayor Manuel Diaz of Miami. Signatories agreed to “strive to meet or beat the Kyoto Protocol targets in their own communities.” At around the same time, officials from New York, New Jersey, Delaware, Connecticut, Massachusetts, Vermont, New Hampshire, Rhode Island, and Maine announced that they had reached a tentative agreement to freeze power plant emissions from their states at current levels and then begin to cut them. Even Governor Arnold Schwarzenegger, the Hummer collector, joined in; an executive order he signed in June 2005 called on California to reduce its greenhouse gas emissions to 2000 levels by 2010 and to 1990 levels by 2020. “I say the debate is over,” Schwarzenegger declared right before signing the order.

Plants not only respond to reliable cues in their environments but also produce cues that communicate with other plants and with other organisms,’ said Richard Karban of the University of California, co-author of the study with Kaori Shiojiri of Kyoto University. The research, published in the journal Ecology Letters, showed that plants are ‘capable of more sophisticated behaviour than we imagined’, Professor Karban added.

True beauty makes men dumb [...] criticism, like beauty, sought above all to strike men dumb [...] Criticism's method was to evoke silence without calling on beauty [...] At some time, however, the faith that beauty must strike dumb became a thing of the past. Beauty has not only failed to silence people, it has gotten so even when it passes through the middle of a banquet people don't stop talking. Those of you who have gone to Kyoto do not fail to go to the Stone Garden at the Ryoanji Temple [...]It is a garden to strike men dumb. The amusing thing , though, is that [...] saying that it would not do not to say a word, they screw up their faces trying to squeeze out a haiku [...] It has gotten so we feel we must say something in a great hurry. It has gotten so feel we must convert beauty right away. If we don't convert it, it's dangerous. [...] With this, the age of criticism began.

This rootless shifting east and west I can't suppress a smile myself but how else can I make the whole world my home. If any of my old friends come around asking say I'm down at the river by the Second Fushimi Bridge.

What avails monastic aspirations when, as Mark had said, religious geniuses were born and not made? Could not renouncing the world be a form of self-indulgence? Was not monasticism, in the end, as much an act of cowardice as courage?

There was nothing more to leave behind. In a way, I had walked the roji, the Zen term for "dewy path," which represents the transition from the outside burning world of dust and passions to the contemplative spiritual world of a Japanese teahouse.

He has spent weeks on the pristine, frosty shore of Lake Baikal in Siberia. He has drunk himself stupid in the fairy-tale blood brothels of old Dubrovnik, lounged in red-smoke dens in Laos, enjoyed the New York blackout of 1977, and more recently, feasted on Vegas showgirls in the Dean Martin suite at the Bellagio. He has watched Hindu abstainers wash away their sins in the Ganges, danced a midnight tango on a boulevard in Buenos Aires, and bitten into a faux geisha under the shade of a shogun pavilion in Kyoto.

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.

We take turns becoming the one who leaves. We make ghosts of ourselves and the ones we once loved. Like seasons we change, we transition into the next life. We try and fail to forget. We grow, outgrow and are outgrown. But none of it ever, ever seems to hurt any less.

Finally, we would have been offered either a spring takiawase, meaning "foods boiled or stewed together," or a wanmori (the apex of a tea kaiseki meal) featuring seasonal ingredients, such as a cherry blossom-pink dumpling of shrimp and egg white served in a dashi base accented with udo, a plant with a white stalk and leaves that tastes like asparagus and celery, and a sprig of fresh sansho, the aromatic young leaves from the same plant that bears the seedpods the Japanese grind into the tongue-numbing spice always served with fatty eel.

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.

Marriage she clearly regarded as a businesslike proposition - a matter of domestic deals and daily accounts in which emotions where as irrelevant as love songs in a resume, now, though, as the Heian courtiers had it, and find all the sensations she kept so neatly in her head, of "First love" and "True love" and even "Lost love".

To the samurai of this age, the most important thing in the world was honor. As a class, they virtually competed with each other to see who would be the first to die for it. The government had until recently been too busy with its wars to work out an adequate administrative system for a country at peace, and even Kyoto was governed only by a set of loose, makeshift regulations. Still, the emphasis of the warrior class on personal honor was respected by farmers and townsmen alike, and it played a role in preserving peace. A general consensus regarding what constituted honorable behavior, and what did not, made it possible for the people to govern themselves even with inadequate laws.

This kitchen had been the home to my beloved kitchen utensils too. There was the hundred-year-old pestle and mortar that belonged to my late grandmother, a container made of Japanese cypress that I'd used for keeping rice, a Le Creuset enamel pot I'd bought with my first pay cheque, a set of long-serving chopsticks with extra fine tips I'd found in a specialty shop in Kyoto, an Italian paring knife given to me on my twentieth birthday by the owner of an organic-vegetables shop, a comfortable cotton apron, jade gravel I used for making pickled aubergine, and the traditional cast-iron nambu frying pan I'd travelled as far north as Morioka to buy. It was a collection of quality items built to last a lifetime.

Although Japanese cooking aims to spotlight the natural flavors of ingredients, zesty accents often appear to provide contrast. A blast of pungent wasabi counterposes the oily richness of raw fish. A shake of spicy herbal sansho cuts through the fatty succulence of grilled eel. And a dab of stinging yellow mustard offsets the mild sweetness of boiled greens.

The maid deposits a printed, cotton cushion on the floor in front of the alcove-recess, invites the guest to be seated in that place of honor, and then removes herself. Suzuki first inspects the room. He begins by examining the scroll displayed in the alcove: its Chinese characters, allegedly written by Mokuan, that master calligrapher of the Zen sect, are, of course, faked, but they state that flowers are in bloom and that spring is come to all the world. He next turns his attention to some early-flowering cherry-blossoms arranged in one of those celadon vases which they turn out cheap in Kyoto. Then, when his roving glance chances to fall upon the cushion provided for his particular convenience, what should he find but, planted serenely smack in its center, a squatting cat. I need hardly add that the cat in question is my lordly self.

Cool green foods became the natural choice in restaurants and teahouses. Matcha, the powdered green tea used for the tea ceremony, flavored ice cream, jewel-like gelatin cubes, and sweet whipped cream eaten in parfaits and layered with grapes, pineapple chunks, and chewy white mochi balls. There were Japanese-style snow cones, huge hills of shaved ice drizzled with green tea syrup, along with green tea-flavored mousse and tea-tainted sponge cake. Matcha flavored savory items too, including green tea noodles served hot in dashi soup, as well as chilled and heaped on a bamboo draining mat with a cold dipping sauce of dashi, mirin, and soy. There was green tea-flavored wheat gluten and the traditional Kyoto-style dish of white rice topped with thin petals of sashimi that you "cooked" at the table by drenching it with brewed green tea from a tiny teapot.

Credete nella giustizia, Martin? Allora siete destinato a restare deluso, perché non esiste. Veniamo gettati a un certo punto del turbinio della vita che ignoriamo e, per tutto il tempo concessoci, non facciamo che camminare verso un'assenza. Tutto quello che abbiamo fatto verrà dimenticato, tutti i peccati cancellati, tutte le buone azioni vanificate. Non resterà che il silenzio e, all'ultimo momento, temo, il rimpianto di non essere stati noi stessi

Can I make you a cup of tea?” He says that would be wonderful, and she smiles handsomely; then her face darkens in terrible sorrow. “And I am so sorry, Mr. Arthur,” she says, as if imparting the death of a loved one. “You are too early to see the cherry blossoms.” After the tea (which she makes by hand, whisking it into a bitter green foam—“Please eat the sugar cookie before the tea”) he is shown to his room and told it was, in fact, the novelist Kawabata Yasunari’s favorite. A low lacquered table is set on the tatami floor, and the woman slides back paper walls to reveal a moonlit corner garden dripping from a recent rain; Kawabata wrote of this garden in the rain that it was the heart of Kyoto. “Not any garden,” she says pointedly, “but this very garden.” She informs him that the tub in the bathroom is already warm and that an attendant will keep it warm, always, for whenever he needs it. Always. There is a yukata in the closet for him to wear. Would he like dinner in the room? She will bring it personally for him: the first of the four kaiseki meals he will be writing about. The kaiseki meal, he has learned, is an ancient formal meal drawn from both monasteries and the royal court. It is typically seven courses, each course composed of a particular type of food (grilled, simmered, raw) and seasonal ingredients. Tonight, it is butter bean, mugwort, and sea bream. Less is humbled both by the exquisite food and by the graciousness with which she presents it. “I most sincerely apologize I cannot be here tomorrow to see you; I must go to Tokyo.” She says this as if she were missing the most extraordinary of wonders: another day with Arthur Less. He sees, in the lines around her mouth, the shadow of the smile all widows wear in private. She bows and exits, returning with a sake sampler. He tries all three, and when asked which is his favorite, he says the Tonni, though he cannot tell the difference. He asks which is her favorite. She blinks and says: “The Tonni.” If only he could learn to lie so compassionately.

With nothing else to do, I sipped my tea and watched the sushi masters. With quick precise strokes, they transformed glistening blocks of fatty tuna and gray mullet into smooth neat rectangles. The morsels shone like jewels, the color, cut, and shape perfectly showcasing the seafood's freshness. The two men snatched handfuls of rice from a wide wooden bowl and shaped them into ovals as if preparing for a snowball fight. They say the most talented sushi masters can form their rice so that every grain points in the same direction.

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.

Later, someone told me that relationships have a best-before date. What he actually said was 賞味期限 shoumikigen, literally 'the limit of taste'. Technically still edible, but it won't taste good anymore. It won't be at its best. This is a good way to think about growing apart from people, failing to keep in touch, losing touch, letting them go. It made me feel a little better about the friends I had lost; it reminded me that the ones who are here outnumber those who aren't. Some relationships also have a 消費期限 shouhikigen, a real expiry date, the point which something is no longer usable and has to be thrown out.

The Japanese psychiatrist Kimura Bin, director of the Psychiatric Hos- pital of Kyoto and translator of Binswanger, sought to deepen Heidegger’s anal- ysis of temporality in Being and Time with reference to a classification of the fundamental types of mental illness. To this end he made use of the Latin for- mula post festum (literally, “after the celebration”), which indicates an irreparable past, an arrival at things that are already done. Post festum is symmetrically dis- tinguished from ante festum (“before the celebration”) and intra festum (“during the celebration”). Post festum temporality is that of the melancholic, who always experiences his own “I” in the form of an “I was,” of an irrecoverably accomplished past with respect to which one can only be in debt. This experience of time corresponds in Heidegger to Dasein’s Being-thrown, its finding itself always already abandoned to a factual situation beyond which it can never venture. There is thus a kind of constitutive “melancholy” of human Dasein, which is always late with respect to itself, having always already missed its “celebration.” Ante festum temporality corresponds to the experience of the schizophrenic, in which the direction of the melancholic’s orientation toward the past is in- verted. For the schizophrenic, the “I” is never a certain possession; it is always something to be attained, and the schizophrenic therefore always lives time in the form of anticipation. “The ‘I’ of the schizophrenic,” Kimura Bin writes, “is not the ‘I’ of the ‘already been’; it is not tied to a duty. In other words, it is not the post festum ‘I’ of the melancholic, which can only be spoken of in terms of a past and a debt. . . . Instead, the essential point here is the problem of one’s own possibility of being oneself, the problem of the certainty of becoming oneself and, therefore, the risk of possibly being alienated from oneself” (Kimura Bin 1992: 79). In Being and Time, the schizophrenic’s temporality corresponds to the primacy of the future in the form of projection and anticipation. Precisely because its experience of time originally temporalizes itself on the basis of the future, Dasein can be defined by Heidegger as “the being for whom, in its very Being, Being is always at issue” and also as “in its Being always already anticipat- ing itself.” But precisely for this reason, Dasein is constitutively schizophrenic; it always risks missing itself and not being present at its own “celebration.

My passion for cooking grew as my mother taught me how to make her chewy cranberry bread, Dijon mustard vinaigrette, and Nantucket quahog chowder thickened with chopped clams, potatoes, and sweet onions. Then it reached new heights in college when I took a year off to study French cooking at Le Cordon Bleu in Paris, where I learned to master a mean spinach soufflé, make a perfect sauce Bordelaise, and craft authentic shiny chocolate-topped éclairs. When I was hired as the sous-chef at Le Potiron (The Pumpkin), a Parisian restaurant near Les Halles, I used my newfound skills to transform tough cuts of beef into tender stews, improvise with sweetbreads, and bake cakes from memory.

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.

Because this tea kaiseki would be served so soon after breakfast, it would be considerably smaller than a traditional one. As a result, Stephen had decided to serve each mini tea kaiseki in a round stacking bento box, which looked like two miso soup bowls whose rims had been glued together. After lifting off the top dome-shaped cover the women would behold a little round tray sporting a tangle of raw squid strips and blanched scallions bound in a tahini-miso sauce pepped up with mustard. Underneath this seafood "salad" they would find a slightly deeper "tray" packed with pearly white rice garnished with a pink salted cherry blossom. Finally, under the rice would be their soup bowl containing the wanmori, the apex of the tea kaiseki. Inside the dashi base we had placed a large ball of fu (wheat gluten) shaped and colored to resemble a peach. Spongy and soft, it had a savory center of ground duck and sweet lily bulb. A cluster of fresh spinach leaves, to symbolize the budding of spring, accented the "peach," along with a shiitake mushroom cap simmered in mirin, sake, and soy. When the women had finished their meals, we served them tiny pink azuki bean paste sweets. David whipped them a bowl of thick green tea. For the dry sweets eaten before his thin tea, we served them flower-shaped refined sugar candies tinted pink. After all the women had left, Stephen, his helper, Mark, and I sat down to enjoy our own "Girl's Day" meal. And even though I was sitting in the corner of Stephen's dish-strewn kitchen in my T-shirt and rumpled khakis, that soft peach dumpling really did taste feminine and delicate.

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.

Sociological Explanations Sociologists theorize that people can live together in peace because of the development of a social hierarchy that ranges from dominant to submissive. Everyone in a group takes his or her place in the hierarchy. A certain degree of anxiety around others allows people to assess the level of threat that they pose, and helps maintain the balance between aggression and inhibition. However, people with social anxiety tend to misinterpret others’ behavior as more aggressive or powerful than it really is. As a result, a socially anxious person often will become overly submissive--blushing, not making eye contact, freezing, or withdrawing. Sociologists believe this response may be the result of a fundamental fear of rejection. In monkeys, apes, and humans, being left to fend for oneself usually is a threat to survival. In social anxiety, people may see being judged as a threat to their position in the group. To them, rejection means failure. Kyoto went through her day at school constantly apologizing to everyone. Whenever she walked down the hall, opened her locker, sat down in an empty seat, or got in line in the cafeteria, she always said “Excuse me” or “I’m sorry.” Most of the time, she didn’t know why she was apologizing. She always wanted to please others. Kyoto’s mother took her to see a psychologist because of Kyoto’s anxiety. The psychologist helped Kyoto see that she misinterpreted others’ behavior as being more aggressive than it was. Her constant need to apologize was meant to tell others “I’m not a threat.” Now, before she apologizes, Kyoto asks herself if it is really necessary. Usually, she finds that other people aren’t angry at all.

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.

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.

Although he always talked about technology and Oracle with passion and intensity, he didn’t have the methodical relentlessness that made Bill Gates so formidable and feared. By his own admission, Ellison was not an obsessive grinder like Gates: “I am a sprinter. I rest, I sprint, I rest, I sprint again.” Ellison had a reputation for being easily bored by the process of running a business and often took time off, leaving the shop to senior colleagues. One of the reasons often trotted out for Oracle’s success in the 1990s was Ellison’s decision to hire Ray Lane, a senior executive credited with bringing order and discipline to the business, allowing Ellison just to do the vision thing and bunk off to sail his boats whenever he felt like it. But Lane had left Oracle nearly eighteen months before after falling out with Ellison. Since then, Ellison had taken full control of the company—how likely was it that he would he stay the course? One reason to be skeptical was that Ellison just seemed to have too many things going on in his life besides Oracle. During the afternoon, we took a break from discussing the future of computing to take a tour of what would be his new home—nearly a decade in the making, and at that time, still nearly three years from completion. In the hills of Woodside, California, framing a five-acre artificial lake, six wooden Japanese houses, perfect replicas of the fifteenth- and sixteenth-century originals in Kyoto, were under construction. The site also contained two full-size ornamental bridges, hundreds of boulders trucked in from the high Sierras and arranged according to Zen principles and an equal number of cherry trees jostling for attention next to towering redwoods. Ellison remarked: “If I’m remembered for anything, it’s more likely to be for this than Oracle.”3 In the evening, I noticed in Ellison’s dining room a scale model of what would become his second home: a graceful-looking 450-foot motor-yacht capable of circumnavigating the globe. Already the owner of two mega-yachts, bought secondhand and extensively modified (the 192-foot Ronin based in Sausalito and the 244-foot Katana, which was kept at Antibes in the South of France), Ellison wanted to create the perfect yacht. The key to achieving this had been his successful courtship of a seventy-two-year-old Englishman, Jon Bannenberg, recognized as the greatest designer of very big, privately-owned yachts. With a budget of $200 million—about the same as that for the Japanese imperial village in Woodside—it would be Bannenberg’s masterpiece. Bannenberg had committed himself to “handing over the keys” to Ellison in time for his summer holiday in 2003.

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],

A woman must have a thorough knowledge of music, singing, drawing, dancing, and the modern languages; she must be well trained in the fighting styles of the Kyoto masters and the modern tactics and weaponry of Europe. And besides all this, she must possess a certain something in her air and manner of walking, the tone of her voice, her address and expressions, or the word will be but half-deserved. All this she must possess, and to all this she must yet add something more substantial, in the improvement of her mind by extensive reading, meditation, and Oriental discipline.

I'd been a child with my head in a bag. All I'd seen day after day was Gion, so much so that I'd come to think Gion was everything, and that the only thing that mattered in the world was Gion. But now that I was outside Kyoto, I could see that for most people life had nothing to do with Gion at al; and of course, I couldn't stop from thinking of the other life I'd once led.

Leur apparition remonte à la fin du IXème siècle et au début du Xème siècle. Ces guerriers (bushi) s'emparent du pouvoir politique à la fin du XIIème siècle et créèrent un système monarchique particulier dirigé par un shogun qui tenait sa légitimité de la reconnaissance impériale. Ce gouvernement fut mis en place dès 1180 à Kamakura dans l'est du Japon, avant d'être transféré à Kyoto au XIVème siècke, puis à Edo (future Tokyo) au début du XVIIème siècle. Trois dynasties shogunales (toutes descandant, réellement ou fictivement, du clan Minamoto) se sont succédé entre le XIIème et le XIXème siècle. On distingue un premier bafuku (gouv. de la tente) à Kamakura (1180-1333), celui de la famille Ashikaga, qui se constitua en 1336 et qui fut installé à Kyoto dans le quartier Muromachi en 1378. Ce deuxième bafuku s'éteignit en 1573 avant qu'un nouveau régime militaire n'émergeat à Edo en 1603. Dans l'intervalle 3 seigneurs hégémons, Oda Nobunaga, Toyotomi Hideyoshi, et ensuite Tokugawa Ieyasu travaillèrent à réunifier le pays sous leur domination. Les samouraï ont pendant un bon millénaire joué un rôle central dans l'histoire du pays par leur rôle politique, leur poids démographique (environ 5% de la polulation au milieu du XIXème siècle).

One of Matsudaira Sagami no kami’s retainers went to Kyoto on a matter of debt collection and took up lodgings by renting living quarters in a townhouse. One day while standing out front watching the people go by, he heard a passerby say, “They say that Lord Matsudaira’s men are involved in a fight right now.” The retainer thought, “How worrisome that some of my companions are involved in a fight. There are some men to relieve those at Edo staying here. Perhaps these are the men involved.” He asked the passerby of the location, but when he arrived out of breath, his companions had already been cut down and their adversaries were at the point of delivering the coup de grace. He quickly let out a yell, cut the two men down, and returned to his lodgings. This matter was made known to an official of the shogunate, and the man was called up before him and questioned. “You gave assistance in your companions’ fight and thus disregarded the government’s ordinance. This is true beyond a doubt, isn’t it?” The man replied, “I am from the country, and it is difficult for me to understand everything that Your Honor is saying. Would you please repeat that?” The official got angry and said, “Is there something wrong with your ears? Didn’t you abet a fight, commit bloodshed, disregard the government’s ordinance, and break the law?” The man then replied, “I have at length understood what you are saying. Although you say that I have broken the law and disregarded the government’s ordinance, I have by no means done so. The reason for this is that all living things value their lives, and this goes without saying for human beings. I, especially, value my life. However, I thought that to hear a rumor that one’s friends are involved in a fight and to pretend not to hear this is not to preserve the Way of the Samurai, so I ran to the place of action. To shamelessly return home after seeing my friends struck down would surely have lengthened my life, but this too would be disregarding the Way. In preserving the Way, one will throw away his own precious life. Thus, in order to preserve the Way of the Samurai and not to disregard the Samurai Ordinances, I quickly threw away my life at that place. I beg that you execute me immediately.” The official was very impressed and later dismissed the matter, communicating to Lord Matsudaira, “You have a very able samurai in your service. Please treasure him.

But the accompanying steamed rice, pressed into the shape of a chrysanthemum, had a clean, delicate sweetness unlike any rice I had ever tasted. The tray also held a plastic bowl and sipped the savory liquid enriched with diced tofu and emerald wisps of wakame seaweed. In a shallow dish sat a small block of bean curd splashed with soy sauce and topped with pinkish curls of dried bonito that looked like pencil shavings. I cut into the silky white cube and tried to balance the craggy chunk on the slender pieces of wood. It tumbled off. After trying again, success was rewarded with the sweet taste of milky custard mingled with dark soy and smoky fish flakes. There were pickles too, crisp neon-yellow half-moons of sweet daikon radish and crunchy slices of eggplant. Although I had not expected culinary brilliance from a mall restaurant, dinner was exceeding expectations. The ingredients were plain, but exceptional in their purity and freshness.

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.

Strangely enough, the Japanese base most of their traditional desserts on beans. Called an, this smooth chocolatey-looking paste is made from azuki beans boiled in sugar and water. I encountered it for the first time one afternoon when I helped myself to a traditional Kyoto sweet resembling a triangular ravioli stuffed with fudge. What a shock to find a center made from azuki beans, instead of cocoa beans! Sometimes sweet makers choose chestnuts or white kidney beans to make the an, which they craft into dainty flowers, leaves, and fruits that look just like marzipan. Using special tools and food coloring, they fashion such masterpieces as prickly green-jacketed chestnuts with dark brown centers, winter white camellias with red stamens, and pale pink cherry blossoms with mint-colored leaves to commemorate the flower's arrival in April. The bean fudge also fills and frosts other confections, including pounded glutinous rice taffy called mochi and bite-size cakes, made from flour, water, and eggs that are baked until golden. These moist confections go by the name of namagashi and are always served before the thick whipped green tea at the tea ceremony.