International
Edition 3 Issue 2 May 2017
目次 Pa g e 4 ,
M a n e k i N e ko . マ ネ キ ネ コ
Pa g e 4 4 ,
Its u ku s h i ma S h r i ne . イツクシマ神社の起源
Pa g e 8 ,
M i ya z a k i Y u s u k e . 宮 崎 裕 介
Pa g e 1 1 ,
J o s h L a M o r e . ジ ョ シュ ・ ラ モ ア
Pa g e 1 8 ,
Kazz’s Book Review . Kazz ’s 書評
Pa g e 2 2 , G a k u . 学 Pa g e 2 4 , K a b o k u T e a r o o m . カ ボ チ ャ テ ィ ー ル ー ム Pa g e 2 8 ,
H i r o O g awa . 小 川 裕
Pa g e 3 3 , J o e B r e w e r . ジ ョ ー ブ リ ュ ー ワ ー Pa g e 4 0 , T h e s e a o f T r e e s . 木 の 海 Pa g e 4 6 , S h o r t s t o r y c h a l l e n g e . シ ョ ー ト ス ト ー リ ー チ ャ レ ン ジ Pa g e 5 2 , H i t o s h i N o g u c h i . 野 口 仁 志
Pa g e 6 0 , M at t H e n d e r s o n . マットヘンダーソン Pa g e 6 6 , S h u n g a . シ ュ ン ガ Pa g e 7 2 , D o r o t h y B e r r y - l o u n d . ドロシーベリーラウンド
PAGE 76, Yokohama Noh Theatre . 横浜能楽堂 Page 80, Mark Guthrie . マーク・ガスリー Page 92, Gion Corner theatre . 祇園コーナーシアター Page 96. Fantasy edition . ファンタジー版 I hope you find these articles and stories as fascinating and informative as I did. I would like to thank all of our contributors, both regular and casual. for the wonderful contributions made to this edition of CQ Magazine. The back page lists the forthcoming themes of the next editions or CQ. Articles, stories, paintings, images, music and links are always welcome. Please see the CQ Blog page for full details.
https:// cqmagazineblog.wordpress.com/ Enjoy CQ ‘Focus on Japan’ Paul White. ポールホワイト
Maneki
Neko マネキネコ Fortune Cat is known as Maneki Neko in Japanese, which means “beckoning cat.” The cat has its paw raised as if it is waving in good fortune for its owners. Other common monikers include Lucky Cat, Money Cat, and Welcoming Cat. No one can quite agree as to how the first Maneki Neko came to be. However, most will agree that Lucky Cats first appeared during the Edo period in Japan (17th century to mid-19th century). There are a couple of popular legends about the origins of the Lucky Cat. The first tells of a wealthy man who took shelter from a rainstorm under a tree next to a temple. He noticed a cat that seemed to be beckoning to him, so he followed it inside the temple. Shortly thereafter, lightning struck the tree he had been standing under. Because the cat had saved
his life, the man was so grateful, he became a benefactor of the temple and brought it much prosperity. When he passed away, a statue of the cat was made in is honour. Another common legend is a really peculiar one. A Geisha had a pet cat that she adored. One day, it was tugging at her kimono and the owner of the brothel thought the cat was possessed, so he sliced off its head with a sword. (Yeah, gruesome! No cats were harmed in the writing of this article.) The flying cat head landed on a snake about to strike and the fangs killed the snake and saved the woman. The Geisha was so distraught by the loss of her cat that one of her customers made a statue of the cat to cheer her up.
There is actually a meaning behind which paw the cat is holding up. If it is the left paw, this is supposed to attract customers. If the right paw is raised, this invites good fortune and money. They both sound pretty good to me, which is why sometimes you can find a Fortune Cat with both of its paws in the air. Two paws up can also represent protection.
Maneki Neko is a finely dressed cat usually adorned with a bib, collar, and bell. In the Edo period, it was common for wealthy people to dress their pet cats this way; a bell was tied to the collar so that owners could keep track of their cats’ whereabouts. Fortune Cat figurines often holding other things in their paws. These include:
While you will most commonly see a white Maneki Neko with orange and black spots, there are quite a few colour variations and they each have a special meaning.
A koban worth one ryo: This is a Japanese coin from the Edo period; a ryo was considered to be quite the fortune back then.
Calico: Traditional colour combination, considered to be the luckiest
The magic money mallet: If you see a small hammer, this represents wealth. When shaken, the mallet is supposed to attract wealth.
: Happiness, purity, and positive things to come Gold: Wealth and prosperity Black: Wards off evil spirits Red: Success in love and relationships Green: Good health
A fish, most likely a carp: The fish is symbolic of abundance and good fortune. A marble or gem: This is another money magnet. Some people believe it is a crystal ball and represents wisdom.
THE ORIGIN OF ITSUKUSHIMA SHRINE From ancient times, people have sensed the spiritual sanctity of Miyajima, and have revered and worshipped the island itself as goddesses. The main shrine is said to have been constructed in 593 by Saeki
Kuramoto. It is believed that the goddesses chose this island because an enclosed bay was sought for the site of the shrine. The first record of Itsukushima Shrine in Japanese history was in the Nihon Koki (Notes on Japan), dated 811, and it was noted Itsukishima Shrine along with other famous shrines. During the era of Taira-no-Kiyomori, it became a place of worship for the Heike clan, and around 1168, the main shrine building was constructed. As the power of the Heike clan increased, the number of worshippers at the shrine increased, the shrine itself began to become known among the members of the Imperial Court, and its grandeur became more and more magnificent. The emperor and the Imperial Court paid visits to the shrine, and the culture of the Heian Period (794-1185) was amiably incorporated. Bugaku, ancient Japanese musical court dance, also began during this
period. Even after the fall of the Heike clan, the culture of the Heian Period was warmly accepted by the Genji clan and the shrine continued to experience a stable and prosperous era. The main shrine was damaged by fire in 1207 and 1223, and although restoration was done, it is believed that with each restoration, the scale of the shrine was changed. Thus, in an illustration showing the shrine which was drawn during the Koan Period (1278-1288), the layout of the shrine is different. It is recorded that the shrine was damaged by a typhoon in 1325, and from that time on, the layout became similar to its current state. From the Kamakura Period (1185–1333) through the age of civil wars (Sengoku Period) when the political situation was unstable, the shrine's influence gradually declined. Although there was a period when it fell into ruin, when Mori
Motonari won the Battle of Itsukushima in 1555, under his control the shrine regained the reverence it had before and once again its grandeur was restored. In addition, Toyotomi Hideyoshi back from his expedition to Kyushu, ordered to Ekei Ankokuji that a large library for Buddhist sutras be built .
イツクシマ神社の起源
Itsukushima Shrine, which has been revered by many people since ancient times and venerated by the various sovereigns in power throughout history, is an example of the rare and unique architectural design, the symbol of Japanese culture and history that is alive and has continued to this day, in addition to being the representative of the Japanese spirit.
Miyazaki Yusuke entered Kozan Kiln in 1969 and studied ceramics for seven years. He has repeated glazing at his work, on the other hand, he devoted himself to sketch the plant which were bloomed in the circumference or turn the potter's wheel.
He is largely influenced by the skill of the late ONO, Kozan. TANIHO Kiln was established at Ureshinocho, Saga prefecture in 1977. Then, he travelled to China and visited the Silk Road, he was driven by big impulse. That case's experience shows to his ceramic's style later. He has been selected for much public exhibition, including the Japan Traditional Art Crafts Exhibition. His technique is a wide range of ceramics, such as in underglaze blue, somenishiki (over glaze enamel), iroe (over glaze enamel), akae (over glaze enamel), ceradon, Yuriko (underglaze red).
The consistent theme of his arts is the image of the Silk Road, and he paints the embodiment thing of camel, rabbit, mosque and geometric design.
Stepping forward to the seeking ideal steadily, the peculiar nuance created from his arts makes us feel the infinite charm. Features of His Work Old Arita ware, well known for SOMETSUKE and AKA-E, has influenced MIYAZAKI's glazing technique and the style of his porcelain wares. SOMETSUKE is a white porcelain that is first bisque-fired and then decorated in indigo blue gosu (cobalt oxide). AKA-E is polychrome over glaze painting whose main tone is usually red. This style of over glaze painting was introduced to Japan directly from China. It includes NINSEI style wares as well as Imari, KAKIEMON, Nabeshima and Kutani porcelains. MIYAZAKI uses images from the Silk road for much of his designs. Camels, grapes, and sometimes even rabbits can be found on his porcelain canvas. He has spent long periods of time in Pakistan, Morocco as well as China taking in the scenes to be used on his porcelain. His SOMETSUKE and AKA-E wares are quite popular among ceramics fan who enjoy using them daily.
Taniho Kiln is located in approximately 10 minutes drive from the Ureshino interchange of N
GENSOMON KAKI (Flower Vessel with Genso design
SOMENISHIKI SHONZUI RAKUDAMON HAKKAKUHACHI (Bowl with Camel design in over glaze enamel
GINSAI IROE TENYOMON KORO (Incense Burner with Celestial Maiden design in over glaze enamel)
SOMENISHIKI SHIKAMON WANZARA (Cup & Saucer with Deer design
Nagasaki Expressway 3855 Yoshidatei Ureshinomachi Ureshino-shi, Saga, 843-0303 Japan
ことごとく夢想にあらず現（うつつ）なりと 冬天に光（て）る上弦かたる
“All are real …never illusion” a waxing moon shining in the wintry sky tells me…
© 稲美里佳
Josh LaMore ジョシュ・ラモア Josh LaMore is CQ Magazine’s intrepid outdoorsy, wandering poet of a philosophising, frontiersmen type of semi-regular guy who is usually far too busy to answer your emails ...but we love him! Josh has a few pages in each edition of CQ Magazine where he has the freedom to write about anything (almost) that he wishes. In this edition, Josh brings to our attention the amazing Japanese gardens, situated n Brooklyn's botanical gardens, New York. The Japanese Hill-and-Pond Garden is one of the oldest and most visited Japaneseinspired gardens outside Japan. It is a blend of the ancient hill-and-pond style and the more recent stroll-garden style, in which various landscape features are gradually revealed along winding paths. The garden features artificial hills contoured around a pond, a waterfall, and an island, along with carefully placed rocks. Among the major architectural elements of the garden are wooden bridges, stone lanterns, a viewing pavilion, the torii or gateway, and a Shinto shrine. You can find out more details here: https://www.bbg.org/collections/gardens/
Ahhh, spring in Brooklyn. Finally! Now that the season of vibrancy and change has arrived, there are a number of things I must see and do before the city of New York takes a head-first dive into summer. At the very top of the list is always the Japanese Garden and Cherry Blossom Festival at the Brooklyn Botanic Gardens.
his introductory section, "Opening the Gate", I was reminded of the similarities between our creative endeavours (specifically writing) and gardens. Both can bring our minds to unexpected places and show us things that even though may be right in front of our eyes, we might not have ever seen. All we must do is
That reminds me of a midnight walk home I had a few weeks ago. As I turned down Washington (the only street at the time whose trees had started to blossom), I found setting on a stoop just waiting to be picked up by a passer-by, a little book called "Zen Rock Gardening" by poet and writer Abd al-Hayy Moore. In
slow down from the mad pace of the city and enter the garden. As al-Hayy Moore explains:
"A garden leads us to its central plot: a wider view-the unhurried contemplation of earth's beauties, often hidden from sight.
We find ourselves slowing down, surrounded now by growing things, looking at a flowering bush in the time it takes to read a sentence or a paragraph instead of just passing by. We see our own natures against the background of earth's organic time-flow instead our own usual social time-flow of hurry and frustration. Then we have the sense that we are not merely observers meandering along pointlessly, but essential observers focusing on fresh observations. And we may become, for a moment, perfect
empty observers." But then, the world moved on and I thought no more about the poet or his book. The paths I followed had veered off and I meandered in numberless frantic directions, until, that is, I entered through the wooden torii, that marked the shinto shrine that lie beyond. My friend, a philosopher of old, and I strolled the garden, breathed in the colours, absorbed the blossoms and waters, sat with the pines on rolling hills, among grasses, people, plants, stone, fish, and turtle
It didn't matter that it was the garden's 100th anniversary and one of the most visited outside of Japan, for this garden was beyond time and place. In the Shizen tradition, it all took hold, and I couldn't begin to convince myself that everything, including it hadn't grown the way it did on its own.
Japanese garden. View from W. shore. Š1925 Louis Buhle. All rights reserved. For reproduction permission, contact library@bbg.org. To see more historic images of BBG, visit bbg.org/ discover/historicimages/
The C.V. Starr Bonsai Museum was renovated in 2005 to include a stylized veranda complete with a tokonoma, or alcove, that looks out onto the entire exhibit. Text panels introduce the history of bonsai and explain the plants' culture and care. Be sure to check out the C.V. Starr Bonsai Museum during the cherry blossom season (April– May) and the Garden's famed Sakura Matsuri.
Kazz’s Book Review Hello
こんにちは
You can link up with me at the following: -
Website: magiofstories.net
Konnichiwa
Facebook https://www.facebook.com/ karenjmossmanauthor/
Welcome to the third edition of
Kazz’s Book Reviews. I am a writer and a supporter of Indie authors. In each issue of CQ Magazine, I review and talk books. Hopefully you’ll discover your next favourite read.
Twitter https://twitter.com/KarenJMoss Amazon author.to/KM Visit the Magic of Stories Bookstore https://magicofstories.net/ mosnewsletter/
Song for an Eagle By
Catherine M Byrne Genre: Women's Fiction, Mystery & Suspense Failed folk singer, Beth MacLean, swore never to return to the remote community of Berridale in the north of Scotland where she grew up. Yet now, her father’s illness has drawn her back to the place where dark memories wait. In this land of mountains, the spectre of the eagle, which has plagued her dreams all her life, intensifies. Life and new love are offered through the charismatic James, but will Beth find the courage to turn her back on her life in Edinburgh and unravel the mysteries that have shaped her nightmares? Is it a Series, No How easy is it to read? Very. Kazz’s Review Every now and then you come across a little gem of a book. This is one of them and I found it quite by chance. I was having a discussion in a group about book sales. The author said that she hadn't had a sale this month so far. Out of curiosity, I nipped over to Amazon to have a look at who she was and what she writes. I came across this one and because it said print length 128 pages and it was 99p, I bought it. I really didn't expect to find such a fantastic little book.
and the Rest The story is set far up in the Scottish highlands and is complete with remote cottages, swirling mists, and rain. It tells of Beth who returns home to nurse her ailing father. The one she felt had abandoned her, just as her mother had done before. She has always had nightmares of eagles and doesn't know why. As she settles in the tiny cottage that she grew up in, the eagle comes back to haunt her. Gradually, the story unfolds and the mysteries of her past reveal themselves. This book has it all, a spot of romance and a lover spurned.
Amazon.US https://www.amazon.com/Song-Eagle-Catherine-M-Byrne-ebook/dp/ B018O5B59C
Amazon UK https://www.amazon.co.uk/Song-Eagle-Catherine-M-Byrne-ebook/dp/ B018O5B59C
The Missing Have you ever wondered why people go missing? Sometimes it's complicated and sometimes people are in the wrong place at the wrong time. Five fictional short stories set in three different countries, Scotland, England, and America. We meet Amanda, whose secret has just been discovered; Ellie searching for her missing brother, Marina found dead and Michelle still missing. The final story set in a small American town where Mary-Jo has gone missing.
Find out more and read a sample here https://read.amazon.com/kp/embed? asin=B00J04YM9C&ref_=cm_&reshareId=CWW6S1PMB83R876TJZJH&reshareChannel=sys tem
Amazon UK https://www.amazon.co.uk/Missing-Collection-Short-Stories-ebook/dp/B00J04YM9 Amazon US https://www.amazon.com/Missing-Collection-Short-Stories-ebook/dp/B00J04YM9C
Rika Inami
“TANKA” is surely tanka poetry and “HARAKO” is the name of a place, where I walk. If I translate this literally, it is “Field of Fox”. The cover image is one of my photographs of Harako. I chose one from seasonal photographs in Harako for the book cover, I truly hope you enjoy this existent Tanka having roots in the environment of Japan. BOOK ONE https://www.amazon.co.uk/TANKA-HARAKO-Japanese-ebook/dp/B01BTRXMOI BOOK TWO https://www.amazon.com/TANKA-HARAKO-x2161-x77ED-x6B4C-ebook/dp/ B01JVWXG9Y
A Japanese artist, who goes by the name Gaku on Instagram, craves beautiful patterns into all types of food. It is called the traditional Japanese art of mukimono, which literally means "stripped product". Gaku eats all of his products after making them. Personally, I wish you could freeze them. Japan has a rich tradition of food carving called mukimono. If you have ever eaten at a fancy restaurant in Japan you might have found a
carrot carved into a bunny, garnishing your plate. But in the hands of Japanese artist Gaku, the art of fruit and vegetable carving is elevated to a new realm of edible creations. One constraint to carving fruits and vegetables is that sometimes you must work fast. The moment a peel is removed, oxidization will start to discolour your artwork. So, depending on the variety, Gaku’s carvings are probably created within several minutes. Armed with a tool similar to an x-acto knife and a fruit or vegetable from the grocery store, Gaku carves intricate patterns that are often inspired by traditional Japanese motifs. Gaku points out that the banana is great fruit to practice with because it is cheap and easy to carve. When asked what he does with all his creations after he’s done, his reply is simple: he eats them. “Except for the banana peel!”
The KABOKU Tearoom
We invite our guests to enjoy the process of brewing tea for themselves, rather than simply having it served – this is the KABOKU style of service. Matcha, gyokuro, sencha, hojicha, genmaicha – to bring out the best in each tea’s distinct flavor, the brewing method is of utmost importance. The temperature of the water, the amount of tea leaves and the steeping time – even the slightest variation can make the tea taste completely different. This is one of the intriguing joys of brewing Japanese loose-leaf teas. The experience begins with your choice of tea leaves. Our staff will be more than happy to assist you in brewing it. Enjoy the pleasure and satisfaction of brewing your very own cup of tea. Taste the intrinsically rich flavor of carefully brewed tea, accompanied by seasonal Japanese confectionery. If you cannot find your favorite tea on the menu, please let us know. We have over 40 types and variations of green tea, and not all of them appear on the menu. Note: Tearooms are available only at the main store in Kyoto and the Tokyo Marunouchi Store
The KABOKU Tearoom Hours: 10:00 am to 6:00 pm ('Last call' at 5:30 pm)
The KABOKU Tearoom Hours: 11:00 am to 7:00 pm
With a history going back nearly 3 centuries to the Edo period, Ippodo is a tea company richly steeped in Japanese tradition. Its origin dates back to the year 1717, when founder Rihei Watanabe established a tea shop called OMIYA at Teramachi Nijo, just south of the Imperial Palace. The shop’s reputation for providing high quality tea grew quickly, and patrons soon included members of the Imperial household. In 1846, the shop was renamed IPPODO, which literally means “preserve one”. The name was bestowed upon the shop by Prince Yamashina, who wanted the shop to forever preserve its tradition of providing high quality tea with a supreme taste. To this day, we at Ippodo have strived to uphold the wishes of the Prince, and to adhere to the time-honoured mission of providing a superlative tea with our trademark high-quality taste.
CQ I
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PARTNERSHIPS & ASSOCIATES TOAD P U B L I S H I N G
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FAV C INEMATOGRAPH
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ISSUU INC.
HIRO O G AWA Composer Keyboardist Painter
Meet a busy multi-talented Japanese artist, Hiro Ogawa.
He is a composer, keyboardist and painter. You will be fascinated by his contemporary works and they will touch a chord in the hearts of listeners and viewers.
日本で活躍している多才なアーチストのHiro Ogawa に注目してみよう。彼は作曲家でありキーボード奏者であり画家である。彼のアートは現 代を反映しているので、一旦彼の作品を知ったならば、彼の作品は現代に生きる我々 の心の琴線に触れ、きっと魅了されることだろう。
Music After experimenting with various genres since the 1990’s, Ogawa has devoted himself to solo stages and composing music. Now he also runs a musical production business, composes, and produces many instrumental works such as “jazz fusion” and “minimal music.” Eight music CD’s are currently available. A ninth CD, “Double Trap” is scheduled for a September, 2017 release.
彼の音楽について 彼の音楽活動は多岐にわたる。彼は1990年代より様々なジャンルのバンドを渡り歩き、 現在は、ソロ活動と音楽制作に専心。また、音楽プロダクションも運営し、リーダー、作曲 とプログラミングを担当している。「ジャズフュージョン」や「ミニマルミュージック」等の器楽 曲を幅広く手がけ、現在までに8タイトルのCDが発売されている。 2017年9月には新譜 CD「Double Trap」が発売される予定だ。
YouTube: https://www.youtube.com/user/gfvz3wvx?feature=mhee Amazon: https://www.amazon.com/s/ref=nb_sb_noss?url=search-alias% 3Dpopular&field-keywords=HIRO+OGAWA&rh=n%3A5174%2Ck%3AHIRO+OGAWA
iTunes-UK https://itunes.apple.com/gb/artist/%E3%83%92%E3%83%AD%E3%82% AA%E3%82%AC%E3%83%AF/id406273930 iTunes-USA https://itunes.apple.com/us/artist/%E3%83%92%E3%83%AD%E3% 82%AA%E3%82%AC%E3%83%AF/id406273930
to the stars,rock it
Art Hiro’s signature works are acrylic abstract paintings and have been exhibited throughout Japan since 2000. His premiere work is an amalgam of both his music and canvas entitled, “Sound and
NUKEGARA
彼の絵画について 彼の作品は主にアクリル画だ。2000年から日本各地で個展を開催してきている。特記す べきは、彼の独特なアート空間を表出した「音と絵」と題した個展だ。自作の音楽と絵で作 り上げた空間である。海外では、パリ、ニューヨーク、メルボルン等で彼の作品が展示さ れ、インターナショナルな賞をこれまで4回受賞している
Composition-9 No.27
Official site https://www.hiromusic-arts.jp/
JJooee BBrreewweerr Joseph Mark Brewer spends his days with fiction and non-fiction competing for his attention. On the one hand, he creates worlds set in places where he has lived. On the other hand, he has spent almost forty years as a journalist and editor. Both pursuits stem from a childhood where words, geography, history and travel were an integral part of his life. A middle child in a large family that valued education, he studied art and music in high school and won a scholarship to study voice and composition. But his interest in travel and writing prevailed. Leaving music school, he enlisted in the U.S. Navy as a journalist and spent the next four years on sea duty, serving on ships that would allow him to travel throughout Asia. His many years living in Japan are the inspiration for the Shig Sato mysteries.
Here is an extract from Joe Brewer's first Shig Sato Mystery
Find That Man MYSTERIOUS KNOCKING ENDED Yosh and Miyako Yamada’s summer slumber. Even as they tightened their robes as if to protect themselves from what the two policemen were saying, a slow ballet of shock and grief stirred in their hearts as they tried to comprehend words like “dead” and “Kimi” and “Roppongi” and “a short time ago” and “can you identify the body right away?” Time shifted to a meaningless state, and they took
no notice of their actions or their surroundings. The gates of hell had opened beneath them. Before they realized what they were doing, Kimi Yamada’s parents found themselves driving from their home in the western suburbs through dimly lit, unfamiliar
streets, looking for the place where the police said they could find their daughter. Searching kept their minds occupied as an incomprehensible torment squeezed their souls without mercy. Eventually they found the building they were directed to go to, the building caped in the dark of night, surrounded by harsh streetlights. They parked their modest sedan as close to the shiny glass doors as possible, and it took some time before the couple was aware that a tall man chewing a toothpick was standing by the large glass doors.
in the small hours of that Saturday morning in June. He saw life extinguished from their eyes, their bodies bent, hands shaking, the mother clinging to the father. They dutifully followed Kato down a hallway no different from any other building in Tokyo, but in their minds the Yamadas were now capturing each step they took, like a frame of a motion picture, slow-motion and torturous. They tried to will time to stand still long enough for them to flee their fate, but no matter how hard they tried, they found themselves in that horrible place, following the tall man. “Is she here?” Mrs. Yamada whispered as they walked down a corridor. “Yes.” “Did she –” “Come with me,” was all Kato said. The silence became unbearable. “She’s such a good girl,” Mr. Yamada whispered. “She’s such a good student. She plays the piano.” “Yes,” Kato said. “She is our only child,” the father whispered. “She never gives us any trouble.” “Until she took that job…” the mother began, but fell silent. “Yes, she speaks English. She wants to …” but words failed the father. Kato said nothing as his solid footsteps pounded a beat on the linoleum under the Yamada’s hesitant shuffle, a miserable rhythm filling the corridor, punctuating the stillness sad government buildings inhabit. The inevitable turned out to be quite simple: Kato pulled back the sheet covering Kimi Yamada’s face. Her parents took one horrible look and their mournful tears affirmed
Kato asked his question anyway. “Is this Kimi Yamada?” “Yes,” the father croaked, fighting a new wave of grief, but resolved not to look away. “Her face,” her mother screamed in a hollow voice with no volume, no depth. “Did that man do that?” “Which man?” Kato asked as he gently covered Kimi and led the pair to standard, hard plastic chairs meant for anything but comfort. “The black foreigner,” the mother said, ashamed that she had to say the words out loud.
“We’re looking at everything, checking every fact,” Kato replied, wondering how the inspector was getting along with that. The mother brushed back a strand of her hair, but kept her eyes on the floor, shame and anger in her words. “We insisted she break things off with that, that soldier. We insisted! I wouldn’t be surprised if he had something to do with this!”
“We’re looking into it.” “He’s an American, just a common soldier,” she said, giving way to fresh anger. “She deserved better than him! She deserved better than …” But her grief swallowed her whole, and she dissolved into her husband’s arms. “Mr. Yamada?”
The man looked at Kato. “Do you have someplace you can go, other than your home?”
“What?” “Do you have someplace you can stay for a few days? Other than your home?” “Why?” “Sometime soon, reporters and photographers will find out who you are and where you live, and you don’t need that kind of bother right now. Do you have a relative or friend
you can stay with for a few days?” “I don’t know …” “Mr. Yamada, your daughter was killed by someone. We’re working the case. Eventually people will find out that it was your daughter who was killed, and then they will come looking for you for a comment. Do you want that?” “No!” Mrs. Yamada sat up, fierce and determined. “The jackals. Why can’t they leave us alone?” “I have a sister ...” Mr. Yamada began. Kato said, “I suggest you go there, straight from here, and stay there for a day or two. Let things play out.” “Why are you telling us this?” Mr. Yamada asked. Kato knew if the GI did have something to do with the murder, pandemonium would fall on everyone, but especially the Yamadas. Kato wanted them one step ahead of the television crews and newspaper photographers. But all he said was, “Sometimes, things can only be made worse for you two at a time like this. Please don’t say anything to the press or anyone else until we have a chance to check our facts and find a suspect. I promise to call you when we have made an arrest. Okay?”
“Yes, yes,” the father said wearily. “We’ll go to my sister’s place. In Chiba.” As he wiped his tears, he said, “We have to make arrangements …” Kato wrote down the several phone numbers the Yamadas recited. Then he escorted them out of the morgue and watched as they walked the way people do when leaving a terrible place. The woman’s last words to him rested uneasily on his mind. “Find that man. He killed my Kimi.”
Social media links https://www.twitter.com/JoeBrewer1 https://www.facebook.com/JosephMarkBrewer/
The Gangster's Son on Amazon getbook.at/SSMe
on iTunes http://apple.co/2kjFCbr on Nook http://bit.ly/2oPeyVc On Kobo http://bit.ly/2pCOxsj
why?
どうして？
The Sea of Trees The Aokigahara Forest is an ethereal forest. It is about 13.5 square miles and was formed around 1,000 years ago. The ground is uneven and covered with moss. I t is where many Japanese come to commit Suicide
At the base of Mount Fuji is a dense, verdant forest.
The reasons for this rooted in folklore and literary pop culture.
From above, the trees swaying in the wind are reminiscent of the sea, giving the Aokigahara forest a second name—Jukai, or Sea of Trees.
Local legend has it that Aokigahara was a place where people once practiced ubasute—taking an elderly or sick relative to a remote area and leaving them to die.
The ground below is uneven and riddled with small caves, moss-covered roots growing on top of the dried lava that once flowed there. The soil has a high iron content which interferes with GPS and cell phone signals.
The Complete Manual of Suicide, by Wataru Tsurumi, named the forest as a perfect place to die.
This is a very easy place to get lost. Visitors are strongly encouraged to stay on the trails. There are some people, however, who enter the forest with the intention of not coming out. Signs at the forest entrances remind visitors that their lives are precious, to think of their families. At the bottom of the signs is the number for a suicide hotline. Japan's suicide rates are among the highest in the developed world. Aokigahara has gained notoriety as a popular suicide spot.
The Suicide Forest, as it is also referred to, is clearly a place that captures the darker side of the imagination. For Photographer Thomas Lazar, the forest became a way to explore the consequences of depression in a country
木の海
This story was first published in February 23, 2017 In National Geographic by Alexa Keefe
Photographs by Tomasz Lazar
like Japan, which culturally neither shares the openness of discussing mental health issues nor the same stigma around suicide as exists in the West. After a high number of suicides were reported in 2004 (a total of 108), officials stopped publicizing deaths for fear of glorifying the practice. Yamanashi prefecture, where the forest is located, began hiring people in 2009 to patrol the forest and approach anyone who might not look like the average tourist out on a hike. While this has helped discourage suicide in some cases, there are ongoing reports of bodies being discovered.
Forest guide Toru Kurihara once discovered 36 bodies over a period of 37 days. The Suicide Forest, as it is also referred to, is clearly a place that captures the darker side of the imagination. Lazar's aim however was not to photograph the death directly but capture the overall feeling of the place. He chose to photograph using black and white infrared film, which makes trees and vegetation appear with a white glow. White is the symbol of death and mourning in Japan.
"I wanted to show the atmosphere of the forest, the last walk of the person,"
Because of the dried magma on which is the forest is formed, tree roots are not able to reach deep into the ground.
春見たし心をどらせ耳すます 流音たかく川ながれたり
I want to see spring… my heart leaps and strain my ears Listen…the river runs with clear sounds
© 稲美里佳
Some smaller train stations have an "on your honour" system when
As with all past
CQ International Magazine short story challenges,
the rules are fairly simple.
Take your inspiration from the accompanying picture and start writing! You must write between 1800 and 2000 words. Not one less, not one more. Your story must be an original work written exclusively for this challenge and not have been published anywhere before, including blogs, social media, magazines, or anthologies. Full challenge rules and submission details can be found on the CQ Magazine Blog.
https://cqmagazineblog.wordpress.com
セ イ シ ョ ナ ゴ ン の 枕 の 本 A pillow book is a collection of notebooks or notes which have been collated to show a period of someone or something's life. In Japan such kind of idle notes are generally referred to as the zuihitsu, or ツイヒツ genre.
The Pillow Book (枕草子 Makura no Sōshi?) is a book of observations and musings recorded by Sei Shōnagon during her time as court lady to Empress Consort Teishi (定子) during the 990s and early 1000s in Heian Japan. The book was completed in the year 1002.
In it she included lists of all kinds, personal thoughts, interesting events in court, poetry, and some opinions on her contemporaries. While it is mostly a personal work, Shōnagon's writing and poetic skill makes it interesting as a work of literature, and it is valuable as a historical document. Part of it was revealed to the Court by accident during Shōnagon's life. The book was first translated into English in 1889 by T. Purcell and W. G. Aston. Other notable English translations were by Arthur Waley in 1928, Ivan Morris in 1967, and Meredith McKinney in 2006.
"The Pillow Book of Sei Shonagon" is a fascinating, detailed account of Japanese court life in the eleventh century. Written by a lady of the court at the height of Heian culture, this book enthralls with its lively gossip, witty observations, and subtle impressions.
Lady Shonagon was an erstwhile rival of Lady Murasaki, whose novel, "The Tale of Genji," fictionalized the elite world Lady Shonagon so eloquently relates. Featuring reflections on royal and religious ceremonies, nature, conversation, poetry, and many other subjects, "The Pillow Book" is an intimate look at the experiences and outlook of the Heian upper class, further enriched by Ivan Morris's extensive notes and critical contextualization
Haiku.
都市の通りを歩いている少女 各ステップで瞑想する 反射の経路。
Girl walking the city streets Meditating with each step Paths of reflection. © Paul White 2016
H i yos h i A s h o rt sto ry by
Hitoshi Noguchi His name was Hiyoshi, but nobody called him that. From birth he had a wrinkled face which made him look like a little money, so they called him ape. Ape was his name. The darkness of the night was his ally now. Samurai boys with wooden swords and little knives were chasing him down. “He is in here, somewhere” said one of the youths, “I saw him on the wall.” “Find him!” cried Inuchiyo, their leader, his huge silhouette towering above them all. “We’ll boil his liver for a warrior’s dish!” He might actually do it, thought Hiyoshi. He had survived such threats before. He had been caned, stoned, and ditched in the cold mud; defeated and hungry all his life. But now, finally, he found employment in a samurai household. Suddenly someone grabbed him from behind, by the collar. “I found him!” Hiyoshi struggled, but he could not get loose.
“Bring him here,” said Inuchiyo. Thousand Hounds. What a name for a bully. They dragged him and pinned his scrawny frame to the ground face down. “What business does an animal like you have in the realm of warriors?” “I am the lord’s subject! I am the shoe keeper!” “A shoe keeper you say,” said Inuchiyo derisively. “So, that gives an ape the right to sit under the lord’s eves?”
“It is my duty to guard the lord’s sandals.” “It is my duty to eat your liver to become a great warrior,” said Inuchiyo through his snarl. “I have a duty! It’s the lord’s command!” “Silence ape! If it is the lord’s command, why didn’t you stand your ground and die?”
The boys beat him with their wooden swords and Hiyoshi screamed half in pain half in anger. Paper screen doors of the house slid open and the light flooded the garden. “What is this commotion?” It was the unmistakable bearded figure of General Shibata Katsuie. Behind him was the fair-faced Lord Nobunaga in the flesh. Inuchiyo and the young ruffians got on all fours and kowtowed to the lord, heads to the ground.
“Why do you dare enter the lord’s garden?” “M-my lord…” Inuchiyo stammered. “I am the shoe keeper my lord! They chased me off my post!” said Hiyoshi. “Enough! All of you back to your posts!” said Katsuie. “Your wish,” said Inuchiyo. Then he turned and said “Release the ape.” “Silence!” a voice roared. It was Lord Nobunaga.
Big Inuchiyo jumped, still on all fours. “No subject of mine is an ape! Or I shall have your head!” “So it pleases my lord!” shrieked Inuchiyo. “Go!” said Katsuie. “All of you! Go now!” The youths hurried away, fearful for their lives. The lord and the general retired into the house, the sliding door closed. Hiyoshi remained kowtowed on the ground and wept. For the first time in his life he was not an ape. Thank you. Thank you. Thank you my lord. I shall be loyal to you as long as I live.
日吉 ショートストーリー
野口仁志 日吉をその名で呼ぶものはなかった。幼少のころより顔がしわくちゃで、周囲には常にサ ルと呼ばれた。サルは名前も同じだった。 彼は今、闇に身を隠していた。木刀と小刀を持った小童たちが彼を追っていたのだ。 「どこに行きやがった。確かに塀を超えるところを見たぞ」
「探せ」と命じた小童の頭は犬千代だった。「絞め殺して肝を喰ってやる」 あいつなら本当にやりかねん。今回ばかりは怖かった。 打たれ、ぶたれ、石を投げられ、冷たい泥へ突き飛ばされ、ずっとひもじい思いをこらえ、 それが日吉の人生だった。しかし、今、この織田家へ、ようやく奉公が許された。ここで小 童に殺されるわけには行かぬと、思った矢先にえいやとばかりに首根っこを引っ張られ た。 「見つけたぞ！」 日吉はもがいたが逃げられなかった。 「連れてこい」庭石の上に胡坐をかいた犬千代が言った。 小童どもは日吉を引きずり、犬千代の前の地面にうつ伏せにして押さえつけた。 「猿ごときが武士の館で何をしている」 「わしは御屋形様の家来じゃ！下足番じゃ！」 「下足番じゃと？それで獣ごときが御屋形様の軒下に立つのが許されるとぬかすか？」 「お役目じゃ！お役目をいただいたんじゃ！」
「黙れ猿ッ！お役目じゃというのなら、持ち場を捨てずに死ねばよかろう！」 小童たちは群がって日吉を木刀で殴った。日吉は半部痛さに、半分怒りのために叫び 声をあげた。 そのとき屋敷の鎧戸が開き燭台の明かりが庭を満たした。 「何の騒ぎじゃ！」怒声と共に出てきたのは柴田勝家、その奥にいた眉目秀麗なる若人 は当主織田三郎上総介信長であった。 犬千代率いる小童らは一同地に伏せた。 「何故御屋形様の庭を侵した」 「こ、これは・・・」犬千代は伏せたまま口ごもった。 「下足番でございます！持ち場を追われたのでございます！」 「もうよい！みな持ち場へ戻れ！」と勝家が言った。 「かしこまりました」犬千代は子分の小童に向かって言った。「猿を放免せい」 「黙れ！」そう怒鳴ったのは信長だった。 犬千代は土下座をしたまま飛び上がった。 「我が家臣に猿などおらぬぞ」 「仰せの通りで」犬千代が言った。 「行け。みな去ねい」勝家がそう言うと小童どもは我先にと逃げるように去っていき、二 人の武将は引き戸の向こうへと消えていった。 日吉のみが土下座をしたまま泣いていた。 生まれて初めて猿ではないと言ってもらえたのだ。 ありがとうございます。ありがとうございます。御屋形 様、この御恩は一生忘れません。
午後の曳航
The Sailor Who Fell From Grace With the Sea tells of a band of savage thirteen-year-old boys who reject the adult world as illusory, hypocritical, and sentimental, and train themselves in a brutal callousness they call 'ojectivity'. When the mother of one of them begins an affair with a ship's officer, he and his friends idealise the man at first; but it is not long before they conclude that he is in fact soft and romantic. They regard their disappointment in him as an act of betrayal on his part and react violently.
The Sailor Who Fell From Grace With the Sea Knowing the story of Yukuio Mishima's life, and its tragic end, leads the reader of this novel into some dark parts of the author's mind. The characters in this novel are thinly veiled allegorical figures of Mishima's world view: his distaste for Western influences on Japan, his need for rigorous fastidiousness in his personal life, his desire to see Japan return to its ultra-conservative glory of yesteryear. Mishima was so consumed with this vision that he staged a failed coup attempt in 1970 and then performed seppuku when it was not successful. The three main characters of the novel: the 13 year-old boy Noboru, his beautiful mother (and widow) Fusako, and her new love interest Ryuji, a lifelong sailor. Ryuji represents everything Noboru wants from the future - his desire to become a mariner one day is the single most important thing in his world. His mother is the owner of a store that provides wealthy Japanese (and expats) expensive Western clothing and baubles. When Ryuji enters their life, a love triangle forms that quickly dissolves into one of hate. How will Noboru, the clear alter-ego of the author, resolve the conflict? You'll have to read the book to find out just how low Mishima can go. And knowing how he ended his life, you can probably guess how brutal it will be.
Yukio Mishima (三島 由紀夫) is the pen name of Kimitake Hiraoka (平岡 公威) who was a Japanese author, poet and playwright, famous for both his highly notable post-war writings and the circumstances of his ritual suicide by seppuku. Mishima wrote 40 novels, 18 plays, 20 books of short stories, and at least 20 books of essays, one libretto, as well as one film. A large portion of this oeuvre comprises books written quickly for profit, but even if these are disregarded, a substantial body of work remains. He was recognized as one of the most important post-war stylists of the Japanese language.
解きがたき幾難あるも 今年また桜めでゐる幸をたまへり
Having problems hard to be solved, I’m given happiness to love cherry blossoms © 稲美里佳
秋田県在住
早稲田大学第一文学部卒業 「室生犀星学会」会員/ 「風の会」会員/ 「短歌トポス」元会員 All right reserved Copyright © Rika Inami 2017 本書に収められた短歌．画像（写真）．カバーデザイン等の著作権は全て作者に属します。
CQ Magazine welcomes Matt Henderson, Fisherman and Martial Arts expert, the original ‘Glimmer man’….well we couldn't really say no to Matt, could we!
Matt Henderson is an Educator, Writer, and Martial Arts Historian and Teacher. He is the founder of the Japan and Okinawa sanctioned Budo Association, the Ten Shinjitsu Kai, which houses the Sekai Goju-Ryu Kenpo Buzoku Kenkyukai and the Nippon Seibukan Jujutsu Aikibudo Kyokai. He resides in Columbus, GA, USA.
glimmerman108@gmail.com
Ken no nai Ken ケンのないケン A short story by Matt Henderson Takayama Hiroshi sensei stood in the light of the dojo doorway, his long shadow cast to the edge of the tatami where his American student practiced the eight cut kata with the sword. Takayama’s watchful eyes were intimidating. Mathew tried not to be overly aware of sensei’s shadow. Its looming presence created a diamond hard pressure to the exercise. Staying in the flow was important but the student knew he ought to avoid stepping on the master’s shadow. Takayama was a teacher of the highest order who knew the kata well enough to cast shadows all around Mathew. If the young man just did the form correctly, he’d be fine. Takayama sensei stood stone still and watched. Mathew repeated it. “Matsu is a technician. A devoted student. Skill is strong. What he does…yes, it is correct. But, something missing. I’ve seen this before. Must fix now or miss chance,” Takayama thought. “Matte, matte, (Stop!) Matsu san. Enough for this morning.” “Hai, sensei. I’m just getting warmed up. Everything okay?” Matsu asked.
“Everything good.” Takayama replied. “I want you to go to the uchi-deshi quarters. Eat lunch, take hot bath and have nap. Two hours. At four o’clock meet me back here. Wakarimasuka, Matsu-san? (You understand?) “Hai, sensei. Wakarimasu.” Mathew said. He understood what he was told, but not what it meant in the overall scheme of things. “Welcome to Japan,” he thought to himself for what seemed like the thousandth time. He sipped the steamy miso soup, soaked in the uchi-deshi dormitory’s Ofuro and napped, with nagging dreams about sensei and the abbreviated, early morning session. Finally, it was time to meet Takayama sensei at the dojo. He grabbed a bag and his keikogi, put a sports coat, white shirt and pants on a hanger. He dressed in a polo shirt and khakis. Surely this would cover the dress requirement, or Takayama would have been specific about it. That was the way sensei was. Unless this was a test.
Mathew arrived at the dojo early. He bowed and knelt in seiza in the lower seat of the dojo. Takayama sensei was doing the basic eight cut form. This was the first time Mathew had seen him do it with full speed and intent. He’d only seen him do it slowly and instructively. This time, it was for his own practice. Takayama movements were ghost-like. Thick-set, with broad shoulders and wide chest, he nevertheless was a ballerina, when light movement was required. The dojo shook, when he landed heavy with the “one-point” or itten, just as it should.. “Move from your center, Matsu san, whether fast or slow, heavy or light, always move from your center. The saika tanden, or itten, two inches below your belly button. Better, Matsu, live from your center. When you sit, sit in your center. Play music with your center. When you make love with that girlfriend you must find, do that from your center. Everything, understand?”
“Hai, sensei,” Mathew smiled. “Ah, what Mathew kun? Maybe you find this girlfriend?” sensei teased. “Not yet, sensei.” “Oh…too bad. Sooner you find, sooner you perfect living and moving from your center,” Takayama smirked. “You think she will live from her center, sensei?” Mathew went out on a limb. “Ha! If you find her in Kyoto or anywhere near here, she’ll live from her center. Yes,
boyo. Women all over tend to move from their center. You find the right girl, she teach you better than I can. She teach you to wash dishes from your center, I bet,” Takayama exploded with laughter. “Ready to go?, Matsu san?” “Sure, sensei. Am I dressed okay?” “Hai, Matsu, you are fine.”
“Matsu san, you watch me do eight cut kata?” “Hai, sensei.” “You watch me or the kata?” Takayama asked, frowning. “Uh, sensei, I watched you do the kata,” Mathew was puzzled. “So you separate me from the exercise?” sensei asked. Mathew fell silent. “You understand?” sensei asked. Mathew took a deep breath. “I watched you, sensei. I didn’t watch the kata.” “I know” sensei growled. “Did I miss something?” Mathew asked. “I watched your feet, your movement, the power, lightness, speed,…the stillness. I suppose I was simply watching you.” “Hmmm, Matsu. How I do? Was it right? Was it good?,” sensei said, straight-faced. Mathew remembered a fellow student telling a Judo sensei, after seeing him execute a beautiful shoulder throw, “Perfect kuzushi, sensei. Perfect entry. Great throw
Suniyoshi sensei took his red and white belt off, held it out toward the boy.
“Go ahead…. You have an appointment with Sakamoto sensei.” Takayama said.
“Larry-sama, you wear this! Onegaishimasu. (Please teach me!)
Matsu looked befuddled. Was he abandoned to a lesser teacher?
The boy looked puzzled.
“Sensei, what’s this about? Did I do something wrong? What does Sakamoto sensei teach?
“Take this fucking belt and teach us all,” Suniyoshi yelled. This was a modern teacher at a very competitive college. This was sports not budo. This teacher wasn’t concerned with character building or etiquette. Larry started, “I just thought it was awesome, sensei…and…” “So you have to tell me I did good?” Sunoyoshi spat. “I guess this time you were right. So, you ready to call me out when I no do a perfect shoulder wheel or stomach throw? Go home and think about it, gaijin, never say anything about a senior instructor’s technique, good or bad, because you don’t know enough to even talk about it. Come back with your mouth shut or don’t come back at all, baka.” Mathew startled to the present. “It’s what you taught me, sensei. Just like you taught me. I will strive to do that for many years.” “Okay, Matsu-san” sensei said. “We are here.” Matsu looked at the old house. Small but traditional, well-kept. The garden was lush with perfume of Freesia and sweet orange, almost irresistibly so. And despite the close proximity to the dojo, Mathew hadn’t noticed it until today.
Takayama laughed. “Sakamoto sensei teaches Kado. The art of arranging flowers. Ikebana. Sakamoto’s name is Fumiko. Go. I will see you in an hour.” After a quick introduction, he was instructed to choose his vase, the main flowers and others to compliment them. He gathered them and pushed them into the vase. Sakamoto smiled, took them out. She exchanged the vase for one that would better suit the freesia. One by one she inserted them. Every so often, turning to inspect them from a different angle. Then with the fragrant cuttings, she harmonized the shapes and colors. When finished, she asked Mathew to take it into another room. Mathew looked at it and smiled, then placed it in the table’s center. From the doorway of the room, he bowed to Sakamoto sensei. She didn't return the bow. “Not yet, Matsu-san,” she said. “Look at the flowers from this door.” “Very pretty, Sakamoto sensei,” he said. “Watch this, Matt,” Sakamoto sensei said, her voice low. She turned the vase just a few degrees, cocked her head, turned it a little more. “See?”
Matt squinted, tilted his head. “Very pretty.”
“It was good. I understand something, that I cannot put into words yet.”
“Matto!!! The makura aligns with the doorway. See how the main flowers are now the focal point? They’re open, full facing. It greets you, ne?”
“It’s fine. You’re learning to see. Before you looked. But now, you begin to see. Looking and seeing different, ne? It’s not easy, but you’ll get there.” Takayama said.
“Yes, I see it now!”
“Thank you, sensei,“ Mathew said.
“Where is it weak, lacking? If you were another flower arrangement, where would you attack it? Where are the gaps?” she asked.
“Matsu-san. One thing. About my kata. I did the eight cut sword kata differently today. I wanted you to notice, but you were caught up in my intention and intensity. My movement. It’s easy to get caught up like that. Don’t separate the kata from the man. That is a trap that leads to illusions in the world and on the battlefield.”
Mathew looked at it for a long moment. Sakamoto said, “I can tell you are thinking about the ways to attack. But that's useless until you know where you should strike. Where will always lead to how, not the other way. You can look at that vase all night. But there are no gaps. That’s a lesson in spatial awareness. You will watch Noh Theater soon. Similarly, the old, classic plays allow for no dropping of character. Samurai would watch to see if they could find a moment of ‘suki’--an opening, where the actor or dancer dropped his awareness, even for a second. It’s rare to see.” Sakamoto sensei bowed to end the lesson. “I hope to see you again. I know your teacher for a long time. He will show you many things. But you must watch for things he doesn’t express in words. He is a real budo sensei. Ganbaru, Matto san!” “Matsu san…one hour of arranging flowers and you look this tired? How did it go?” Takayama laughed.
“Sensei, what did you do differently? Can you tell me? It is bothering me.” “Of course. When I did the eight cut sword kata, you watched how I moved, my demeanor, intent and intensity. You saw my expression, heard my kiai.” “Hai sensei! I did! I watched you closely. It was…I am sorry to be so bold sensei. I’m not qualified to say, but it was wonderful, powerful, a bit intimidating.” “It is okay Matsu. It can be overwhelming when you see your teacher do kata for the first time. I remember watching Oji san do kata when I was young. I would sometimes tremble. Maybe you solve this another time.”
A few weeks later, Mathew’s language class was cancelled, freeing up some time. He decided instead of going back to his quarters or walking around in the park, looking for that girlfriend who lives from her center, he would go to the dojo early, work on his fundamentals. When he arrived, Takayama Sensei was moving through the kata with the same grace and power that he’d witnessed before. A scary kind of grace, a shaking power that was hard to believe came from a man, but ghost-like, ethereal, as nimble as a dancer. When he stopped, it was as if a huge stone had rolled downhill, hit a ditch. The dojo quaked. Sensei continued. Like so many orchids, arranged in breathtaking composition, the sensei and the kata were one. Sword glints, arced like the bittersweet blossoms, stirring in the wind. Mathew was struck by its beauty. Something was different. “Sensei!” Mathew shouted. His voice echoed through the dojo. He covered his mouth, closed his eyes. Takayama stopped. The sword’s swing whistled in a downward crescent, symbolizing the de-blooding of the blade, and the swift return into the scabbard. Heavy footsteps pounded the floor until he felt Takayama sensei standing near. He expected an explosion of corrective words. Ones he’d only halfunderstand, but would know the meaning in context. He was embarrassed. The lingering silence heated his face.
“Matsu san,” Takayama said gently, “this must be important, ne?” “Hai, sensei. Gomen nasai, (My apologies.)” said Mathew, hands still over his mouth, eyes shut. “Tell me,” Takayama almost whispered. “I know what was different now,” Mathew’s voice trembled. “Ah so desu?” Takayama smiled. “I was looking at the flower, not the arrangement,” Mathew asserted. “Hmmmm. Very good, Matsu. Good way to put it, “ Takayama chuckled, “Go on…” “I missed the oneness…” Mathew said with restrained laughter, borne of a small kensho. A glimpse of a momentary enlightenment. “Dōiu imidesu ka? Setsumei shite kudasai! (What do you mean? Please explain.) Takayama’s voice rose, allowing one chuckle. Mathew bowed in a full za-rei from the floor. His forehead touching the triangle formed by hands. “Takayama sensei. Excuse me, but the kata you did before was wonderful. But I realize, now, that you did not have a sword in your hands.”
END
Japanese traditional fire fighting clothes are called HAPPI
法袍
Shunga Shunga: Sex and Pleasure in Japanese Art is one of the few time these erotic paintings will be seen in public. Many have been locked away from public view by the British Museum for more than a century. This is a collection of 19th-century Japanese art, deemed to be shocking and explicit.
The images include a woman being pleasured by an octopus, Samurai warriors visiting their young male Kabuki actor lovers, as well as two women enjoying sex with a dildo.
Shunga means 'Spring Picture' and it's a very important part of Japanese art, paintings, prints and illustrated books. When Japan was a fairly closed society, it developed a fairly idiosyncratic culture in that period [1600-1900]. The drawings are
シュンガ
extremely explicit, extremely beautiful. Shunga were mostly produced within the popular school known as 'pictures of the floating world' (ukiyo-e), by some of the best Japanese artists such as Kitagawa Utamaro. Luxurious shunga paintings were for all strata of society, including the ruling class patrons by traditional artists such as members of the Kano school, sometimes influenced by Chinese examples. The paintings flourished, especially in the
19th century, and were highly prized, with the artform uncensored for hundreds of years. Shunga had wide appeal, says Tim Clark, a curator at the British Museum . "We know it had a top, elite audience because the prints were extremely expensive, costing thousands of pounds. This was the top end of the market. There was also a mass audience for the illustrated books with dozens of illustrations in several volumes."
"The ambition of shunga is much, much wider," says Clark. "It talks about
sexuality generally in society. It's meant to appeal as much to married couples, to courting couples, to people who want to use it for stimulation or seduction. It was certainly used as a sex manual."
Italy’s relations with Japan 2016 marked the 150th anniversary of the start of diplomatic relations between Italy and Japan. The anniversary was celebrated with a large programme of events. For example, in May 2016 there was a big
event in Tokyo called ‘Italia, Amore Mio!’. This brought a taste of Italy to Tokyo including luxury goods (including Ferrari of course), culture, wine, food and music! There was also a private event in Florence, Italy, celebrating the anniversary, with a flower ceremony
performed on the banks of the
the bright red of a stray poppy or
River Arno by teachers of
two. This is my favourite time of
Ikebana and a young flautist
year for flowers and soon the
Naito Asako all of whom came to
fields and hedgerows will be full
Italy specially for the celebration.
of poppies. My camera goes
In May this year, 2017, there is
everywhere with me now as there
another event in Tokyo with an
are so many photographic
Italian theme, this time an Italian
opportunities.
Innovation Day where Italian start
Looking back, it was a strange
up business representatives will
winter for us here on the
give presentations and new
mountain with no snow (here
business connections will be
anyway, other parts of Italy had
made. So the Italy – Japan
large amounts) and it has been
relationship is made to last.
very dry. When it does rain we
Spring leading to summer
have had downpours that created
on the mountain
small rivers that ran down the tracks and took the top soil with
The main flush of spring flowers
them. We all have our fingers
is over up my mountain. We have
crossed it was cold enough to kill
seen the last of the plum blossom
the olive fruit fly we have suffered
(one of the last fruit trees to burst
from for the last two years. This
into bloom). Currently we have
has ravaged crops and increased
banks of irises, interspersed with
the price of olive oil.
Summer migrants are arriving Bird and human summer visitors have been spotted on the mountain – we still await the arrival of the hoopoe, a beautiful bird with a fabulous call that rings out ‘hoop hoop, hoop hoop’. For us, that marks the beginning of summer. The tourists have started to arrive in the area, including Ed Sheeran the singer/
song writer who has bought a house in this area. People with holiday homes opened them up for Easter and are taking advantage of the late spring sunshine, though it is a tad too chilly for swimming pools as yet. We all now look forward to long summer evenings, warmth (probably more than we can handle), and lazy days. Oh yes, and mosquitoes…
Dorothy Berry-Lound is an award winning artist and writer/ blogger. You can follow Dorothy’s blog and her latest art work at her website
http://dorothyberryloundart.com.
The real name for Japan (in Japanese) is Nihon these characters mean "sun
origin". This can be loosely translated into English as "land of the rising sun".
Japanese language originally referred to Japan as wakoku 倭国. These characters mean "country of the wa".
Wa was an ethnic group that lived in Japan during the Three Kingdoms period (220 - 280 AD). The name Nihon was first used in correspondence with China.
With time it gained popularity and became the name for Japan
日本 The name is the inspiration for the Japanese flag.
Yokohama Noh Theatre is known for its expertise in planning and producing, and is the leading Japanese theatre specific to traditional performing arts. It goes beyond producing only Japanese traditional performing arts, and produces new works through international collaborative programs. Yokohama Noh Theatre has taken on international cultural exchange programs and collaborative productions utilizing traditional performing arts as a core medium.
Yokohama Noh Theatre is dedicated to reach out to wide audience to share the understanding of the essence of Noh/ Kyogen. "Every Second Sunday is now THE DAY of KYOGEN! " is what we had decided on our own. Every second Sunday of a month, we present "Yokohama Kyogendo" - two Kyogen performances accompanied by an artist talk about the plays. Ticket price is ¥2000 and is easy to access for new
audience. We also conduct workshops and classes of Noh/Kyogen. During the summer holidays, we call for participants for a Kyogen workshop. The workshop is designed for school children and conducted for three days. This program started in 1996 when the theatre opened and has been continuing since. We also present "Barrier -free Noh" every year. This is to create an environment so those with various disabilities can enjoy the Noh/Kyogen performance together. Opened in 1996 and managed by the Yokohama Municipal Arts Promotion Foundation, the Yokohama Noh Theatre is known for its expertise in planning and ability to draw a large audience. In 2004 the Theatre won the Noh world’s most prestigious award, the Saikasho, for ”demonstrating a new working model for a Noh theatre for a new age.“ It is also the recipient of the JAFRA Award for innovation public-sector cultural facilities and the Excellence Award of the Agency of
Cultural Affairs Arts Festival for the planning and staging of ”Buke no Kyogen, Choshu no Kyogen“ (Kyogen of the Samurai Class, Kyogen of the Townspeople). In the Noh world, where the concept of producing is virtually non-existent, the Yokohama Noh Theatre has taken a new approach to producing works s a public Noh theatre, and with its catch phrase of ”A Noh Theatre that is accessible and easy to enter,“ it has succeeded in attracting new audience. In recent years it has also ventured out to produce collaborative programs with traditional artists of other Asian countries and active overseas exchange programs. To learn about these innovative activities, we spoke with Masayuki Nakamura the producer in charge of planning at the Yokohama Noh Theatre since its opening. A Bilingual Guide to Japanese Traditional Performing Arts Nakamura Masayuki (Assistant Director of Yokohama Noh Theatre Translator: Jeffery Hunter Publisher: Tankosha ¥1,995 (Tax included) This book covers Japanese traditional performing arts extensively in Japanese and English. The richness and breadth of Japanese culture is seen through the traditional performing arts.
Available in Yokohama Noh Theatre Shop.
WHAT’S ON June, July, August & September Yokohama Noh Theatre SUN. JUN 11, 2017
200 PM
New-audience focused performance
Yokohama Kyogendo Artist Talk by ISHIDA Yukio Kyogen "Kakushidanuki" (Izumi) with FUKATA Hiroharu Kyogen "Roren " (Izumi) with ISHIDA Yukio SAT. MAY 13, 2017 at noon Tickets only available by phone and Internet on the first day of sale All seats ¥2000
SAT. JUN 17, 2017 2:00 PM
The 65th Yokohama Noh
Noh "Yoro" (Kanze) with UMEWAKA Kisho Kaeai "Yakusui" (Izumi) with NOMURA Matasaburo SAT. MAR 11, 2017 at noon Tickets only available by phone and Internet on the first day of sale S ¥4000 A ¥3500 B ¥3000
SUN. JUL 2, 2017 2:00 PM New-audience focused performance Living National Treasures' Guide to Noh Masterpieces Kyogen"Neongyoku" (Izumi) with NOMURA Mansaku Noh "Tsuchigumo -Tsutomeiri･Sasagani"(Kanze) with UMEWAKA Gensho SAT. APR 22, 2017 at noon Tickets only available by phone and Internet on the first day of sale S ¥4000 A ¥3500 B ¥3000
SUN. JUL 9, 2017 200 PM
New-audience focused performance
Yokohama Kyogendo
Artist Talk by YAMAMOTO Tojiro Kyogen "Niwatori-muko" (Okura) with YAMAMOTO Yasutaro Kyogen "Akubo" (Okura) with YAMAMOTO Noritoshi SAT. JUN 10, 2017 at noon Tickets only available by phone and Internet on the first day of sale All seats ¥2000
SAT. AUG 5, 2017 2:00 PM Seminar
Living National Treasure YAMAMOTO Tojiro’s
Kyogen Time Artist Talk by YAMAMOTO Tojiro Kyogen "Busu" (Okura) with YAMAMOTO Noritoshi Kyogen "Kubihiki" (Okura) with YAMAMOTO Tojiro SAT. MAY 13, 2017 at noon Tickets only available by phone and Internet on the first day of sale Adults: ¥2000 Kids (18 or under):¥500 To purchase kids tickets, please call or visit box-office.
SUN. AUG 13, 2017 2:00 PM
New-audience focused performance
Yokohama Kyogendo Artist Talk by SHIGEYAMA Motohiko Kyogen "Jisenseki" (Okura) with SHIGEYAMA Sengoro Kyogen "Satsuma no kami" (Okura) with SHIGEYAMA Ippei SAT. JUL 8, 2017 at noon Tickets only available by phone and Internet on the first day of sale All seats ¥2000
SAT. SEP 2, 2017 2:00 PM
Co-produced performance of Yokohama Noh Theater and
Japan Society Dance (New work) “Sayusa –The Dancing Niiname Festival-” "Sayusa" with KASAI Akira, NAKAMURA Megumi, SUZUKI Yukio, FUJITA Rokurobyoe, OKURA Genjiro and NAGAYAMA Rinzo SAT. JUN 10, 2017 at noon Tickets only available by phone and Internet on the first day of sale All seats ¥3500
Images Shingon Shomyo
Mark Guthrie Our man in
Japan The way in which various factors alter our perceptions of the world around us is a curious phenomenon. Age can transform Christmas from a time of unbridled glee into one of joyless consumerism; experience can turn the notion of school life from hellish tedium to rose-tinted, halcyon days; and as for alcohol, it changes the way we think about pretty much everything. In fact, under its palliative influence, even the idea of braving the midwinter elements wearing little more than a glorified handkerchief seems like a good one. The Hadaka
Matsuri, literally
‘Naked Festival’, has been held in Konomiya since 782 AD. Starting out as a macabre form of plague prevention, today it serves as a bringer of good fortune to the town by way of 9,000 men beating some poor chap to a pulp and stripping to near nakedness in the depths of the Japanese winter. This, obviously, is crazy.
For some reason, maybe an uncharacteristic act of bravado, or perhaps a foolish notion that it might be a bit of a laugh, I decided that I too would like to take part in this most bizarre of rituals. I regretted this flight of fancy almost instantly as, having met with a local community group, I found myself in an ancient Shinto shrine, as naked as the day I was born, with a wizened old man by the name of Goto-san using all of his surprising strength to pull a loin cloth as far up my arse as it would go. My groin and rectum were suddenly aware that this item of festival apparel was something of a misnomer. There was nothing fun about this ‘fundoushi’. Not only was it excruciatingly painful, there was something decidedly fishy about it. While the rest of my team were all clad in pristine fundoushi of the purest white, mine was decidedly murky and in places suspiciously stained.
This, Goto-san informed me, was actually rather auspicious as it had been worn the previous year by a personal guard of the Shin-Otoko (more about whom, later). It was, he insisted, very, very lucky. Quite how having a dirty, second-hand loincloth wedged so firmly up my backside that I could feel it on the back of my uvula was supposed to be fortuitous, I wasn’t sure, but I decided to take Goto-san at his word. With the group all similarly attired, we stepped out from the relative warmth of the shrine into the sharp February breeze. As the icy wind began to bite huge cartons of sake were passed around to warm the body and alter that allimportant perception of the cold.
Suitably bolstered, our team took to the task of hoisting gargantuan prayer-infused bamboo poles, pumping them vigorously as our ritual chants invoking peace and unity, echoed down the street.
“Wasshoi! Wasshoi! Wasshoi!”
Parading through the massed ranks of onlookers, wrapped enviably in their winter clothes, we thought not of our poor flesh as it faced the onslaught of the winter elements, and we continued our refrain, throwing our poles high into the air, demonstrating our strength and skill as we planted them in the ground to climb to their ten metre, teetering peaks. Soon, cheer after cheer rose from the crowds as the teams one by one sprinted and hurled
their bamboo into the Owari Okunitama Shrine. Cartons of sake were passed around and bare backs were slapped as we celebrated a job well done, but our day was not yet over. For all of us, all near-naked 9,000 of
us, were still awaiting the climax of the occasion: the arrival of the Shin-Otoko, the ‘God Man’. Historically the Shin-Otoko had been an unfortunate passerby who, having been fooled by the townsfolk’s’ ulteriorly motivated kindness, was beaten to a bloody pulp with his corpse offered up as a sacrifice to the gods. Today he is treated more humanely, but only just. Having volunteered his services, he would have
head to toe, and unleashed, naked and unhinged, into a thronging crowd, a crowd who would love nothing more than to kick, slap or beat him, and in doing so, transfer any potential misfortune onto him. It was why we had come. The sun was setting with the wind whipping, but as the adrenaline rose, we felt no cold. The shin-otoko’s guards were cannoning buckets of water at us to cool our murderous intent but, like football hooligans facing police in a European piazza, we braved the attacks, chanting in unison. “Wasshoi, wasshoi, wasshoi!” Suddenly, a cry went up. The Shin-Otoko had arrived. Thousands of us flocked
together, prodding, pushing, shoving like a concentric mosh-pit, all aiming for the central focal point of the semi-deity. Within five minutes I had lost a shoe as people fell away underfoot, bloodied, shouting in pain. I recalled my high school rugby days, dropped a shoulder and heaved with all my might I elbowed men aside, squeezed past others, lost a second shoe and suddenly, there he was. I had found myself face to face with the ShinOtoko Rationally you would have thought that this poor bugger, the focus of attention of these naked men, all wishing to do him harm, would have been in excruciating pain. But to my surprise his gaze was free of agony, oblivious to his surroundings.
He was serene, transcendental. It seemed to me that he had taken on a Zen-like state, that he had reached nirvana.
So I slapped him. Hard. Right on the top of his bald head. Mission accomplished I made my way back to our shrine. I had been crushed, my feet were cut to shreds and I was liberally covered with blood and bruises. My fundoushi, soaked and beginning to freeze, hung from my body, and I was shivering like a Chihuahua in a fridge . Yet I was exhilarated. Not only had I taken part in a centuries old Japanese tradition, but I had touched the Shin-Otoko, in doing so cleansing bad fortune from my soul.
I was, by my calculations, the luckiest man around. Because, when you take in to account that I was still wearing the prestigious fundoushi, I had, quite literally, good fortune coming out of my arse. Photographs courtesy of Glocal
You can find Mark’s poorly
maintained website here, as well as his debut novel If you’re in Bangkok bring an apple, a hilarious tale of backpacking in South East Asia, here.
Hi I’m Karina. Originally from the UK but living in Greece most of my life. I am an author of 8 books including the hit MC thriller series, OUTLAW and the highly rated, much loved romantic fantasy, Illusional Reality.
I also run KKantas Author Assist, giving affordable services to new and established indie authors. But today, I want to tell you all about my YA supernatural thriller, Stone Cold. Unfortunately, I am no stranger to being bullied and abused. As a young girl, I was frequently screamed at and battered by my mum. I was physically bullied at each of my schools. The taunting, name calling; being slapped, thumped and kicked followed me everywhere. In college, it was more mental abuse. The story, Stone Cold is based on those personal experiences. but please know, I am not a psychotic murderer!
STONE COLD Billy has been a target of bullying through her years of schooling. Exams are over but stress leads her to thoughts of suicide. It’s her counsellor that suggests she volunteers to assist in an archaeological dig in Scotland. A secluded hostel. The residents start dropping like flies. Billy knows who the murderer is. Shane knows he’s next to die.
is
With the school and teen bullies, it’s a game to them. What they don’t realize is the victim keeps those memories, all the bruises, the fear, in their soul, like a scar. And just because it happened on the school play yard, doesn’t mean it stays there. In my high school, I had four girls come into my house, go through my things and then hold a knife to my throat. This was close to my exams. I passed but with low grades.
Billy is Interviewed by Rainne Atkins, Social Media Guardian of Indie Authors Hi Billy, I'm glad you could join me today. Before we dive into the questions, could you tell me a little about yourself. Hi I'm Belinda. I've never liked that name so call me Billy please. I'm nearly 17. Umm... I Iike music and films, especially movies from the eighties like The Navigator, Flash Dance and Poltergeist. I love those. You were bullied a lot a school, how did that make you feel? How do you think it made me feel? Worthless, hated, depressed, and angry, very angry. You know when you've been bullied from one school to a next you get to the point where you don't care anymore. You don't care about them or about yourself. It's when you've gotten that low that you really need to speak to someone. What is it like living with your dad? Do you miss your mum or anything about living with her? Not really, my mum wasn't much of a mother to me. Real selfish woman. I thought if I lived with my dad and he bought me nice things, that my mum couldn't buy, that I would be treated differently. That wasn't the case. I'd been labeled a tramp and a slag (God knows why) and so these labels followed me. It didn't matter that I was wearing high fashion and my hair style was on trend. I was still smelly tramp Belinda. What impression do you make on people when they first meet you and do you think their opinions change after they've known you for a while? I'm pretty defensive now. I look after me and no one else. That can offend people. But you see I never did anything to warrant the punishment, violence and mental cruelty that I went through. I was a quiet, polite girl. I studied hard... well, at least through my first two schools. How do you pick yourself up after that? You can't. So you stop caring or giving a shit. You've heard of Karma, right? Well, they are going to get theirs. What was it like working on the archaeology excavation? Did you enjoy it? Well, you know what happened. I've been told I can't talk about that.
But from what I do remember. Archaeology is cool, a little boring - the cleaning part. But pretty exciting when you do find something. I've always liked history. I think I was the only one who wanted to see the church in the village. I love stuff like that. I may go back there someday and sit in the graveyard for a while... just to contemplate. You spent a lot of time with Shane, what was he like and what drew you to him? He just seemed really friendly and open. We clicked straight away. Yeah, okay, I thought he was cute, well hot then. What about the rest of the group, did you get on with them all? They seemed nice enough. I wasn't really around them long enough to decide if they were nice people or not. You found something while you were digging, can you describe it? Do you still have it? I... Well... - oh, yeah I found an arrowhead. The professor said it belonged to the settlement. You experienced some 'lost time' while you were in Scotland, what did you think was happening? Billy is not allowed to talk about this. You have been warned! How did you cope when the murders started? Were you scared? Did you ever think you might be next? I don't really remember much, the professor said I'd been working too hard and the detective said I had a fever or something. I remember them carrying out a body from the Kitchen and someone screaming. Shane told me the rest. They were bad people They got what they deserved - or so I heard.
Has Shane been in touch with you? Do you think he'll write or call? Would you like him to? No. I tried to call, but the phone has been disconnected. It is okay. I do know where he lives and Billy can visit anytime. What do you want to do now? Do you have any plans for your future? Well, the professor said I was very good at my job and I could sense things. I'm not sure what he meant. But I intend to do some research while I am studying culinary classes at night school. Thank you very much, Billy, it's been interesting talking to you. Before you go is there anything else you would like to add? No one should put up with any form of abuse whether it is bullying, sexual, or mental abuse. You have a right to be heard. You have a voice so use it. Call this number if you ever need to talk to someone.
Do not allow this to happen. USA National Suicide Prevention Lifeline: 1-800-273- 8255 National Domestic Violence Hotline: 1-800-799-7233 National Child Abuse Hotline: 1-800-422-4453 Stop Bullying.Gov
UK Samaritans: 116 123 Childline: 0800 1111 NSPCC Helpline: 0808 800 5000
YA supernatural thriller https://www.amazon.com/Stone-Cold-Karina-Kantas-ebook/dp/ B005YBJNM6 myBook.to/SC
Book at Gion Corner website
Fantasy authors Just for a moment come down to earth! CQ International Magazine is giving notice that the August edition of CQ Magazine will be the...
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