Construction began in May, but always behind high fences, so neighbors have no idea what the house looks like. It was built with incredible speed: two and a half months from start to finish. A local caterer who delivered lunches to the construction site told us: “The building itself was always hidden behind a canvas screen, so I really can’t say, but it sure wasn’t a big house—just one story, kind of like a concrete box, real plain. I remember thinking they were building a kind of air-raid shelter. It didn’t look like an ordinary house that ordinary people live in—too small and not enough windows. But it wasn’t an office building, either. The landscapers came in and planted some really impressive trees all over the place. The yard probably cost a bundle.”
We tried calling every major landscaping firm in Tokyo, until we came up with the one who had worked on the “former Miyawaki residence,” but the owner could tell us nothing about the party who had ordered the job. The construction company had supplied them with a map of the garden and written orders calling for a good assemblage of mature, well-shaped trees. “Our bid was high, but they accepted it and never tried to bargain.”
The landscaper also told us that while they were at work on the garden, a well-digging company was called in and dug a deep well.
“They built a scaffolding in one corner of the garden to bring up the dirt. I got a good look at the job because I was planting a persimmon tree right close by. They were digging out an old well that had been filled in. It still had the original concrete tube. They seemed to have an easy time of it, because it had just been filled in not long before. The weird thing is, they didn’t strike water. I mean, it was a dry well to begin with, and they were just restoring it to its original condition, so there was no way they were going to find water. I don’t know, it was weird, like they had some special reason for doing it.”
Unfortunately, we have been unable to locate the company that dug the well, but we have been able to determine that the Mercedes 500SEL is the property of a major leasing company with headquarters in Chiyoda Ward and that the vehicle was leased for a year beginning in July by a company in Minato Ward. The identity of their customer could not be revealed to us by the leasing company, but judging from the confluence of events, it is almost certainly Akasaka Research. We might point out that the estimated annual leasing fee for a Mercedes 500SEL is ——— yen. The company offers a chauffeur with every car, but we have been unable to determine whether this particular 500SEL came with a driver or not.
People in the neighborhood were not anxious to speak with us about the “hanging house.” This is not an area known for its neighborhood socializing, and most people probably do not want to become involved. Local resident Mr. A said to us:
“I used to keep my eyes open and tried to figure them out when they first came in here, but I’m sure these aren’t mobsters or a political organization. Too few people go in and out of the place for that. I don’t really get it. It’s true they take some pretty impressive security measures, but I have no reason to complain, and I don’t think any of the other neighbors are concerned. This is a whole lot better than having that vacant house with all the weird rumors.”
Still, we’d like to know who the new owner is and what this “Mr. X” is using the place for. The mystery only deepens.
Down in the Well
•
I climb down the steel ladder anchored in the side of the well, and in the darkness at the bottom, I feel for the bat I always leave propped against the wall—the bat I brought home with me all but unconsciously from the house where I had followed the man with the guitar case. The touch of the scarred old bat in the darkness at the bottom of the well fills me with a strange sense of peace. It helps me, too, to concentrate.
When I find the bat, I form a tight grip on the handle, like a baseball player entering the batter’s box, assuring myself that this is my bat. I go on from there to check that nothing has changed down here in the darkness, where there is nothing to see. I listen hard for anything new; I take a lungful of air; I scrape the ground with the sole of my shoe; I check the hardness of the wall with a few taps of the bat tip. These are just rituals designed to calm me down. The well bottom is like the bottom of the sea. Things down here stay very still, keeping their original forms, as if under tremendous pressure, unchanged from day to day.
A round slice of light floats high above me: the evening sky. Looking up at it, I think about the October evening world, where “people” must be going about their lives. Beneath that pale autumn light, they must be walking down streets, going to the store for things, preparing dinner, boarding trains for home. And they think—if they think at all—that these things are too obvious to think about, just as I used to do (or not do). They are the vaguely defined “people,” and I used to be a nameless one among them. Accepting and accepted, they live with one another beneath that light, and whether it lasts forever or for a moment, there must be a kind of closeness while they are enveloped in the light. I am no longer one of them, however. They are up there, on the face of the earth; I am down here, in the bottom of a well. They possess the light, while I am in the process of losing it. Sometimes I feel that I may never find my way back to that world, that I may never again be able to feel the peace of being enveloped in the light, that I may never again be able to hold the cat’s soft body in my arms. And then I feel a dull ache in the chest, as if something inside there is being squeezed to death.
But as I dig at the soft earth in the bottom of the well with the rubber sole of my tennis shoe, scenes from the surface of the earth grow ever more distant. The sense of reality subsides bit by bit, and the closeness of the well comes to envelop me in its place. Down here, the well is warm and silent, and the softness of the inner earth caresses my skin. The pain inside me fades like ripples on water. The place accepts me, and I accept the place. I tighten my grip on the bat. I close my eyes, then open them again to cast my gaze upward.
I pull on the rope to close the well lid, using a pulley arrangement fashioned for me by the clever young Cinnamon. The darkness is now complete. The well mouth is closed, and all light gone. Not even the occasional sound of the wind can be heard any longer. The break between “people” and me is now total. I don’t even have a flashlight with me. This is like a confession of faith. I mean to show “them” that I am trying to accept the darkness in its entirety.
I lower my bottom to the earth, lean my back against the concrete wall, grip the bat between my knees, and close my eyes, listening to the sound of my heart. There is no need for me to close my eyes, of course, down here in the darkness, but I do it anyway. Closing the eyes has its own significance, in darkness or otherwise. I take several deep breaths, letting my body grow accustomed to this deep, dark, cylindrical space. The smell here is the same as always, the feel of the air against my skin is the same. The well was completely filled in for a time, but the air here is strangely unchanged from before. With its moldy smell and its trace of dampness, the air smells exactly as it did when I first climbed down inside. Down here there are no seasons. Not even time exists.
•
I always wear my old tennis shoes and my plastic watch, the one I had on the first time I came down into the well. Like the bat, they calm me. I check to see in the darkness that these objects are in firm contact with my body. I check to see that I am not separated from myself. I open my eyes and, after a time, close them again. This is to help bring the pressure of the darkness inside me more in line with the pressure of the darkness around me. Time passes by. Soon, as always, I lose the ability to distinguish between the two kinds of darkness. I can no longer tell if my eyes are open or closed. The mark on my cheek begins to run a slight fever. I know that it is taking on a more vivid purple.
In the two increasingly intermingled darknesses, I concentrate on my mark and think about the room. I try to separate from myself, just as I do whenever I am with the women. I try to get out of this clumsy flesh of mine, which is crouching down here in the dark. Now I am no
thing but a vacant house, an abandoned well. I try to go outside, to change vehicles, to leap from one reality to another, which moves at a different speed, and I keep a firm grip on the bat all the while.
Now a single wall is the only thing separating me from the strange room. I ought to be able to pass through that wall. I should be able to do it with my own strength and with the power of the deep darkness in here.
If I hold my breath and concentrate, I can see what is in the room. I myself am not in there, but I am looking at what is. This is the hotel suite: Room 208. Thick curtains cover the windows. The room is dark. A vase holds a massive bouquet of flowers, and the air is heavy with their suggestive fragrance. A large floor lamp stands beside the entrance, but its bulb is white and dead as the morning moon. Still, if I stare hard enough, after a time I can just make out the shapes of things in the hint of light that manages to find its way into the room, the way the eyes become used to the darkness in a movie theater. On the small table in the middle of the room stands a bottle of Cutty Sark, its contents only slightly depleted. The ice bucket contains newly cracked chunks of ice (judging from their clear, hard edges), and someone has made a scotch on the rocks in the glass that is standing there. A stainless-steel tray forms a still, cold pool on the tabletop. There is no way to tell the time. It could be morning or evening or the middle of the night. Or perhaps this place simply has no time. In the bed at the back of the suite lies a woman. I hear her moving in the sheets. The ice makes a pleasant clinking in her glass. Minuscule grains of pollen suspended in the air shudder with the sound, like living organisms. Each tiny ripple of sound passing through the air brings more of them to sudden life. The pale darkness opens itself to the pollen, and the pollen, taken in, increases the density of the darkness. The woman brings the whiskey glass to her lips, allows a few drops of the liquid to trickle down her throat, and then she tries to speak to me. The bedroom is dark. I can see nothing but the faint movement of shadows. But she has something to say to me. I wait for her to speak. I wait to hear her words.
They are there.
•
Like a make-believe bird hanging in a make-believe sky, I see the rooms from above. I enlarge the view, pull back, and survey the whole, then zoom in to enlarge the details. Each detail carries much significance, of course. I check each in turn, examining it for shape and color and texture. From one detail to the next, there is no connection, no warmth. All I am doing at that point is a mechanical inventory of details. But it’s worth a try. Just as the rubbing together of stones or sticks will eventually produce heat and flame, a connected reality takes shape little by little. It works the way the piling up of random sounds goes on to produce a single syllable from the monotonous repetition of what at first glance appears to be meaningless.
I can feel the growth of this faint connection in the farthest depths of the darkness. Yes, that’s it, that will do fine. It’s very quiet here, and “they” still haven’t noticed my presence. I sense the wall that separates me from that place melting, turning into jelly. I hold my breath. Now!
But the moment I step toward the wall, a sharp knock resounds, as if they know what I am trying to do. Someone is pounding on the door. It’s the same knocking I heard before, a hard, decisive hammering, as if someone is trying to drive a nail straight through the wall. It comes in the same pattern: two knocks, a pause, two knocks. The woman gasps. The floating pollen shudders, and the darkness gives a great lurch. The invasive sound slams shut the passageway that was finally beginning to take shape for me.
It happens this way every time.
•
Once again I am myself inside my own body, sitting in the bottom of the well, my back against the wall, my hands gripping the baseball bat. The touch of the world on “this side” returns to my hands slowly, the way an image comes into focus. I feel the slight dampness of sweat against my palms. My heart is pounding in my throat. My ears retain the living sound of that harsh, world-stabbing knock, and I can still hear the slow turning of the doorknob in the darkness. Someone (or some thing) outside is opening the door, preparing silently to enter, but at that very instant, all images evaporate. The wall is as hard as ever, and I am flung back to this side.
In the darkness, I tap the wall in front of me with the end of the bat—the same hard, cold concrete wall. I am enclosed by a cylinder of cement. Almost made it that time, I tell myself. I’m getting closer. I’m sure of it. At some point, I’m going to break through the barrier and get “inside.” I will slip into the room and be standing there, ready, when the knock comes. But how long is it going to take for this to happen? And how much time is there left to me?
At the same time, I am afraid that it really is going to happen. Because then I will have to confront whatever it is that must be there.
I remain curled up in the darkness for a time. I have to let my heart quiet down. I have to peel my hands from the bat. Until I can rise to my feet on the earthen floor of the well, then climb the steel ladder to the surface, I will need more time, and more strength.
The Zoo Attack
(or, A Clumsy Massacre)
•
Nutmeg Akasaka told the story of the tigers, the leopards, the wolves, and the bears that were shot by soldiers on a miserably hot afternoon in August 1945. She narrated with the order and clarity of a documentary film projected on a stark white screen. She left nothing vague. Yet she herself had not actually witnessed the spectacle. While it was happening, she was standing on the deck of a transport ship carrying refugee settlers home to Japan from Manchuria. What she had actually witnessed was the surfacing of an American submarine.
Like everyone else, she and the other children had come up from the unbearable steam bath of the ship’s hold to lean against the deck rail and enjoy the gentle breezes that moved across the calm, unbroken sea, when, all at once, the submarine came floating to the surface as if it were part of a dream. First the antenna and the radar beacon and periscope broke the surface. Then the conning tower came up, raising a wake as it cut through the water. And finally, the entire dripping mass of steel exposed its graceful nakedness to the summer sun. Although in form and shape the thing before her could have been nothing but a submarine, it looked instead like some kind of symbolic sign—or an incomprehensible metaphor.
The submarine ran parallel to the ship for a while, as if stalking its prey. Soon a hatch opened, and one crew member, then another and another, climbed onto the deck, moving slowly, almost sluggishly. From the conning tower deck, the officers examined every detail of the transport ship through enormous binoculars, the lenses of which would flash every now and then in the sunlight. The transport ship was full of civilians heading back to Japan, their destination the port of Sasebo. The majority were women and children, the families of Japanese officials in the puppet Manchukuo government and of high-ranking personnel of the Japanese-owned South Manchuria Railway, fleeing to the homeland from the chaos that would follow the impending defeat of Japan in the war. Rather than face the inevitable horror, they were willing to accept the risk of attack by an American submarine on the open sea—until now, at least.
•
The submarine officers were checking to see if the transport ship was unarmed and without a naval escort. They had nothing to fear. The Americans now had full command of the air as well. Okinawa had fallen, and few if any fighter planes remained on Japanese soil. No need to panic: time was on their side. A petty officer barked orders, and three sailors spun the cranks that turned the deck gun until it was aimed at the transport ship. Two other crewmen opened the rear-deck hatch and hauled up heavy shells to feed the gun. Yet another squad of crewmen, with practiced movements, were loading a machine gun they had set on a raised part of the deck near the conning tower. All the crewmen preparing for the attack wore combat helmets, although a few of the men were naked from the waist up and nearly half were wearing short pants. If she stared hard at them, Nutmeg could see brilliant tattoos inscribed on their arms. If she stared h
ard, she could see lots of things.
One deck gun and one machine gun constituted the submarine’s total firepower, but this was more than enough to sink the rotting old freighter that had been refitted as a transport ship. The submarine carried only a limited number of torpedoes, and these had to be reserved for encounters with armed convoys—assuming there were armed convoys left in Japan. This was the ironclad rule.
Nutmeg clung to the ship’s handrail and watched as the deck gun’s black barrel pivoted in her direction. Dripping wet only moments earlier, it had been baked dry in the summer sun. She had never seen such an enormous gun before. Back in Hsin-ching, she had often seen some kind of regimental gun belonging to the Japanese Army, but there was no comparison between it and the submarine’s enormous deck gun. The submarine flashed a signal lamp at the freighter: Heave to. Attack to commence. Immediately evacuate all passengers to lifeboats. (Nutmeg could not read the signal lamp, of course, but in retrospect she understood it perfectly.) Aboard the transport ship, which had undergone minimal conversion from an old freighter on army orders in the chaos of war, there were not enough lifeboats. In fact, there were only two small boats for more than five hundred passengers and crew. There were hardly any life vests or life buoys aboard.
Gripping the rail, holding her breath, Nutmeg stared transfixed at the streamlined submarine. It shone as if brand-new, without a speck of rust. She saw the white-painted numerals on the conning tower. She saw the radar antenna rotating above it. She saw the sandy-haired officer with dark glasses. This submarine has come up from the bottom of the ocean to kill us all, she thought, but there’s nothing strange about that, it could happen anytime. It has nothing to do with the war; it could happen to anyone anywhere. Everybody thinks it’s happening because of the war. But that’s not true. The war is just one of the things that could happen.