It's Me, I Swear.

I’m writing these words to you. When you read them and hear my voice, whether you know me or not, you learn something of my mind. You know a bit (but not everything) of what makes me tick. When I write I shake up my failings, my joys, my tendency to drift off into the Otherwhere. I’m not trying to sell you anything. You either twig to my choice of words, my syntax, all these commas, and yes, the dreaded em dash everyone is avoiding now – all part of my unique code – or you don’t, and you turn the invisible page with a flick of your pointer finger. This is the new book, the phone that we carry everywhere to have access to all information, false and real, and to document our lives. To prove. 

I’ve been trying to use my phone as a phone. Why do we call this object with no discernable receiver or snug earpiece, or long coil of connection to twist around our fingers, a “phone?” I crave a proper word for it. Yesterday as I chatted with a friend on my “cell” (who uses that term anymore?) I experienced that phenomenon where for a moment you can hear an intrusive echo of your own voice. Everything I said was parroted back with a three second delay. My head was so crowded by my echo I couldn’t think to continue the conversation. We paused until whatever caused it passed, and I could speak again without me talking twice. 

Maybe phonecho is the right word for it. It is an auditory, hallucinatory, visual canyon we shout into, our words bouncing off each other. Whoever shouts loudest gets their message across.

I can’t write or read on my phonecho. I’m in awe of people who do.  I write best by hand, or on my computer. I comprehend what is read from the pages of a book, and I sluice what is read from a screen. 

I also dream a lot, offline, and remember many of them. These dreams are not on my phone, or yours, or anywhere, really. Are they in my blood, soft tissue, nerves, pons? They are the rucksack of images I have processed throughout my days, hauled out and handed back and forth between the here and there. 

Last night in my dreams I had a winter glove on my left hand, and in the palm was a strip of masking tape, and on that tape were some handwritten numbers. The numbers changed like a padlock code. I understood that I had to press the center of my palm when the sequence was correct. I had to unlock the code to be able to communicate. No matter what sequence I chose, I was never successful because the code was constantly changing, its language bending toward AI sameness. 

Clipped numbness. 

False humilities. 

Whispered truths.

I made that last bit sound like AI, but was me, really. Trust me. I mean it. These are my words that I am writing to you, words I’m not sure I can prove.

Procedure

They expect me to sit in the chair in the corner. Human behavior in this room with nothing but a chair and a mirror is that the person will sit in the chair. It's the expectation of a calculated system.

I wait with the door open. My phone is locked up. I count all the objects in the room, including fixtures and outlets and door handles (both sides), and I include myself sitting in the chair. Forty-eight. This number is pleasing because it is divisible by eight. I do some neck stretches. There's the play I'm writing that I could think about, but when I'm away from it all the characters lead other lives, separate from the play, like they have day jobs and my play is a diversion.

Some song by Rod Stewart is playing through the tinny speaker on the ceiling (object #14), and I'm reminded of how much I don't like his voice, but he had that jazz album that wasn't bad. Didn't my friend Danielle sing one of his songs in a high school choral concert? She was on the homecoming court. Maybe the song was part of the event. There's a connection between her and Rod Stewart in my brain.

The blouse I wore here is a size six petite, too big in the waist, too short in the arms. Another Alice in Wonderland item of clothing I thrifted. It has gussets and placket buttons, and cuffs that fold back to reveal my wrists and two inches of my arm. Dan said I looked skinny in it when I left for this appointment, noting the looseness. None of my clothing feels right on my body. I prefer the outlandishness of costumes, where proportions are malleable. 

The carpeting in here is dark shades of greens in a pattern of varied circles that touch each other and remind me of lumps of moss. The hallway has a thinly striped carpeting of lighter shades of green. The patterns do not match. There is no door threshold strip, and some of the weave has come apart, spiraling up like a weed from a sidewalk crack.

I watch the shadow of another woman as she gets dressed in the room across the hall. The shapes and patterns the shadows make are as beautiful as watching leaf patterns on the ground. This thought strikes a low gong in me. All the leaves are falling now, and the leaf shadows will go with them. Bare branch patterns, arterial, will replace them. I wonder about the life of the woman behind the door, the woman in shadow, who nodded to me a grim acknowledgement as she left for her procedure. Why is she here? I hope it's routine.

I kick my feet to the music, tick-tock them, then move them in opposition. I do the same with my shoulders. This has taken some practice for me to do. Getting mocked about it in a theatre class started the practice. How urgent all the younger-than-me students in that class were. I resented their futures, and loved their enthusiasm.

Didn't I have better thoughts when I was in my 40s? Why can't I just be content sitting in this chair in the corner, a half naked human being with an ill-fitting blouse waiting for her? It seems all my friends who are in their 40s now are leading shinier lives than mine but I know this isn't true. My 40s weren't all that great. My mother was in decline. Helen will be in her 40s in ten years, and I will be ...

The math of that thought is a dark corner I avoid by observing the empty chair in the other room across the hall. It is a nicer chair than this one, I decide, because it's lines have an elegant mid-century modern style. It's arms are polished wood. My mother would have commented on that chair.

Now I am uncomfortable enough to stand, unlock the closet, and rifle around my bag to find my phone. The phone, that devil that promises to connect but divides me from the real world. I'll text Dan to see how he's doing. 

The lab tech arrives to walk me to my test. She's probably 42 or so, thick dark hair, big brown eyes. Lovely. "Hello Jennifer," she says. This week I talked to a receptionist who told me my full name was the same as her best friend. Jennifer Hill. 

My astrological chart reminds me that I am not that special, and my karmic lesson is to learn that others lead lives that are different from my own. Even the other people named Jennifer Hill.

Everything for me right now is 8, 16, 24, 32, 40, 48, 56, present, and accounted for, part of the system.

The Physical World

The soul straddles time and the infinite. The soul resides in that untoned flap of upper arm. The soul, your soul, if you believe you have one, exists with all the other souls that have ever and will ever exist. The soul is immeasurable and also changeable. Your soul lives in rain and snails and tree roots. The soul frolics as a rat under straw. The soul dozes like a lowercase l. The soul is yellow, no, red, no, it's the color of that feeling you get when you peel back several layers of wallpaper and find you are holding a handful of palimpsest. The soul, your soul, found mine in all the noise of the world, all the static and yawping, and like two magnetic tricky dogs we snapped together. Even though you don't believe in souls, I sure like yours, and how it insists on the scientific, the known, the physical. The soul is theory. The soul is hypothesis. The soul is part dendrite and mitosis and the bedroom light switch. The soul loves its body and doesn't want to leave it, but when it does please leave a window open or cut a hole in the ceiling, because the soul is not all magic (that word it digests), and is given to clumsiness. This soul isn't a professional soul. It's new in its oldness.

All of a Sudden

This morning I started a sentence in my journal with "All of a sudden," and I remembered a moment when I handed my mother a story I'd written. I used the phrase a lot in my story, but I wrote it "all of the sudden." My mother corrected my usage. "It's all of a sudden, not the." I was stunned, and a little confused. What difference did it make, really? A. The. They were both articles, signifying a noun up ahead. Was sudden a noun? An adjective? I learned the phrase was an idiom, which sounded too close to idiot for me. 

All of a sudden was a favorite phrase of mine, and it still is. As someone who feels like everything in life is happening all at once, it works. All of a sudden, my pen ran out of ink. All of a sudden, the ducks were in the road. All of a sudden, my fake mustache peeled off and fell into my coffee with a fuzzy plorp.

Everything is a surprise with all of a sudden. An unexpected delight (or not).

It turns out we've been using "of a sudden" since Shakespeare first coined it in The Taming of the Shrew. "Is it possible That love should of a sodaine take hold? (antiquated spelling alert!) Sudden has been used as an adjective since the 15th century, and it was once a noun, too, meaning "that which is sudden." Today the noun form is obsolete, except in the phrase "all of a sudden."  

What a gem! 

All of a sudden, the word sudden is no longer a noun.

All of a sudden, thanks to Mom, a memory, and the internet, I know a little more.

Backstage

Don’t worry, spiders,

I keep house

    casually. 

                - Issa

Yesterday, while eating a quick lunch of ramen soup "shooshed up" with garden vegetables and a dash of chili oil, a gentle knock came to the kitchen door. Helen looked at me, and we shared a mild panic. "Who is that?" Dan stood up and opened the door a crack, and partway up the steps stood two women. "We're here to pick up an order of cinnamon buns."

Dan laughed and said, "Ah! How did you get past my camera alerts? We usually get a notice when someone is here." He abandoned his soup, thrust feet into boots and was out the door helping them in no time. Lunch is almost always, without fail, interrupted by a customer.

Helen and I stayed to slurp up noodles. It was rainy, and we'd already been out in it a number of times, getting thwacked in the face by the sodden mulberry, or slipping in duck goo. It was unseasonably chilly. The soup was just right.

"How did they even find their way to the kitchen entrance?" I wondered. Helen posited that they walked through the barn. We'd left the door open to the path, which means they went through the disaster of a prop room, where art supplies and theatre props are piled. Then they had to walk up the mangled path, where jutting bricks make a challenge even for the surest of feet. The fig and mulberry meet to combine a low soggy arch on rainy days, which if you aren't paying attention, will lick you in the face and leave your hair all combed with leafy bits. They worked through obstacles to get to our porch.

What was the prize for making it all that way? They saw all our coffee cans filled with rotting scraps for the compost heap, a muddy array of boots and shoes, an entire closet of plaid coats, pants, and rain gear hanging on hooks, a filthy rag dangling on the banister to dry (not working well on this day). Then, a few surprised faces sitting around a kitchen table.

While we are used to visitors to the farm stand and the barn theatre, we are not accustomed to people knocking on our kitchen door. I felt exposed.

All the coffee cans filled with banana peels and eggshells, loose boards, undusted surfaces, were seen by the audience. Not to mention the cast of maladroit insects we're too lazy to kick out.

 

 

Nature's Sweet Message For You Today

Two days in a row I’ve seen the same frog
snugged into the mud by the makeshift
bridge in the watershed.
Yesterday she didn’t move at all,
just sat there, all brown and earthy,
a testament to camouflage and
will you just keep your mouth shut
for once and listen.

 •

I wrote to a friend recently about how I really want to create right now. Every twenty minutes or so I get a blind energy, a dustup of motivation that moves me to research, take notes, or roll around on the floor with a chair and dream. Then it seems as soon as that phase is over, the doomblob rolls in, and everything feels dire and purposeless.

There's a list of projects I am pursuing very slowly, like a cat in the underbrush, wiggling and pausing, adjusting her line of sight, and pausing some more. Is this bird worth it? Is it too big? I may get my eyes pecked out.

When I'm not having full on panic attacks, making soup out of leftovers, or avoiding Facebook by reading Boing Boing, I do yoga, keep up my hoop practice, or "follow along" with free Zumba routines available online now. There's plenty online, and I'm terrible at Zumba. I do not have the hair-flipping, sexybod moves for the choreographies, but I really enjoy the attempt, the fail, and the increase in heart rate. I laugh at myself. What else is there?

Then and only then, when I have written and exercised, do I have permission to go outside and stare at a frog.

Have You Sanitized the Cat Yet?

Our daily rituals are now opportunities for infection. I find myself in a constant internal dialogue about cleanliness. Have you sanitized the doorknobs since receiving that package? You left it outside for 24 hours in the sunshine, then brought it into the kitchen where you took out the contents. You wiped the contents down, broke down the box, put the box in the recycling outside, and then you washed your hands, but did you sanitize the doorknob? The light switch? What else did you touch? Should you sanitize the cat? And what about your shoes? Have you cleaned your shoes? On the news last night they were saying that steps you take could be steps toward infection. The virus might be on your soles now.

Yesterday morning we discussed what dinner ingredients we had and I darkly joked that we wouldn't have anything to talk about at 3 p.m. since we now had a plan. We are fortunate to be food secure here, for the moment. Plenty of tuna and chickpeas, leafy greens growing, and Dan bakes bread. I look forward to the day when what we are growing we are able to share.

Our lives are so routine I can tell you where I'll be in an hour and a half, or in three hours, or at 6 p.m. In a normal world, routine is comforting, but this kind of routine is different. It's an attempt to control time, similar to how life in a nursing home operates. I'm hyper-aware of the hour. I have about another 30 minutes before I'll be sitting at the kitchen table with my husband, discussing our plans for the day.

I took a break from Facebook to avoid the endless scrolling, and everyone else's anxieties, tips and advice, and the constant stream of videos, free entertainment, and good ideas.

Am I being more productive? Not really. I feel frozen, unable to fire up the engines of energy required to pursue any purposeful project, be it paying work, or non-paying pursuits that I have begun and have stalled, collaborations, writing groups, attempts at juggling, and piano practice.

Laundry gets done. I clean the floors on my hands and knees. Animal care predicates a lot of my daily schedule, as does meal planning. I am capable of daily movement (circus training, yoga, walking) and writing, and that is about all. It feels useless at this time, but it is what I can do, and what makes me feel normal and sane.

Yesterday, after propping up a sagging maple branch, treating the goats to some pear scraps from breakfast, and collecting kindling for a fire, I walked out and looked into the surface of the pond. What I saw was a slice of the world upside down, and I knew I could stand and stare at it for as long as I wanted without having to wash my hands.

It's Not Easy Being Green

When you can say, "I made this over 30 years ago," you are no longer young. You might not be ancient old yet, but if you were capable of making something out of material other than play-doh in the late 80's or early 90s, you're not young anymore. You were young then. You were ready for everything, and full of the world.

The one thing I did yesterday that was satisfying and met with some success (I burnt our dinner, and had quite a flap of a time getting ducks back inside, and I'm generally itchy and miserable right now but I'm alive), was repainting and refreshing a garden sign I made for my parents over 30 years ago.

The sign reads "It's not easy being green - Kermit the Frog." I can hear the enthusiasm in my mother's voice as she tells me she and dad discussed possible garden quotes and this one was the winner. I remember my choice of Celtic letterform, and the embellishment with a thistle.

I was smitten with the meaning of thistles, which is bravery, courage, and loyalty in the face of treachery. I had to add something symbolic and high falutin' because I was 20 and reading Wuthering Heights and the poetry of William Blake. I wore a lot of black then, and had a bad heart rhythm, and was anemic with poetry. I never thought about how a thistle is a garden weed. If my parents eye rolled at the thistle, I never saw it. They loved the sign, and placed it on the gate that led into their little kitchen garden patch where it remained for several years. This was the garden where Mom grew tomatoes, eggplant, zucchini, and oregano, and the contents inspired her perfection of eggplant parmesan, which she made often.

When they took down the fence, the sign disappeared, until a couple of years ago when I found it in the basement of their house, just as it was about to be sold. There it was, screwed into the bottom of one of dad's stained glass work tables where he'd used it to create a side for a glass filing system. It was still in service. When I saw it, the question that governed that time in our lives loomed: Did I want it? My sister and I had spent almost a year clearing out our parent's house -- selling, giving away, or sheepishly acquiring the objects of mom's life. I decided I wanted the sign, found a screwdriver, and worked out the screws. I took the sign home where I put it on the back porch of our rental, where it didn't make much sense.

When we moved to our new home, the garden sign ended up out by the kitchen garden, where it sat on a green plastic chair. It caught my eye recently. It was stained with mold, and looking faded. I had plenty of time to refresh it in the middle of an isolating afternoon, so yesterday I sat out on the grass by the duck tractor and spent an hour or so painting. I traced over my old letterforms, the ascenders and descenders of my youth, letters robust with feeling and intent. I replaced only one thing. The thistle. In its place is a cotyledon -- the first leaves of a plant. A simple sprout that can be anything. Ready for the world.

Not a Poem/Letting Go

While everyone else is making masks, or delivering groceries, I've been writing poems. I'm not proud of this. I feel frozen. I'm terrible in a crisis. Introspective, or worse, panicky. When there was a fire here on Thanksgiving, I ran out to the pond, screaming and crying. Very useful. At least I know myself?

I've been outside a lot, as weather will allow it, to help dig an extension to our kitchen garden. Images of this work have come up in a couple of recent poems -- roots, digging, worms. I shared a few photos on Facebook of my gleeful ride on the broadfork. There's circus showmanship in it, but overall, it's work with a capital W. Rocks haven't made it into my recent poems yet, but they have been plentiful.

Yesterday the blades of the broadfork tinged off several rocks as I made attempts to gain ground. I had a hard time gaining any kind of ground. I fought with a long root, got rained on, windblown, heard my shoulder pop, and finally moved the stake that marks the end of the garden because I was too tired to finish the last little wedge.

Yeah, that's right, I cheated. I gave up. My whole body yelped. The space might have held  another cabbage or two. The garden is huge. We'll have plenty of cabbages to share, was my justification.

I have my husband's practicality to thank for this garden. For all the greening here. It was his vision to grow our own food, and his ingenuity and determination have gotten us to a point where we can. We had a shared vision to live in a place like this (years ago we wrote letters to each other describing the details of this house), and the nature is nurturing, especially now, but it was his good sense that brought us to growing lots of vegetables. The greenhouses are filled with growth. The gardens are chilly, but starting to show promise.

My husband is practical. I am not.

While he's been doing the research and work necessary to bring food to tables, I've been perfecting my eight hoop split, writing poetry, and dreaming of being followed by a parade of ducks.

Dig
deeper.

Oh, here's a rock.


A memory of my mother on the floor, with a broken shoulder, the moment that led to her losing everything in her life that brought her joy and purpose -- theatre work, keeping a house, writing letters, snuggling her cat. All of that, gone. Now she's gone.

Dig
deeper.
Root.

I feel a little more of what she might have felt. I'm glad she's not here for this pandemic, and I miss her presence in my life. I hear her message of "You have to let go of what you once were," while I'm outside, digging. Even though there's the hope that I may return to the work that gives me purpose and a lift in my step, right now there's no point in pursuing it. No, I do not want to do Zoom classes, or put on a costume to perform to an audience of screens.

I have no sense of purpose now, other than to disturb worms, and I need to be ok with that. I need to be quiet, and listen.

It might be ok to feel frozen right now. To not know what to do. It might be what's best for me.

But today I need to pull out my mother's sewing machine and make masks, because we have to go out and get groceries.

Dig
deeper.
Worm.

Oh look who it is! Miss Whatever-Her-Name-Was, our home economics teacher in the 8th grade. There she is admonishing me for not paying attention while she showed us how to wind the bobbin. I was daydreaming, of course. Look at that cloud.

Panic Corner in the Language Center

There’s a part of the language center in my brain that I imagine as a large filing cabinet — one of the metal ones with drawers that stick. Tucked inside dog-eared folders are the words I never use, but which pop up like song lyrics. I spent an entire day wondering where spanghew came from and why I was thinking of it, and it never got used in anything I wrote or said. It was just my mantra for the day. Ah, but here it is now, sparkling in its obscurity, begging for you to look up its definition.

My sister and I share a general abhorrence for any food that is slimy in texture. At a restaurant together, with a set meal, we were served a dish that is similar to potato, which gets blended into a viscous soup. It is served over rice. The entire time I was in Japan I was careful not to offend anyone, but I was pretty sure I was not going to like this dish, and didn’t want to leave any untouched. As Naomi served it up for everyone, I said, “sukoshi,” and made a little gesture with my thumb and index finger to indicate “small.” She understood and spooned out a tiny bit.

Sukoshi is the word for “a little bit” in Japanese that I learned 20 years ago when I studied some “get around words” for my first trip to Japan.  Like most of what I used that trip, which included "Otearai wa doko desu ka?”, the word was relegated to that filing cabinet. When I needed it most, in that critical moment of being served a food I might not finish, there it was, like a superhero in a bright red cape.

I probably could have finished the dish. The entire meal was delicious. Oishii. That’s a word I’ll use often.

Yesterday I decided I’d like to have prints made of the photos I took on our trip. I uploaded them all to Google Drive, thinking that would connect to the drugstore’s photo center kiosk. It did not. Google Photos was available, that celestial super-cloud of data I never think about, or I could use Facebook, Instagram, or connect my phone directly to the kiosk with my power cord. Who takes their power cord with them everywhere? I went to another drug store, which had no photo center. Then I ended up at the store of the Living Dead: Wal-Mart.

I thought I’d just breeze through the aisles of zoned-out shoppers by taking the superhighway lane in the middle of the store, straight to the back. My goal was electronics, where the photo kiosks were. A young man at a booth chirped, “Ma’am, may I ask you a quick question?” and I replied, “Nope, I’m on the run.”

“On the run?” From what, exactly? I have never used that phrase before, but the panic center, the part that hates dealing with nonsense, called it up and without thinking, spanghewed it out of my mouth. It worked. The guy backed off whatever his sales pitch was. I didn’t have to talk with anyone who called me “Ma’am.” I wouldn’t feel obligated to buy The Thing I Didn’t Need or Want.

When you’re in a pinch, facing an awkward social situation, the words may just come to you,  unbidden. These are the words you didn’t know you knew, the ones waiting inside untouched folders, the ones whose definitions might need to be researched, but oh, they’ll do the trick as you make your great escape.

Watching Me Watch Myself: A Meditation on Meditation

A quiet mind has never been my hallmark. It reels with proclamations, self-judgements, to-do list items, conversation reviews, philosophical meanderings about time, diatribes on appliance repair, scraps of poetry and song, floating dream images, and survival thoughts — like what might be for dinner. I should go to the grocery store.

When my sister suggested a “Movement Meditation” class at the Satoyama Design Factory during our visit in Kamogawa, I said “Yes! I can do that if there’s movement!” She said she thought it might be about a half hour of dance followed by a half hour of quiet. I wasn’t sure about the quiet, but thought I’d try.

I’ve never done any kind of long meditation before, but I once attended a yoga class that had a guided visualization the end. “Imagine a boat at the shoreline,” the soft-voiced instructor intoned. Lavender misted out of a diffuser in the corner of the room. The set-up was lovely. Instead of relaxing into the image, I argued with myself over which color the boat should be. Blue? No, too on the nose. Red? Too alarming, this is supposed to de-stress. Wait, what is that over there by the cattails? A dead fish? I never got out on the boat. I ended up poking at all the fish that were belly up in my mind.

The idea of combining movement and meditation, where flinching might be allowed, perhaps even flailing, appealed to me.

Our instructor explained in Japanese that there were five stages to this type of meditation, all of which were to be performed with our eyes closed. Kristen translated for those of us who didn’t understand. This class was actually Dynamic Meditation, a registered trademark meditation in a series of offerings from Osho, who was an Indian godman and founder of the Rajneesh movement. During his lifetime he was viewed as a controversial new religious movement leader and mystic. There was a little color photo of him in a frame on the shelf facing the open space where we’d practice.

The first stage of the meditation consisted of ten minutes of breathing through the nose while keeping your knees slightly bent and movement natural. I made short, staccato like breaths, with a focus on the exhalation. Osho’s website describes it as “chaotic.” We were instructed to blow our noses beforehand, but my experience with this stage got messy anyway. I had to wipe my nose on my sleeve a couple of times.

Stage two was “blasting off like a rocket” or “exploding like a volcano.” Ten minutes of vocalizing from the depths, holding nothing back. Wail, scream, cry, sing ... anything goes. Your mind isn’t supposed to get in the way, but I found myself on the floor at one point, recalling a movement theatre class where we were all monsters.

Stage three was jumping with arms up in the air for ten minutes with a mantra of ”hoo” on each landing. You are supposed to let your flat-footed landing “Hammer deep into your sex center.” I think that was lost in translation for me, or I was zoned out when it was mentioned. I just got exhausted here. You’re supposed to “be total.” I felt about half, maybe two thirds, worrying about the blood flow to my arms, and wondering if my ankles would swell up from all the jumping.

Stage four was standing still for 15 minutes in whatever posture you found yourself in when the bell rang at the end of stage three. My arms were up in the air. You are not supposed to move. No coughing, fidgeting, anything. My arms began to sag at about the five minute mark, and were left halfway up my torso, palms facing out, like I was being held up in a robbery. However, this is the stage where I saw color, and felt a really strong energy flow, and my brain finally shut off for a moment. I cried. Then my brain was back on.

The fifth stage was 15 minutes of dance. A celebration. An ecstatic end to exit with.

It turned out flailing was encouraged in this meditation. The stage where I saw color left an impression on me, although I’m not sure what to do with it. Let it flow through me. Observe.

Osho said of this meditation, “… bring your total energy to it, but still remain a witness. Observe what is happening as if you are just a spectator, as if the whole thing is happening to somebody else, as if the whole thing is happening in the body and the consciousness is just centered and looking. This witnessing has to be carried in all the three steps. And when everything stops, and in the fourth step you have become completely inactive, frozen, then this alertness will come to its peak.”

Tod and Dan arrived at the door at the end of our meditation, dressed and ready to go to the onsen. I was glad the next thing on our agenda was a trip to the public bath, where the water would be steamy and melt my muscles. I was ready to relax after all that meditation. Maybe I’d even imagine an invisible boat on some unnamed shoreline.

Oh Noh

There is no cure for a case of the giggles. You try to stifle, and the “funny thing” just becomes funnier. Your sides hurt from the quaking. Your eyes water. Maybe they’ll think you’re crying, maybe no one will notice, maybe they won’t send the usher over to politely whisk you out of the theatre.

Browsing shop stalls at the Temple of Asakusa, I saw some Kyōgen masks, the characters for the comedic interludes during Noh theatrical pieces. The two that caught my eye were Oji, the old man, and Usobuki, a face with surprised eyes and a pinched mouth, a character who can only whistle. I was reminded of my wish to see some theatre while we were in Japan, and turned to my sister. “Do you think there are any Noh productions happening while we’re in Tokyo?” She did some research. The National Noh Theatre had a Fukyu-Koen (Dissemination Performance (Introduction to Noh) on the 11th. Perfect. She got us tickets.

The National Noh Theatre entrance is an open space, with sculpted trees in front of a low building that has a center courtyard. While we waited for the doors to open to the performance, we explored an exhibit of scrolls that depicted scenes from Noh plays from the Edo period, on loan from the Kobe Women’s University Library. There was also a small series of chant books that the actors used for rehearsing.

The theatre seats 200 people, and each seat back is outfitted with a screen for translation. A relief. I’d need that. The National Noh stage looks like a small temple, with some trees painted against the upstage wall, and a long stage right entrance that leads onto the main stage. Actors glided in from behind a curtain and made their way to the mainstage like they were floating on clouds.

Before the production began a professor from Kobe University stood in the center of the stage in his white socks and dark suit and discussed the historical context of the plays. This wasn’t translated. Kristen leaned in occasionally to whisper — “He’s talking about the sea, and the geography of a battle. Now he’s explaining some kind of helmet collar that gets pulled.”

The first play, a Kyōgen titled, “Suhajikami,” was about two farmers going to market. One is a seller of ginger, and the other a seller of vinegar. The entire play is a series of puns, various plays on the words “su” for vinegar, and “hajikami,” which means ginger, as the two sellers vie for space at the market. The twenty minutes of wordplay ends on a boisterous laugh between the two. There were chuckles from audience members throughout, but if you are not a proficient in Japanese, some of the puns are lost, even with translations. My sister seemed to understand most of it. I enjoyed the slow movements of the actors, and the spirited tonality of their voices, which was song-like and made the chant books in the exhibit make more sense to me.

The actors didn’t wear masks. Their action was a slow float, glide, and turn. In many ways, it resembled martial arts, loaded with intention and meaning. The costumes were elaborate, and I felt I was missing something here as well, not understanding what the patterns and textile choices might mean. It felt a bit like reading Chekov — I got the gist, but I wasn’t experiencing the richness for an ignorance of cultural and historical background.

The main Noh play, which came after the Kyōgen, was “Akogi,” a story in which a monk encounters an old fisherman on the beach and discusses an old poem describing Akogi-ga-ura beach. The monk asks why the beach is called Akogi-ga-ura,and the old man tells the story of a fisherman named Akogi who was discovered poaching fish in the sanctuary, and was executed by drowning off the shore of the beach. He encourages the monk to console the spirit of Akogi, who is still suffering in hell.

In the first half, we hear the old fisherman tell the story of Akogi to the monk. It is nearly sung, with little movement, with the addition of some drumming and chanting. Reciters add to the text in a way that felt echoic. After intermission, when the fisherman (who we now suspect is the spirit of Akogi) disappears, we are introduced to a traveler returning home who sees the monk resting in his hut. The monk explains that he was just regaled with a story by an old fisherman, and he thought the hut belonged to him.

This is getting long, isn’t it?

I peeped down the row of audience to my left.  All asleep. The man who was seated late in the middle aisle was sleeping. Four people in our row were nodding off.

The owner of the hut begins to tell the tale of the fisherman … again. Another long, poetic retelling of poaching on the high seas, with drums, echoing words, and slow movement. I wasn’t prepared for the retelling. Kristen leaned in as we read the translation of the traveler’s monologue together. “Maybe he doesn’t know the whole story.” And then he began, “In the year …” and she whispered, “Nope, looks like he knows it.”

That set me off in giggles. It was a release from intense storytelling, but I was in the National Noh Theatre. I should have reverence for a craft that has been around since the 14th century. My laughter felt worse than poaching fish. I was in a state of helplessness, like Akogi, unable to find my way back to the shores of propriety. When I couldn’t stop, Kristen and I slipped out of our seats (luckily they were in the back on the aisle) like two schoolgirls skipping class.

The drama ends with us disappearing into the ocean of Tokyo’s winding streets to meet everyone at the Akita Festival —a festival devoted to dogs so devoted they wait for their masters who have been dead for years to return from work. I wonder if Akogi had an Akita still waiting for him to return from his damnation. I wonder if there will be one waiting for me — hee hee hee.

Loud and Wrong

Sometimes you have to wait in line — a long line, without really knowing what is going to be said to you at the end of it when you finally get to talk with the person in charge at the counter.  It’s part of life, and at the airport, it is a chance to observe human behavior.

Our flight out of Japan was delayed by a day. We were deplaned after two attempts by the mechanics to fix a “part that is needed to fly over water,” according to the pilot. Since this was an 11 hour flight, most of which is over the Pacific Ocean, I was really fine with the decision to not fly. Some passengers grumbled. As we left the plane, there was already trash everywhere. Discarded candy bar wrappers, plastic wrap from the  complimentary headphones, and on each screen, a still of whatever movie was being watched. It was like walking through the last vestiges of a preteen sleepover.

We returned to our original gate seating, and waited for word on the delay. When the announcement was made that the flight was canceled, and wouldn’t be rescheduled until the following morning, we were told to “follow the woman with the yellow vest” through the airport. All 300 or so of us followed one tiny woman. We lost her at a couple of points, and had to rely on the herd of faces we’d already memorized as our fellow plane mates — the young Texan with the loose blonde ponytail, a Japanese man with his grandmother, a guy wearing white-rimmed glasses. A few airport employees held up handwritten signs with arrows along the way. What our pilgrimage amounted to was a very long line at the airline check-in desk, where we’d all started our day.

We stood with a young woman from Laos who asked us if we’d been through anything like this in our travels. Dan explained that we’d either be offered a hotel and meal voucher, or we’d get rescheduled flights. She seemed relieved. The line snailed along. Dan noticed that attendants at the counter had to share a stapler. Then we realized they had no printers, and had to walk away from their posts to print out hotel vouchers and boarding passes. Some of them rode the luggage belt to get to their desks faster.

I watched a woman at the desk pull out her hair from the same spot just in front of her ear, strand by strand. Another woman, at the counter the entire time we waited in line (about two hours), must have had a complex travel itinerary which was disrupted by the flight change. She took out her laptop to consult a world map. Her flights were rescheduled.

Americans are not good at waiting. It’s like they’d never spent time in a line before. There was a group of impatient, entitled ticket holders who decided to start their own line by complaining. One man oozed his way to the front of another counter and demanded to know why he and his wife had to wait. He was given a hotel voucher. I overheard him tell his wife, “It’s ok, we got meal vouchers too, and I have plenty of snacks.” No one was going to starve (I sat near this man on the plane the following day, and he ate during the entire flight). Then he felt empowered to let others know his success, and made an official announcement that “this line is the line to get into if you want a hotel voucher.” Some went into that line, which took away one or more attendants who could manage all the people in the first line.

The rube and his wife, the guy in the white rimmed glasses, and several others who befriended them, were the boisterous Americans who had all the answers before anyone else did. At the bus queue, one of them decided that one bus was designated for each hotel, and actually moved someone’s luggage. Each bus dropped people off at either hotel since the hotels were near each other. They were wrong. So they had the wrong answers first.

I have never liked the adage “the squeaky wheel gets the grease.” Sometimes the squeaky wheel is just a total embarrassment to the rest of the vehicle, and needs to be removed and replaced.

You know, like Trump.

When our plane took off, people applauded. My takeoff anxiety was in full-swing. We had 11 hours to go. Let’s make it over the ocean first. The pilots have a job to do.

Style

Everyone in Tokyo today has a coat that is nicer than yours. Herringbone, grey, beige, long, short, collared or not, adorned with a small faux-fur scarf. I saw very few black coats. Nails on women were manicured. Hair was conservatively cut and styled.

In the year 2000, the fashion in Tokyo was intergalactic. Fifth Element short skirts, white eyeshadow, the highest of platform shoes (women died from falling on subway stairwells), bleached hair, bright colors. The white eyeshadow was a startling Liquid Paper for the eyelid. I forget what I wore. Probably stretchy pants and wordless tops. Everywhere we went I felt like a big loaf of bread.

In 2020, calm is the new wild. Everyone is wearing earth tones. The highlight color is mustard, if you are brave enough to wear a highlight color. Dan saw a guy dressed all in green, but I missed him. It’s easy to miss people in Tokyo, which is a mill and seethe of humans.

I packed layers, planning on cold days and evenings in the countryside with my sister and her husband, and didn’t pack anything I’d call fashionable. In Tokyo, I felt like a rock with legs. A monolith in my oversized grey sweater coat, like an avatar in a video game whose goal is to not bump into anyone or anything. I failed at that, I’m sorry to say.

I thought about the coats I could have brought with me and if they’d stand up to what I was seeing on people. Nope. The 10 year old black coat I bought in Germany? The other black dress coat I got at Target 12 years ago?

By our second day, I felt offensive. My hair, in piles on top of my head, got snickers from shoppers while we were in a paper store. I love the red, cashmere hand warmers my daughter got me for Christmas, up-cycled from someone’s sweater, and wore them everywhere, with the big grey monolith sweater. They stood out. The boots I purchased to be comfortable (which bore a tag on them that said “fashion” — knockoffs of some brand I don’t know), made my size 10 feet look like concrete blocks. They were comfortable for all the walking we did though.

I wondered out loud with my sister if I should style my hair differently for the next day. Was I offending people? “Wear it how you want,” she said, and she shared that in her early days of living in Tokyo she gave up on trying to blend in. You never will. Just be you.

What a relief.

In the countryside of Kamogawa, I felt more at home. Everyone wore relaxed, comfortable clothing. Layers. They smiled more, and even if I was ridiculous and loafy, they didn’t make me feel so. There were goats, dogs, chickens, and cats. None of them wore fancy coats.

But I still feel the pull of desire for a nicer coat, which is impractical for where I live. When I’m around people who have manicured nails, I want manicured nails, which is not wise for a woman who tends to goats on a daily basis and has to sweep out a barn. Yesterday I found myself on my knees in the mud, in my thrift store “goat coat,” holding onto the collars of Littleface and Brick, who decided that a visit with the neighbors down the road was a good idea.

My biggest concern these days is how to trim goat hooves. Goat manicures are on my mind. I’ve been watching a lot of YouTube tutorials. My days of fashion, if I ever had them, are over. If you see me wearing a nice coat, it’s a loaner.