On Talent and Talent Spotting

This piece grew out of ordinary days at school rather than any single dramatic event. It’s about leadership as I’ve experienced it—imperfect, iterative, and learned mostly through miscalibration. The Bash & Pop line isn’t about suppression; it’s about timing. Talent is fragile. So is trust.

Epigraph

“Lick it shut before I lose my guts
Or I might rip it to tiny pieces.”

—Bash & Pop, Tiny Pieces

I.

You can tell within thirty seconds which young person is carrying voltage and which one is carrying rehearsal. At Rits Uji it happens once or twice a year: a student, or a recent graduate drifting back onto campus, unmistakably alive. It’s not polish. It’s not performance. It’s the high of being, for once, unedited. They don’t need to say much. You see it in the way they stand, in the way they occupy air without apology.

When that happens, the moment goes strangely timeless. I don’t feel older or younger—I feel outside of age entirely, the way I used to at the International Student Forum when a handful of kids ran circles around the adults simply because their energy was cleaner. That’s when I have to be careful. The instinct to spill truth rises fast, to say something too honest or too directional. I’ve gotten it wrong before—said too much, too soon, watched a young person recoil from a truth they weren’t ready to carry. That’s when the Bash & Pop line surfaces: seal it before instinct turns into damage.


II.

Youth talent isn’t just something you identify; it’s something you steward. And stewardship starts long before contracts, titles, or decisions about who someone is going to become. At Rits Uji my job is mostly invisible: CAS, Student Council, the quiet nemawashi that turns chaos into consensus. But the real work happens in smaller moments—when someone bright crosses your field of vision and you feel the spark you could either fan or overwhelm.

That’s the danger. Talent doesn’t need fireworks; it needs pacing. Recognition without collapse. Direction without hijacking momentum. My own instinct can run hot—I want to give the whole truth at once, to offer the map before they’ve even decided where they’re going. Leadership, for me, has meant learning restraint. Not caution. Respect for the shape that hasn’t formed yet.


III.

The flip side of youth talent is youth fragility. It’s just as easy to read. Today it was a judo kid—curled in the nurse center, eyes red, voice small—caught in the churn that forms when discipline starts to eclipse humanity. You can see when excellence becomes pressure, when identity narrows to a single verb.

That responsibility feels heavier. One wrong word—one too-direct truth—can land harder than anything they face on the mat. So I measured my voice. Offered steadiness instead of analysis. The temptation to diagnose, to explain the larger pattern, was there. But not every insight needs to be spoken in real time. Sometimes leadership means keeping the ink from running red.


IV.

Restraint has a cost. Not dramatic. Just a quiet pressure in the chest—the sense of holding back a sentence that arrives fully formed but can’t yet be given. That’s the part of leadership no training covers: seeing a young person clearly and deciding how much of that clarity they can carry.

You swallow the rest. Not because you doubt it, but because timing matters more than brilliance. The wrong truth, delivered too early, can fracture trust. The right truth, delivered at the right moment, steadies the ground under someone who is still learning how to stand.


V.

With my son, talent has never been about molding or steering. It’s the opposite. I want his spark to move in whatever direction it’s already leaning, and I want to run alongside for as long as he’ll let me. That’s the calibration I carry into school without meaning to—the belief that momentum matters more than mastery, that the job isn’t to sculpt but to notice and match pace without crowding.

Watching him grow taught me the discipline I try to practice at Rits Uji: let the young be young. Let the talent be wide before it is refined. When the moment grows too bright or too raw, when the truth wants to spill too quickly, the choice isn’t silence. It’s timing.


VI.

In the end, talent spotting is less about brilliance than about restraint. Not leading from the front, not pushing from behind, but matching rhythm long enough for someone to find their stride. Youth talent dazzles. Youth fragility aches. Somewhere in that overlap, leadership becomes atmospheric rather than performative.

They don’t need speeches or interventions or the full weight of truths learned the hard way. They need someone who can read the moment, steady the air, and resist tearing it open before its time. And if you’ve judged the moment correctly, they outrun you.

On the Song “Encounter at 3 AM”

Note: This piece sits at the intersection of music, memory, and atmosphere rather than narrative disclosure. It reflects on a late-night encounter whose emotional resonance exceeded its visible duration, while respecting the privacy of the people involved and the ambiguity that gives such moments their meaning.

The essay is less about what happened than about how certain hours alter perception — the thin, liminal spaces where experience feels lightly refracted and ordinary interaction carries unexpected depth. References to artists like Franz Wright, Clem Snide, and Steve Earle, function as interpretive companions rather than explanatory frameworks, illustrating how art often provides language for encounters that resist direct narration.

If the piece feels intentionally incomplete, that is by design. Some experiences are best preserved as atmospheres rather than stories — moments acknowledged without being fully claimed, interpreted without being resolved.

In that sense, this essay is not an account but a calibration: a quiet recognition that certain hours open briefly, rearrange something internal, and then close without explanation.

And that noticing, in itself, is enough.

A brief reflection on songs, hauntings, and the thin hour of the night

Epigraph
“All I wanted was a little money / All I needed was a week or two…”
— Steve Earle, What’s a Simple Man to Do? (2002)

I first learned the shape of this feeling not through Steve Earle, but through Clem Snide’s cover of Franz Wright — an artistic relay in which one voice carries another’s encounter across distance and time, transforming the original into something that feels simultaneously intimate and secondhand. That is often how hauntings arrive for me: sidelong, refracted, mediated by art before experience recognizes itself inside the echo.

A borrowed door into an original room.

And that is where the hour begins.

There exists a space late at night — or early in the morning, depending on temperament and life stage — when cognition thins and the world grows slightly porous. The clock reads 3 AM, but the number matters less than the condition: the hour when ordinary structures loosen their grip, when language quiets, when identity becomes less declarative and more receptive.

At that hour, the city changes character.

Sound carries differently.
Light softens into suggestion.
Distance feels compressed.
Time feels elastic.

Even familiar rooms acquire the faint strangeness of places visited in dreams. Furniture appears slightly displaced from its daytime certainty. Street sounds arrive as fragments rather than narratives. The mind, deprived of external reinforcement, becomes a receptive surface for impressions that would dissolve immediately under daylight scrutiny.

It is not mystical.
Not dangerous.
Not even especially dramatic.

Just thin.

I have had moments there — most of us have — when the boundary between witnessing and participating becomes ambiguous. One moment in particular remains lodged in memory like a quiet shoulder tap. There were real people involved, real conversation, real movement through space. And yet layered within the literal event was something harder to categorize: a presence that did not claim metaphysical authority but nonetheless altered the emotional pressure of the moment.

I cannot narrate specifics. Confidentiality holds the center, and the encounter was not fully mine to claim. But proximity alone can leave residue. Sometimes you do not own the story, yet the story alters you.

Earle’s character inhabits a world of visible stakes — border desperation, economic precarity, the sudden rearrangement of circumstance that forces moral improvisation. His question, What’s a simple man to do?, is less rhetorical than existential. It captures the sound of a human recognizing that the script he believed himself to be following has dissolved without warning.

Franz Wright’s terrain is quieter but no less destabilizing. His encounters are interior, structured around visitations that resist empirical verification yet exert undeniable psychological gravity. Wright’s presence is not law enforcement but the invisible: the sudden sense that one’s life has drifted subtly from its intended trajectory, that something unsummoned has stepped forward and is waiting for acknowledgment.

My hour lived somewhere between those poles.

Not danger.
Not mysticism.
A pressure change.

A moment when the ordinary surface of experience felt slightly displaced by depth — as if an unseen observer had entered the room and paused long enough for recognition without introduction. The encounter unfolded within the grammar of everyday interaction, yet its emotional register belonged to a different frequency.

Here is the calibration, because honesty matters more than narrative ownership:

I turned.

And what I saw was both literal and not literal at all. A person whose presence carried echoes beyond biography. A crossing of emotional currents that felt disproportionate to duration. A moment whose significance resided less in content than in atmosphere.

These encounters are rarely sustained. They appear, register, and dissolve before interpretation can fully assemble. But dissolution does not negate impact. Some experiences operate as quiet rearrangements — subtle shifts in perception that reveal themselves only through later reflection.

You do not leave with answers.
You leave with altered attention.

Music offers a framework for understanding this phenomenon. Covers, reinterpretations, and artistic relays mirror the structure of thin-hour encounters: one experience passing through another consciousness, reshaped without losing origin. Clem Snide’s refracted Wright, Wright’s visitation, Earle’s desperation — each functions as a mediated echo, a reminder that human experience rarely arrives unfiltered.

The encounter at 3 AM belongs to this lineage of mediation. It was not an event demanding explanation but an atmosphere demanding acknowledgment.

Afterward, the memory settles differently from ordinary recollection. It does not assert itself loudly or demand retelling. Instead, it persists as a quiet calibration tool — a reference point that subtly informs later perception. You find yourself recognizing similar atmospheric shifts more quickly, attuned to moments when reality thins and emotional depth approaches the surface.

Such experiences resist mythologizing not because they lack significance but because their significance depends on restraint. To narrate them too fully would distort their nature. They exist precisely in the space between explanation and silence.

You live with them quietly.

Without overclaiming.
Without dramatizing.
Without converting them into personal mythology.
Without pretending you earned, summoned, or deserved their arrival.

They came because certain hours open.

Most do not.

You do not chase these moments. Pursuit transforms them into performance. Instead, you cultivate a form of attention that allows recognition without grasping. When the next thin hour arrives — and it will, though unpredictably — the task is simply to remain receptive enough to notice.

The encounter does not require interpretation.
It requires witness.

And perhaps that is the deeper resonance linking Earle, Wright, and the thin-hour experience itself: each represents a moment when life’s ordinary narrative pauses just long enough to reveal underlying possibility. A reminder that identity is less fixed than assumed, that meaning often arrives indirectly, and that some of the most consequential experiences unfold without external spectacle.

They do not change your life in visible ways.
They change the way your life feels from within.

You return to ordinary routines — morning coffee, daylight conversations, the practicalities of schedule and obligation — carrying an unspoken awareness that certain hours remain portals rather than merely timestamps. The world resumes its solidity, but the memory of porosity lingers.

And so the encounter remains:

not a story,
not a revelation,
not a lesson,
but a quiet rearrangement.

A reminder that sometimes the world steps slightly closer without explanation, offering a glimpse of emotional depth that cannot be captured but can be carried.

You do not chase it.
You do not interpret it.
You do not claim it.

You simply remain awake enough to notice when the hour opens again.


Dedication
For the hour that opened.

On Touts and Micro-Touts: Japan Observations

Note: This piece collects observations gathered across decades of nights out in Japan — moments that, taken individually, felt minor but over time revealed a coherent social pattern. The essay is not intended as a warning against nightlife, nor as an indictment of any particular place or person. Rather, it is an attempt to understand the subtle choreography that unfolds in urban night economies, where invitation, performance, and commerce intersect in ways that are rarely dramatic but often instructive.

The distinction between macro-touts and micro-touts emerged gradually. It reflects less a rigid taxonomy than a traveler’s growing sensitivity to atmosphere, tone, and the shifting boundaries between hospitality and transaction. Most encounters described here were neither dangerous nor traumatic; they were moments of mild disorientation that ultimately sharpened perception and deepened appreciation for the social intelligence required to navigate unfamiliar environments.

Japan remains one of the safest and most generous countries in the world to explore at night. The experiences recounted here are offered not as cautionary tales but as small pieces of ethnography — reminders that every city contains micro-economies of possibility, and that learning to read their signals is part of the quiet education that travel provides.

If there is a broader lesson, it is simply this: nightlife is built on invitations, and the skill of the traveler lies not in accepting or rejecting them categorically, but in recognizing the scripts they carry and choosing, with awareness, when to participate.

Part I — Kumamoto, Japan, Summer 1997

「どこの社長ですか?」

I was twenty-three and new to Japan — not just geographically new, but existentially new, the kind of new that leaves you unable to distinguish between hospitality and performance, sincerity and choreography. At that age you carry a quiet belief that experience will organize itself around you, that invitations are destiny, and that uncertainty is merely the prelude to belonging.

Kumamoto summer did nothing to challenge this illusion. The humidity hung in the air like a second shirt, streets shimmering with heat that seemed less meteorological than emotional. I met a couple of guys at a bar — friendly in that easy, late-night way where language fragments are enough and tone carries meaning. Half English, half Japanese, and entirely good-natured, they asked if I wanted to join their baseball team. I said yes immediately, not because I had any intention of playing, but because at twenty-three you rarely decline the promise of future identity.

The baseball team never materialized. But the invitation served its purpose. It opened the bridge.

They told me they wanted to show me real Japan. A phrase that should always raise questions but rarely does when you’re young and curious. “We know a place,” they said, the universal preface to experiences that exist somewhere between revelation and mild financial education.

That is how I entered my first hostess club.

It was not the neon spectacle I might have imagined. No polished decadence, no velvet rope theatrics. Instead: low lighting, carpet that seemed older than the Heisei era, and furniture whose best days had passed quietly without ceremony. Yet the room possessed its own gravitational pull, created not by décor but by orbit — women rotating from table to table with practiced ease, their presence transforming a modest environment into something that felt improbably expensive.

Mama-san presided with the quiet authority of someone who understood both mathematics and psychology. Her hair lacquered into permanence, her gaze sharp as accounting software, she functioned as conductor of a carefully orchestrated social economy. The women, each moving with subtle intentionality, carried scripts composed of compliments, curiosity, and gentle physical proximity.

Whisky mizuwari arrived with ritual precision, poured slowly as if time itself were being measured in diluted amber. The drink tasted ordinary. The price did not.

I was not uncomfortable — only aware of my own lack of schema. A foreigner equipped with politeness but not context, seated inside a room where intimacy operated as currency and identity functioned as flexible fiction. The women laughed easily, touched my arm, leaned close enough to suggest familiarity without commitment.

I did not interpret this as romance. I interpreted it as welcome.

Then came the line — delivered with effortless certainty and a smile that contained neither irony nor doubt:

「どこの社長ですか?」
Which company are you president of?

Not if.
Which.

Because the hostess club does not deal in biography. It deals in possibility. Within its walls, the boundaries of self dissolve gently. You arrive as yourself but are encouraged to inhabit a more generous narrative: company president, successful entrepreneur, patron of refined pleasures, bearer of an inexhaustible wallet. Identity becomes costume, worn lightly for the duration of the evening.

I understood that markup existed. What I did not yet understand was the degree to which markup could inhabit fantasy.

The bill arrived — perhaps thirty thousand yen. Not ruinous, not outrageous, but enough to sting the uninitiated and sharpen awareness. Before embarrassment could surface or negotiation begin, the friends who had invited me paid without ceremony. A wink, a casual next time, and the implicit understanding that this particular version of me — baseball player, future regular, provisional shachō — would remain confined to that evening.

I left lighter, though not poorer.

Not scammed.
Initiated.

The lesson did not arrive as resentment but as clarity:

Flattery has a price.
Fantasy carries a tab.
Sometimes you do not pay it directly — but you still learn the cost.


Part II — Kyoto: Rub-a-Dub and Bar Colors

Rub-a-Dub felt like oxygen.

A basement reggae bar where the air seemed shared rather than owned, bodies pressed into temporary community, music operating less as entertainment than as connective tissue. Tommy, as always, orbiting the jukebox with missionary zeal, attempting to convert the room to his playlist while flirting with the bar girl in ways that were equal parts hopeful and theatrical.

I stood with a Red Stripe, jacket discarded somewhere behind me, already drifting toward the kind of night where White Russians become plausible and conversation loosens into anecdote. Sweat, laughter, strangers whose names evaporate but whose presence remains — the familiar ingredients of third-place belonging.

Two men approached. One Jamaican, ponytail, voice thick with authority that seemed rooted in lived reggae culture rather than performance. The other younger, bilingual, improvising rap verses that moved seamlessly between Japanese and English with real talent. Not novelty talent — actual fluency. Conversation flowed easily. Fifteen, twenty minutes of exchange that lowered the drawbridge of suspicion.

Then the invitation:

“Let’s go to Bar Colors.”

I had seen the sign before. A reggae logo, unobtrusive, upstairs somewhere near Kiyamachi. Nothing alarming, nothing clandestine. Just another bar in a district defined by possibility.

We followed.

Three floors up — a vertical ascent that subtly altered the power geometry. Rub-a-Dub’s crowded warmth replaced by a smaller room with thinner oxygen. No dance floor, just music and seating. I chose the seat nearest the door, an instinctive habit that rarely announces itself consciously but persists nonetheless. Tommy relaxed into the environment with characteristic ease, while the rapper transitioned seamlessly into microphone performance, his skill functioning as social anesthesia.

We ordered beers — two each. Six hundred yen apiece. Simple arithmetic, comforting in its predictability. Safety often disguises itself as math.

Then came the disruption.

The Jamaican leaned in, tone shifting just enough to register as discordant:

“Who will pay the bill?”

The question felt misplaced. The wrong person asking, the wrong moment, the wrong authority. I responded with obvious clarity: we would pay for our drinks. He shook his head dramatically and launched into a loud, performative argument with the bartender — defending us against an unseen injustice, positioning himself as ally.

The performance was transparent once recognized. Theater designed to manufacture gratitude. Gratitude designed to justify inflated cost.

This is how micro-predation operates in Kyoto: not through threat but choreography.

When the bill arrived, it totaled five thousand yen. Double expectation. Not devastating, merely disorienting. Enough to create tension between principle and convenience.

I stood — full height, voice calm:

“I know what you’re doing. It’s bullshit. We came here in good faith.”

No escalation. No anger. Just refusal to participate in the narrative assigned.

We paid — not capitulation but calculation. Peace sometimes costs less than confrontation. Exit achieved without drama, wallets lighter but awareness sharpened.

Not victims.
Not victors.
Just awake.

The deeper lesson was not financial but perceptual: danger rarely announces itself loudly in Kyoto. It appears as suggestion, invitation, relational choreography. You do not need to be taken to understand the mechanics of being taken.

Rub-a-Dub had offered warmth.
Bar Colors offered clarity.

Some nights you dance.
Some nights you pay to leave.


Part III — The Kiyamachi Ecology of Micro-Touts

If Kumamoto introduced fantasy and Bar Colors revealed choreography, Kiyamachi provided taxonomy.

Kyoto’s nightlife economy operates differently from more overt red-light districts. There is little aggressive solicitation, no carnival barking, no theatrical insistence. Instead, micro-signals populate liminal spaces: a man standing slightly too still near a stairwell, a laminated menu with vague promises, a bilingual conversation that begins casually and ends directionally.

The micro-tout does not sell forcefully. He offers possibility.

And possibility is harder to refuse.

Micro-touting thrives in moments of uncertainty — the pause between bars, the lull between conversations, the question of where the night continues. The invitation arrives not as proposition but as continuity.

“Just one drink.”
“I know a place.”
“Special price.”
“Members bar but I can get you in.”

The language is intentionally thin. Curiosity performs the heavy lifting.

Unlike macro-touting, where spectacle clarifies the transaction, micro-touting relies on relational ambiguity. Trust precedes the offer. Conversation establishes provisional safety. Only then does the invitation appear.

You are not pressured.
You are positioned.

And positioning is the mechanism.


Part IV — Macro-Touts and Micro-Touts: A Taxonomy

Macro-touts belong to visible red-light economies. Their pitches are explicit, directional, and theatrical. Customers understand the transactional nature immediately. Kabukicho hosts calling from sidewalks, Osaka promoters guiding tourists toward neon staircases — these figures operate through spectacle.

Micro-touts function differently.

They blend into ordinary social environments: musicians, patrons, casual acquaintances, language exchange partners. Their authority derives from relational proximity rather than territorial control. They do not sell a product but offer narrative continuation.

Macro-touting relies on volume.
Micro-touting relies on timing.

Macro-touting demands attention.
Micro-touting waits for uncertainty.

Japan’s cultural emphasis on politeness and conflict avoidance creates fertile ground for micro-touting. The customer hesitates to confront, the operator anticipates this, and civility becomes economic leverage.

The genius of micro-touting lies in its invisibility. It rarely crosses legal boundaries and seldom escalates into overt harm. Instead, it extracts modest margins through social choreography.

Not robbery.
Repositioning.


Part V — The Ethics of Almost

What remains from these encounters is not resentment but recognition.

Both Kumamoto and Kyoto experiences share structural similarities: voluntary participation in constructed realities. The hostess club invites fantasy; the micro-tout offers narrative continuation. In each case, the individual is not coerced but positioned within an unfolding script.

The moment of realization rarely arrives as crisis. It appears as subtle awareness — a bill exceeding expectation, a tonal shift, a fragment of choreography revealing itself as performance.

Travel rarely educates through catastrophe. More often, it educates through near-misses — the ethics of almost.

You almost believed.
You almost overpaid.
You almost escalated.
You almost became the character the room was preparing.

Micro-touts teach attention rather than fear.


Part VI — Return to the Street

Kiyamachi after midnight remains a pedestrian theater of extraordinary subtlety. Music spills from doorways, cigarettes glow like punctuation, laughter dissolves into river air. Within this ordinary magic, micro-touts continue their quiet labor — neither villains nor heroes, simply participants in the nocturnal economy of possibility.

Nightlife is built on invitations.

Some lead to connection.
Some to illusion.
Some to modest financial education.

But all reveal the architecture of the city that issues them.

Kumamoto taught me fantasy has a tab.
Kyoto taught me ambiguity has a margin.

Neither felt like loss.
Both felt like tuition.

Because travel, like nightlife, is rarely about destinations. It is about learning to read the scripts unfolding around you — and recognizing that sometimes the most instructive figures in any city are the ones whose invitations you decline with gratitude.

Part I — Kumamoto, Japan, Summer 1997

「どこの社長ですか?」

I was twenty-three and new to Japan — not just geographically new, but existentially new, the kind of new that leaves you unable to distinguish between hospitality and performance, sincerity and choreography. At that age you carry a quiet belief that experience will organize itself around you, that invitations are destiny, and that uncertainty is merely the prelude to belonging.

Kumamoto summer did nothing to challenge this illusion. The humidity hung in the air like a second shirt, streets shimmering with heat that seemed less meteorological than emotional. I met a couple of guys at a bar — friendly in that easy, late-night way where language fragments are enough and tone carries meaning. Half English, half Japanese, and entirely good-natured, they asked if I wanted to join their baseball team. I said yes immediately, not because I had any intention of playing, but because at twenty-three you rarely decline the promise of future identity.

The baseball team never materialized. But the invitation served its purpose. It opened the bridge.

They told me they wanted to show me real Japan. A phrase that should always raise questions but rarely does when you’re young and curious. “We know a place,” they said, the universal preface to experiences that exist somewhere between revelation and mild financial education.

That is how I entered my first hostess club.

It was not the neon spectacle I might have imagined. No polished decadence, no velvet rope theatrics. Instead: low lighting, carpet that seemed older than the Heisei era, and furniture whose best days had passed quietly without ceremony. Yet the room possessed its own gravitational pull, created not by décor but by orbit — women rotating from table to table with practiced ease, their presence transforming a modest environment into something that felt improbably expensive.

Mama-san presided with the quiet authority of someone who understood both mathematics and psychology. Her hair lacquered into permanence, her gaze sharp as accounting software, she functioned as conductor of a carefully orchestrated social economy. The women, each moving with subtle intentionality, carried scripts composed of compliments, curiosity, and gentle physical proximity.

Whisky mizuwari arrived with ritual precision, poured slowly as if time itself were being measured in diluted amber. The drink tasted ordinary. The price did not.

I was not uncomfortable — only aware of my own lack of schema. A foreigner equipped with politeness but not context, seated inside a room where intimacy operated as currency and identity functioned as flexible fiction. The women laughed easily, touched my arm, leaned close enough to suggest familiarity without commitment.

I did not interpret this as romance. I interpreted it as welcome.

Then came the line — delivered with effortless certainty and a smile that contained neither irony nor doubt:

「どこの社長ですか?」
Which company are you president of?

Not if.
Which.

Because the hostess club does not deal in biography. It deals in possibility. Within its walls, the boundaries of self dissolve gently. You arrive as yourself but are encouraged to inhabit a more generous narrative: company president, successful entrepreneur, patron of refined pleasures, bearer of an inexhaustible wallet. Identity becomes costume, worn lightly for the duration of the evening.

I understood that markup existed. What I did not yet understand was the degree to which markup could inhabit fantasy.

The bill arrived — perhaps thirty thousand yen. Not ruinous, not outrageous, but enough to sting the uninitiated and sharpen awareness. Before embarrassment could surface or negotiation begin, the friends who had invited me paid without ceremony. A wink, a casual next time, and the implicit understanding that this particular version of me — baseball player, future regular, provisional shachō — would remain confined to that evening.

I left lighter, though not poorer.

Not scammed.
Initiated.

The lesson did not arrive as resentment but as clarity:

Flattery has a price.
Fantasy carries a tab.
Sometimes you do not pay it directly — but you still learn the cost.


Part II — Kyoto: Rub-a-Dub and Bar Colors

Rub-a-Dub felt like oxygen.

A basement reggae bar where the air seemed shared rather than owned, bodies pressed into temporary community, music operating less as entertainment than as connective tissue. Tommy, as always, orbiting the jukebox with missionary zeal, attempting to convert the room to his playlist while flirting with the bar girl in ways that were equal parts hopeful and theatrical.

I stood with a Red Stripe, jacket discarded somewhere behind me, already drifting toward the kind of night where White Russians become plausible and conversation loosens into anecdote. Sweat, laughter, strangers whose names evaporate but whose presence remains — the familiar ingredients of third-place belonging.

Two men approached. One Jamaican, ponytail, voice thick with authority that seemed rooted in lived reggae culture rather than performance. The other younger, bilingual, improvising rap verses that moved seamlessly between Japanese and English with real talent. Not novelty talent — actual fluency. Conversation flowed easily. Fifteen, twenty minutes of exchange that lowered the drawbridge of suspicion.

Then the invitation:

“Let’s go to Bar Colors.”

I had seen the sign before. A reggae logo, unobtrusive, upstairs somewhere near Kiyamachi. Nothing alarming, nothing clandestine. Just another bar in a district defined by possibility.

We followed.

Three floors up — a vertical ascent that subtly altered the power geometry. Rub-a-Dub’s crowded warmth replaced by a smaller room with thinner oxygen. No dance floor, just music and seating. I chose the seat nearest the door, an instinctive habit that rarely announces itself consciously but persists nonetheless. Tommy relaxed into the environment with characteristic ease, while the rapper transitioned seamlessly into microphone performance, his skill functioning as social anesthesia.

We ordered beers — two each. Six hundred yen apiece. Simple arithmetic, comforting in its predictability. Safety often disguises itself as math.

Then came the disruption.

The Jamaican leaned in, tone shifting just enough to register as discordant:

“Who will pay the bill?”

The question felt misplaced. The wrong person asking, the wrong moment, the wrong authority. I responded with obvious clarity: we would pay for our drinks. He shook his head dramatically and launched into a loud, performative argument with the bartender — defending us against an unseen injustice, positioning himself as ally.

The performance was transparent once recognized. Theater designed to manufacture gratitude. Gratitude designed to justify inflated cost.

This is how micro-predation operates in Kyoto: not through threat but choreography.

When the bill arrived, it totaled five thousand yen. Double expectation. Not devastating, merely disorienting. Enough to create tension between principle and convenience.

I stood — full height, voice calm:

“I know what you’re doing. It’s bullshit. We came here in good faith.”

No escalation. No anger. Just refusal to participate in the narrative assigned.

We paid — not capitulation but calculation. Peace sometimes costs less than confrontation. Exit achieved without drama, wallets lighter but awareness sharpened.

Not victims.
Not victors.
Just awake.

The deeper lesson was not financial but perceptual: danger rarely announces itself loudly in Kyoto. It appears as suggestion, invitation, relational choreography. You do not need to be taken to understand the mechanics of being taken.

Rub-a-Dub had offered warmth.
Bar Colors offered clarity.

Some nights you dance.
Some nights you pay to leave.


Part III — The Kiyamachi Ecology of Micro-Touts

If Kumamoto introduced fantasy and Bar Colors revealed choreography, Kiyamachi provided taxonomy.

Kyoto’s nightlife economy operates differently from more overt red-light districts. There is little aggressive solicitation, no carnival barking, no theatrical insistence. Instead, micro-signals populate liminal spaces: a man standing slightly too still near a stairwell, a laminated menu with vague promises, a bilingual conversation that begins casually and ends directionally.

The micro-tout does not sell forcefully. He offers possibility.

And possibility is harder to refuse.

Micro-touting thrives in moments of uncertainty — the pause between bars, the lull between conversations, the question of where the night continues. The invitation arrives not as proposition but as continuity.

“Just one drink.”
“I know a place.”
“Special price.”
“Members bar but I can get you in.”

The language is intentionally thin. Curiosity performs the heavy lifting.

Unlike macro-touting, where spectacle clarifies the transaction, micro-touting relies on relational ambiguity. Trust precedes the offer. Conversation establishes provisional safety. Only then does the invitation appear.

You are not pressured.
You are positioned.

And positioning is the mechanism.


Part IV — Macro-Touts and Micro-Touts: A Taxonomy

Macro-touts belong to visible red-light economies. Their pitches are explicit, directional, and theatrical. Customers understand the transactional nature immediately. Kabukicho hosts calling from sidewalks, Osaka promoters guiding tourists toward neon staircases — these figures operate through spectacle.

Micro-touts function differently.

They blend into ordinary social environments: musicians, patrons, casual acquaintances, language exchange partners. Their authority derives from relational proximity rather than territorial control. They do not sell a product but offer narrative continuation.

Macro-touting relies on volume.
Micro-touting relies on timing.

Macro-touting demands attention.
Micro-touting waits for uncertainty.

Japan’s cultural emphasis on politeness and conflict avoidance creates fertile ground for micro-touting. The customer hesitates to confront, the operator anticipates this, and civility becomes economic leverage.

The genius of micro-touting lies in its invisibility. It rarely crosses legal boundaries and seldom escalates into overt harm. Instead, it extracts modest margins through social choreography.

Not robbery.
Repositioning.


Part V — The Ethics of Almost

What remains from these encounters is not resentment but recognition.

Both Kumamoto and Kyoto experiences share structural similarities: voluntary participation in constructed realities. The hostess club invites fantasy; the micro-tout offers narrative continuation. In each case, the individual is not coerced but positioned within an unfolding script.

The moment of realization rarely arrives as crisis. It appears as subtle awareness — a bill exceeding expectation, a tonal shift, a fragment of choreography revealing itself as performance.

Travel rarely educates through catastrophe. More often, it educates through near-misses — the ethics of almost.

You almost believed.
You almost overpaid.
You almost escalated.
You almost became the character the room was preparing.

Micro-touts teach attention rather than fear.


Part VI — Return to the Street

Kiyamachi after midnight remains a pedestrian theater of extraordinary subtlety. Music spills from doorways, cigarettes glow like punctuation, laughter dissolves into river air. Within this ordinary magic, micro-touts continue their quiet labor — neither villains nor heroes, simply participants in the nocturnal economy of possibility.

Nightlife is built on invitations.

Some lead to connection.
Some to illusion.
Some to modest financial education.

But all reveal the architecture of the city that issues them.

Kumamoto taught me fantasy has a tab.
Kyoto taught me ambiguity has a margin.

Neither felt like loss.
Both felt like tuition.

Because travel, like nightlife, is rarely about destinations. It is about learning to read the scripts unfolding around you — and recognizing that sometimes the most instructive figures in any city are the ones whose invitations you decline with gratitude.

Note: If you like this essay, you may like “Tuesday Kyoto Bar Crawl.” You can find it here.

Tuesday Kyoto Bar Crawl

Note: A Tuesday crawl in Kyoto carries a different texture from the weekend version: looser expectations, smaller crowds, conversations that wander rather than perform. The city feels slightly off-schedule, which is exactly what makes it fertile ground for observation, connection, and the quiet serendipity that defines third-place culture.

These midweek circuits are less about excess and more about continuity — checking in with familiar rooms, familiar faces, and the evolving micro-narratives that accumulate across bars, balconies, and late-night sidewalks. The crawl becomes a moving vantage point on the city’s emotional topography: moments of laughter, fragments of confession, the soft choreography of strangers becoming temporary companions.

In that sense, the Tuesday crawl isn’t a deviation from routine but a ritual of perspective. It reminds the wanderer that urban nightlife is not only spectacle but ecology — a network of spaces where stories intersect briefly before dissolving back into the Kyoto night.

For the crawler, the goal is simple: move lightly, notice everything, and leave each room exactly as it was found, carrying only the residue of atmosphere and the promise of return.

Epigraph
“Is there room enough for two / if I don’t have a point of view?”
— Tommy Stinson

Dedication
For the people who made a night by simply being themselves.


I. Umineko

Early evening began without urgency, the way a proper crawl should. Umineko held the kind of atmosphere that makes arrival feel less like an event and more like a gradual settling — low light, gentle conversation, bodies occupying space without demanding attention. Nothing theatrical, nothing curated for spectacle. Just people existing alongside one another, sharing a small pocket of warmth before the night found its pace.

I took a seat and allowed the room to reveal itself slowly. Watching first, speaking later. Listening without the pressure to respond. The posture was closer to observation than participation, not out of distance but out of respect for rhythm. A crawl does not begin with energy; it begins with calibration. I was not collecting stories yet, not assigning meaning or searching for narrative threads. I was tuning my frequency, aligning with the environment until the subtle shift in atmosphere signaled readiness.

When the bar moved from fullness toward thinning, the message was clear without needing articulation. Crawls are not forced forward by intention; they move according to instinct and current. I stepped back into the night air, carrying nothing but presence, following momentum without destination.


II. ING

ING felt like stepping into a room anchored by a still point. Haku stood behind the bar wearing a Rolling Stones shirt, perfectly unconcerned with audience or approval. His presence created an equilibrium that defined the space more than any décor or playlist could. I took the center seat — ideal angle, clear sound, good conversational acoustics — and ordered a Negroni, marking the transition from arrival into engagement.

A White Russian followed, not out of necessity but out of curiosity. Choice itself becomes part of the method on nights like these. Drinks are less about intoxication and more about pacing, punctuation marks in a narrative unfolding in real time.

Haku mentioned, almost casually, that Jimmy Cliff was not Rasta. The comment carried no agenda, only observation. I responded in kind. He played Cliff anyway, and the neutrality of the exchange underscored something important: truth in these spaces does not require resolution. Dead or alive, category or contradiction, the music persists independent of classification.

Later, Haku slipped into what could only be described as algorithm mode. The Grateful Dead followed Joy Division, which then dissolved into Blink-182. The sequence was unpredictable yet internally coherent, a playlist guided by instinct rather than performance. Bars like ING do not curate for approval; they curate for honesty. The expectation is not participation but presence.

Some bars ask for energy.
ING asks only that one remain authentic within its walls.

After a time, movement arrived not through boredom but through instinct. I finished my drink, nodded to Haku, and stepped back into the night once more.


III. Mafia Bar

The entrance to Mafia Bar announced itself through indifference: narrow doorway, plastic sheeting, a quiet DGAF energy that discouraged pretense. Inside, the dynamic was already established — Master, sub-bartender, and Satsuki forming a triangle of familiarity that neither required nor excluded me.

I ordered a gin and tonic, lit a clove cigarette, and allowed proximity to substitute for conversation. Master smoked and drank with the ease of long habit, while Satsuki vaped and scrolled through photos on his phone, their heads occasionally leaning close in shared amusement. The intimacy belonged to them; my role was to witness without intrusion.

A brief choreography unfolded when the sub-bartender excused himself for the bathroom. Another stepped in seamlessly, maintaining rhythm until the first returned moments later, laughing about his inability to hold it and wiping his hand absentmindedly on Satsuki’s jacket. Her gentle scolding carried affection rather than irritation. The moment passed as ordinary within their ecosystem, a reminder that interpretation is often unnecessary.

Three London men arrived — Dan, Joe, and another Joe — consultants and a commercial artist navigating unfamiliar territory. I recommended Concrete, a suggestion offered lightly but accepted gratefully. Participation, not intervention. Guidance without ownership.

I remained roughly thirty-five minutes, absorbing both atmosphere and lore. The story circulated quietly: the owner had once taken the fall for a crime he did not commit, serving twenty years in silence before emerging to receive this bar as recompense from the underworld that owed him. Whether factual or mythic mattered little. Stories gain legitimacy through repetition, and truth is often secondary to resonance.

I left on foot, crossing the river with the sense that each stop was less a destination than a waypoint.


IV. Stinboat

Arrival at 9:02 p.m., two minutes after opening, placed me inside a room still forming its identity for the night. Rickey stood behind the bar alongside the evening’s performer, both moving through preparatory gestures that transform an empty space into a living environment.

I asked about glasses I had left behind on Saturday. Rickey produced a pair, though not mine. The exchange felt inconsequential yet oddly grounding, a reminder that memory and objects rarely align perfectly.

A Negroni in hand, I settled into observation as the room awakened. A visitor from Kuwait approached with curiosity, asking whether a bunny show would occur. He mistook me for staff, and I redirected him gently toward Rickey. Ambiguity satisfied him enough to remain.

At 9:20, the room shifted from potential to presence. Nine guests entered — among them an older man with a younger girlfriend and a cluster of Japanese patrons whose arrival created density without chaos. I took the microphone early, choosing Common People as an opening statement. The performance landed not as a home run but as a solid triple, establishing footing without overreach. I became part of the environment rather than an observer at its edge.

The performer navigated the bar through a series of micro-interactions, brief pockets of attention resembling miniature dates, popcorn intimacy distributed evenly across the room. I followed with Honky Tonk Women, drawing visible delight from the older man and his partner.

Preparation for Tiny Dancer involved a brief retreat with headphones — aligning tempo, breath, and emotional landing. As I sang, activity continued around me, including a staged whipping performance in the back that unfolded without disrupting the song’s internal narrative. Presence required maintaining focus amid spectacle, allowing parallel realities to coexist without competition.

The evening progressed through pole performance, enthusiastic audience participation, and ritualized tipping. I followed established protocol, understanding that the moment belonged to the performer’s choreography rather than personal interpretation.

Later, I Fought the Law brought collaborative energy: the older man on drums, eye contact establishing tempo and trust, his girlfriend filming with increasing engagement. Rickey eventually joined on drums, a younger guitarist delivered a brief but intense solo, and a spontaneous vocalist in his mid-fifties erupted into a single song before departing. Applause and hoots carried communal warmth rather than performance judgment.

As the crowd thinned, what remained was intimacy without spectacle: Rickey, the performer, the older man and girlfriend, Sari, a couple, and myself. Fairytale of New York unfolded with Sari joining briefly before drifting into her own narrative with the older man. I continued singing, neutral observer and participant simultaneously.

The set concluded with Miley Cyrus, We Will Rock You, and finally Take It Easy — a closing song chosen less for nostalgia than for resolution. Afterward, physical exhaustion arrived cleanly, the kind that follows completion rather than depletion. Brief hugs, a playful belly rub offered as pure joy, and a ¥4500 bill that felt symbolically insufficient to measure the night’s experiential value.

Stinboat held the evening’s center of gravity, and I left without loose emotional threads.


V. Concrete Bar

The walk back across the river lasted roughly eight minutes, a transitional corridor between intensity and closure. Concrete greeted me with understated calm, a space designed less for spectacle and more for lingering conversation.

Leon from Wales occupied a stool, unfamiliar with the phrase “detox and retox.” I bought him a Cocalero anyway, and we spoke in the gentle cadence of end-of-night strangers — exchanging warmth rather than biography, presence rather than personal history. These conversations carry their own authenticity precisely because they resist permanence.

I sensed no need for additional experiences. The crawl had delivered what it intended.


VI. Taxi → Home

At 1:30 a.m., a taxi waited at the stand as if anticipating completion. There was no negotiation, no wandering, no hesitation. Just entry, transit, and the quiet satisfaction of closure.

Back home, I read half of Zach’s new piece in bed and texted immediate feedback. He prefers responses unfiltered and alive, preserving the energy of first impression before reflection cools interpretation.

Sleep followed naturally.

A crawl complete — not dramatic, not moralized, not engineered for narrative payoff. Simply observed, recorded, and experienced through presence. I did not judge the night, and the night did not demand judgment. I entered it, and in its quiet generosity, it allowed me to belong within it for a few hours before releasing me back into ordinary time.

Note: If you like this essay, you may also like “On Touts and Micro-Touts: Japan Observations.” You can find it here.

Investigating Action Part I: On Unconferencing

Note: This short reflection began as an observation at professional conferences, where some of the most generative conversations seemed to occur just outside the official program — in hallways, cafés, and improvised gatherings that quietly relocated the center of action. Over time, the idea of the “unconference” grew into something more suggestive: a small window onto how human beings negotiate where meaning, authority, and agency actually reside.

Though the piece does not engage explicitly with Julian Jaynes, readers familiar with his work may detect an affinity. The “unconference” can be read as a micro-site of consciousness in action — a space where participants shift from receiving prescribed structures of engagement to collaboratively generating their own. In that sense, “unconferencing” is less about conferences than about a recurring human impulse: the desire to manufacture intellectual oxygen when the authorized environment feels thin.

This essay remains intentionally provisional. Its aim is not to settle the concept but to open it, inviting readers to notice where unofficial zones of action emerge in their own institutional, professional, and personal lives.

I. Introducing “Unconferencing”

When attending a professional conference these days one may encounter small groups of conference goers congregating in a lobby or coffee shop during the “official” speeches or workshops. When queried, such people may advise you that they are engaged in the “un-conference” (n.) or that they are “un-conferencing” (v.). For the purposes of this piece we shall refer these folks as “un- conferencers” (n.).

Un-conferencing is qualitatively different from when a conferencer slips up to her room for a quick nap or to the pool for a swim. In these cases, the attendee is simply checking out of the conference entirely. They are abdicating any claim to conference action. Un-conferencers, on the other hand, are attempting to establishing a rival zone of conference-related activity. They are, to borrow from Goffman, attempting to shift the locus of the action.

The philosopher Ludwig Wittgenstein, who worked at Cambridge, once advised a colleague to leave the university as there was “no oxygen” to be had there. Upon being asked why then he, Wittgenstein, stayed, the philosopher is said to have replied: “It doesn’t matter…I manufacture my own oxygen.” Inspired by Wittgenstein, we could say that those who involve themselves in unconferences are “manufacturing their own action.”

I suspect that were we to analyze the types of persons who would drop in on an unconference, partake of a loosely specified conference-related activity which exists at a tangent to, or even off the grid of, the main conference, we would find certain similarities in outlook and disposition. I believe we would find people who are, both individually and collectively, attracted to action.

It has been my observation that the large majority of attendees at a conference simply take the conference program at face value. That is, they expect the action to be that which is listed, prescribed, and pre-defined as such. “What’s happening this morning?” “So and so is speaking.” “Great, I’ve been looking forward to this part of the conference since I saw the schedule!” The planned and authorized conference activities are “on stage,” and the audience is invited to partake of the action either passively or through relatively minimal contribution in the form of question and answer or discussion. The locus of action, however, is usually taken as unproblematic, given.

The unconferencer, on the other hand, takes upon him or herself the responsibility, the grave responsibility, of creating and sustaining an alternative set of activities that they purport, though their ironic self-definition, to be action. By issuing an invitation to the unconference, they are in effect saying to the invitee that shifting loyalty from the authorized main activity to the rogue fringe will result in a better, hipper, more effective, enlightening, and action-packed experience.

For the action junkie, the draw of the unconference is unmistakable; the eternal suspicion that the grass is always greener wherever we are not is married to the thrill of involving oneself with an alternate action locus which is cheekily, even brazenly, set up as an overt challenge to the “mass” action that the majority of the junkie’s peers regard as “given.” The very fact that the majority of conference goers are unaware of the existence of the unconference, much less the existential challenge it suggests, makes engagement with this floating, edge-bound, impermanent, and unrecorded body deeply appealing to a certain segment of folks.

While the unconference may appear at first blush to be a relatively minor aspect of an essentially modern and class-specific activity, I would put forth that it actually sheds light on the very essence of how we understand action. The existence of the unconference suggests that action, far from occurring in a single, easily identified, and authorized location, is in fact a floating term subject not only to instantaneous and frequent relocation within a given activity frame but also to subjective definitions particular to individuals with varying temperaments and appetites for both the creation and consumption of action. I believe, in short, that the unconference, modest as it may seem, in fact opens doors to much wider theoretical considerations that may take us back to the very origin of human consciousness.

II. The Unconference and the Inner Voice

If the unconference shifts the locus of action outwardly — from stage to hallway, from keynote to coffee shop — it also performs a quieter relocation within the individual. What changes is not merely where activity occurs, but how participants come to understand their role in producing it. The official conference asks attendees to receive action: to listen, absorb, and occasionally respond within predetermined boundaries. The unconference, by contrast, invites a subtler responsibility — the task of deciding where the action is and, more provocatively, whether it exists at all until one participates in creating it.

This shift is not trivial. For many conference-goers, the program functions as a kind of external voice, an authoritative script that dictates where meaning will unfold and how attention should be allocated. To follow the schedule is to outsource judgment about significance. The unconferencer, however, suspends this outsourcing. In stepping away from the authorized frame, they implicitly claim a right that is both liberating and burdensome: the right to narrate the action for themselves.

What emerges in such spaces is less a rival conference than a laboratory of agency. Conversations drift, topics mutate, and legitimacy is negotiated moment by moment. No one can point to a stage and say, with certainty, this is where it happens.Instead, action becomes a floating construct sustained through collective attention and mutual recognition. The unconference does not replace the official program so much as reveal that the program’s authority was always contingent — dependent on shared belief rather than intrinsic necessity.

This relocation of authority mirrors a broader human pattern. In many domains of life, individuals operate within inherited structures that quietly define where significance resides: classrooms, offices, institutions, rituals. Yet moments arise when these structures feel oxygen-poor, prompting participants to improvise alternative spaces where engagement feels more immediate, more alive. The unconference is one such improvisation, a small but telling instance of how people generate meaning when prescribed channels no longer suffice.

To participate in an unconference, then, is to practice a form of narrative self-authorship. Attendees do not merely attend; they interpret, select, and frame the experience as action. The hallway conversation becomes the keynote because someone decides it is. The coffee shop gathering acquires legitimacy because participants treat it as consequential. Action, in this sense, is less discovered than constructed — an emergent property of attention rather than a fixed feature of the environment.

This does not render official structures irrelevant. Conferences still provide scaffolding, shared reference points, and opportunities for encounter that make unconferencing possible in the first place. But the existence of the unconference suggests that action is never fully captured by authorized spaces. It leaks, migrates, and reconstitutes itself wherever individuals perceive the possibility of meaningful exchange. The unconferencer’s quiet rebellion, therefore, is not against the conference itself but against the assumption that significance must be centrally located and formally sanctioned.

Seen in this light, unconferencing becomes less a quirky professional habit than a microcosm of consciousness in action — a demonstration of how individuals negotiate the tension between external scripts and internal narratives. By manufacturing their own zones of engagement, unconferencers reveal that the question “Where is the action?” is inseparable from the deeper question “Who gets to decide?”

III. Third Places and the Geography of Action

If unconferencing represents a temporary relocation of action within professional space, third places extend this phenomenon into everyday life. Bars, cafés, karaoke rooms, shisha lounges, and hotel lobbies function as informal arenas where meaning and agency are negotiated outside the structures that ostensibly organize our days. These environments rarely announce themselves as sites of significance. They lack stages, programs, and formal hierarchies. Yet participants often experience them as unusually alive — spaces where conversation deepens, identities loosen, and unexpected narratives emerge.

What distinguishes these third places is not their recreational character but their ambiguity. Unlike workplaces or classrooms, they carry no fixed expectations about performance or outcome. This ambiguity produces a subtle psychological freedom: participants are not merely enacting roles but improvising them. In such environments, the question of where the action resides becomes open-ended, contingent upon attention, mood, and relational chemistry rather than institutional design.

The figure of the Thin Man — drifting through cities, bars, and late-night conversations — embodies this geography of floating action. His world is structured less by formal events than by encounters whose significance becomes clear only in retrospect. A casual exchange at a bar may eclipse a planned meeting; a karaoke duet may reveal more about a relationship than hours of scheduled conversation. In these moments, action is not given but discovered through participation, mirroring the unconference’s quiet redefinition of legitimacy.

Third places also highlight the internal dimension of this shift. Just as unconferencers manufacture intellectual oxygen when official conference spaces feel thin, individuals in third places practice a form of narrative authorship. Freed from explicit scripts, they must decide what matters, which conversations to pursue, and how to interpret the unfolding interaction. The authority to define significance moves inward, transforming everyday environments into laboratories of consciousness where meaning is collaboratively constructed rather than externally prescribed.

This dynamic helps explain why third places often feel disproportionately memorable. Their significance is not preauthorized but emergent, generated through a confluence of attention, vulnerability, and improvisation. Participants sense that something unscheduled is occurring, even if its contours remain indistinct at the time. The experience resembles unconferencing at a social scale: an unofficial gathering that quietly competes with, and sometimes surpasses, the legitimacy of structured events.

Yet the relationship between formal and informal spaces remains symbiotic rather than oppositional. Conferences create the conditions for unconferencing; workplaces generate the need for after-work conversations; institutions provide the scaffolding against which third places acquire their freedom. Action migrates across these environments, revealing itself as less a fixed destination than a shifting field sustained through perception and engagement.

In this sense, third places extend the unconference’s insight into a broader philosophy of everyday life. They suggest that action is rarely where it is supposed to be and frequently where no one thought to look. The bar conversation, the karaoke room, the quiet shisha lounge — these spaces operate as unofficial stages where individuals renegotiate identity, intimacy, and understanding. What appears peripheral may, in fact, be central, not because of intrinsic qualities but because participants collectively decide to treat it as such.

The unconferencer and the Thin Man, though inhabiting different settings, share a common impulse: a refusal to accept prescribed boundaries around significance. Both figures navigate environments with an attunement to emergent action, trusting that meaning can be generated wherever attention and curiosity converge. Their movements illustrate a subtle but pervasive truth — that consciousness itself is partly defined by this capacity to relocate action, to manufacture oxygen in spaces where none was promised.

IV. Returning to the Conference

Seen through this wider lens, the unconference no longer appears as a quirky professional habit but as a small instance of a broader human pattern. Conferences, with their schedules and stages, represent one attempt to stabilize action — to locate significance in designated rooms, at designated times, under designated authorities. Such structures are not arbitrary; they provide coherence, shared reference points, and opportunities for encounter that might not otherwise occur. Without them, the unconference itself would lack the context that renders it meaningful.

Yet the existence of the unconference reveals the limits of this stabilization. Action resists containment. It drifts into hallways, cafés, late-night gatherings, and impromptu conversations where participants sense that something more immediate is unfolding. The official program may announce where action is supposed to be, but participants continuously renegotiate this claim through their attention, curiosity, and relational impulses. The conference, in this sense, becomes less a fixed locus of action than a field across which action migrates.

This migration does not invalidate the conference’s authority so much as complicate it. The keynote may still matter; the workshop may still illuminate. But their significance is mediated by a parallel network of informal interactions that shape interpretation, deepen understanding, and generate new connections. The unconference operates within this network as both supplement and critique, reminding participants that legitimacy is not solely conferred by formal designation but also by lived experience.

To notice the unconference is therefore to recognize that action is never singularly located. It is distributed across spaces, moments, and narratives that participants collectively construct. The attendee who slips into a hallway conversation is not abandoning the conference but participating in its expansion, contributing to a decentralized ecology of engagement that cannot be fully captured by the official program. In this ecology, meaning emerges through movement rather than adherence, through improvisation rather than prescription.

What remains, then, is a modest but suggestive insight: the question “Where is the action?” is less empirical than interpretive. Conferences provide one answer, but participants continuously generate others, manufacturing intellectual oxygen wherever they perceive the possibility of meaningful exchange. The unconference embodies this generative impulse, illustrating how individuals negotiate the tension between structured environments and emergent agency without fully resolving it.

In the end, the unconference may be best understood not as a rival conference but as a reminder — a quiet demonstration that action is partly a matter of attention and belief. The stage, the hallway, the coffee shop, and the late-night conversation each become potential centers of significance depending on how participants inhabit them. Conferences, like the broader environments of everyday life, offer frameworks within which action might occur. But the decision to treat any moment as consequential remains, ultimately, a shared and ongoing act of interpretation.

And so the unconference persists, floating at the edges of formal gatherings, manufacturing oxygen where it is needed and relocating action where it feels most alive. Its lesson is neither rebellious nor dismissive but gently subversive: that meaning cannot be fully scheduled, legitimacy cannot be entirely centralized, and the most vital conversations often unfold just beyond the reach of the program.

Provisional Conclusion:

The Unconference endures as a quiet proof that action is never simply where it is announced, but wherever consciousness decides to breathe.

to be continued…

Note: If you like this piece, you may also like this one here on the nature of events.

On My Week with Isobel (aka London Girl) Part III: Aftermath

Note: This is the third of a three part series. Part I is here and Part II is here.

Epigraph I:

Oh my sentimental fool

Lloyd Cole

Epigraph II:

Was the risk I sent to you received?

Metric

Leaving Oxford / Returning to Japan

I walked the five minutes back to the hotel after the bus pulled away. My wife was going on to visit friends in Germany and I would have about five days alone in Kyoto after I got back to Japan. At the hotel I couldn’t get back to sleep, so I said a small prayer to the angels asking for grace to get through the day, showered, packed my things, and waited for the 8 AM car pickup.

I did not rush. Packing became a deliberate act, almost ritualistic in its pacing. I folded shirts one at a time, placed my notebook carefully into my bag, slipped the Tintin postcard between pages so it would not bend. Sue Tompkins went in next, followed by the charger, the toothbrush, the small practical objects that restore a sense of order after emotional disturbance. The room itself was modest — functional, forgettable in most respects — yet it felt oddly expanded, as if some invisible event had occurred there despite the absence of anything outwardly dramatic. Something had shifted in me, and the room seemed to hold the echo of that shift.

At the desk, I laid everything out for a moment, not to organize but simply to gather myself. The Mendoza Line was no longer playing, but the music had already done its work. The emotional charge it helped ignite remained present, circulating quietly beneath the surface. There was nothing to heighten or prolong; the effect was already internalized.

Around eight, the hire car arrived. The driver was polite, efficient, the kind of professional whose calm competence creates a reassuring neutrality. He helped with my bag, and we exchanged small talk as we pulled into traffic — London housing costs, wages, the persistent difficulty young people face in trying to establish themselves. On the radio, a news segment discussed the rising number of homeless families and children across the UK. Normally, such stories register as troubling but abstract statistics. That morning, however, the report landed differently. I found myself thinking about untethered lives, about how fragile the structures that hold people together can be, and how sometimes the tether itself is the only thing preventing a deeper psychological unraveling.

Traffic was light, and we arrived at the airport mid-morning. Inside, I purchased a simple breakfast — fruit, yogurt, coffee — and found a seat removed from the main flow of travelers. Airports are environments of constant movement, but solitude can still be carved out within them if one chooses carefully. I opened my Kindle and downloaded volumes four through six of Anthony Powell’s A Dance to the Music of Time. It was not an act of escapism so much as orientation. I wanted narrative continuity, a long arc where identity unfolds gradually rather than collapsing under sudden pressure. Powell’s world offered lineage, structure, and a reassuring sense of temporal patience.

I texted Isobel. She responded almost immediately, and what followed was a long, bright thread of conversation carried across airport Wi-Fi. There was no sense of emotional comedown, no awkward reentry into ordinary distance — only continuation. The connection felt intact, natural, as if the meeting had established a channel that did not require reinforcement to remain open.

When boarding was called, the transition felt procedural rather than dramatic. The flight passed in a quiet blur of clouds, Molina songs, Powell’s prose, and intermittent thought. Beneath it all was a subtle ache under the ribs — not pain, not longing in any acute sense, but effect. A residual emotional state that did not demand resolution, only acknowledgment.

On the plane I read some Powell and listened to music. I remember playing “Two Suns in the Sunset” by Pink Floyd and being unexpectedly moved by it. I was in an emotional state — not overwhelmed, but open and exposed — and the flight passed quietly. I landed at Kansai Airport in the afternoon.

I landed in Japan first. My wife continued on to Germany to visit friends, and my son was in Australia on a school trip. I took the Haruka train back toward Kyoto. The wide seats and generous legroom made me feel welcomed back into my country of choice. Much as I had enjoyed England, I felt real relief in returning. There is a particular comfort in Japanese transit — the order, the space, the quiet efficiency — and my body recognized it immediately.

The house, when I entered it, was silent in a way that felt tangible. I carried that silence with unusual care, as if it were made of glass and might shatter if handled abruptly. Solitude is often restorative, but this solitude had an amplifying quality, heightening rather than settling internal experience.

That evening, I went to Takumiya, a pub in north central Kyoto. I ordered food and three craft beers and spoke casually with whoever happened to be nearby. Conversations were light, unstructured, yet I sensed an unusual responsiveness from people around me — as though I possessed a slightly elevated emotional voltage that others could detect without understanding its source. Even animals seemed to register it. Cats approached me with a familiarity that felt less coincidental than intuitive, as if some form of static had gathered on the soul.

I had no sense of impending crisis. No awareness that within three days I would walk into my principal’s office and offer my resignation

First Days Back

On my first full day back I did laundry and in the late afternoon went to Takumiya, a pub in north central Kyoto near Karasuma Oike. I don’t remember whether I texted or called Isobel that day, but I almost certainly did. At Takumiya I ordered sashimi and had a few craft beers from their rotating selection. I stayed longer than planned, talking lightly with whoever happened to be sitting nearby.

The next day was Tuesday and I went to work as scheduled. I checked the heat index readings as part of my summer administrative duties. Dr. Fox was on campus. Seeing him immediately shifted the emotional temperature of the day.

I have written elsewhere about my problems with Dr. Fox and I won’t revisit them in detail here. What matters for this story is that by that point I felt he had betrayed me and failed to show up when I most needed institutional support. Trust had already been damaged. Seeing him again after Oxford brought all of that to the surface at once.

We spoke briefly. Before I left, he asked me to come in the following day to help prepare a presentation he was scheduled to give to an alumni group. I had ghostwritten material for him many times before. Under normal circumstances I would have said yes without hesitation. This time I agreed anyway, even though I was already internally unstable and emotionally saturated.

It would not turn out well.

I returned to Takumiya each night that week. There was comfort in being present in public spaces while remaining largely anonymous. The balance allowed me to exist among others without the demands of deeper recognition. Meanwhile, at five in the evening Japan time — nine in the morning in London — Isobel and I spoke daily. The calls were not brief check-ins but sustained conversations lasting anywhere from thirty minutes to an hour and a half. Often she walked through a park while we spoke, and I imagined her surroundings as she described them, the geographical distance softened by conversational continuity.

During one of these calls, I told her that I wanted to write a book. Not about her specifically, but about the chain of experiences that led to meeting her and the clarity that encounter unexpectedly revealed. She understood immediately. More than that, she expressed a quiet appreciation for being part of that moment of ignition — not as subject matter but as catalyst.

At the same time, unresolved resentment toward Dr. Fox did not dissipate with distance. Instead, it sharpened. The baseball heatstroke issue lingered at the margins of thought, alongside a broader accumulation of professional frustrations: moments of perceived disrespect, ambiguous expectations, and a decade of service that increasingly felt like professionalism without true partnership. None of these tensions were new, but the emotional openness of the week amplified their weight. Background noise began to feel like pressure.

By Friday, when I walked into school, I was not consciously planning a decisive action, yet I sensed a degree of internal instability that made ordinary interactions feel precarious. When Dr. Fox called me into his office to request assistance with a presentation — a familiar pattern, a non-work day expectation framed as routine — the moment crystallized something that had been building long before Oxford. I resigned. The decision belonged to a larger narrative, but this story carries its immediate emotional context.

As the reality of resignation settled into my body, a quiet clarity followed. I knew I needed to speak with my wife. The conversation would not revolve around specifics — call durations, text counts, or the mechanics of connection — but around truth in its broader emotional sense.

She returned home Saturday night. With her presence, the house regained its weight: history, shared furniture, a past that possessed shape and gravity. We sat together without wine or any conversational buffer. The moment did not invite performance or gradual disclosure; it required directness.

“I quit,” I said. “And I met someone.”

She asked only one question.

“Did you sleep with her?”

“No.”

She nodded, her response quiet and measured.

“Okay. Have fun on the phone.”

Nothing fractured dramatically in that moment. There was no raised voice, no immediate emotional rupture. Yet something subtle shifted — an alteration not of structure but of atmosphere. The past remained intact, but the future carried a slightly different texture. Nothing broke, but nothing stayed exactly the same.

Saturday and Sunday

Saturday and Sunday arrived with a quietness that felt disproportionate to the events of the preceding week. For the first time in months, there was no alarm set for early administrative duties, no email requiring immediate response, no expectation of presence within the institutional rhythms that had long structured my days. I was off work — not merely for the weekend, but in a more consequential sense that I could not yet fully absorb. I would not return until 2022. The long-term ramifications of what had unfolded were already in motion, though at that moment they existed more as a distant horizon than as a lived reality whose contours could be clearly seen.

The weekend therefore carried a strange dual quality. On the surface, it resembled any other stretch of unstructured time: coffee in the morning, small household tasks, the slow pacing of hours unburdened by schedules. Beneath that surface, however, ran a persistent awareness that something fundamental had shifted. The scaffolding of daily life — work expectations, professional identity, habitual responsibilities — had loosened, and with its absence came both relief and a faint, almost disorienting spaciousness.

At five o’clock sharp Japan time, which was nine in the morning in the UK, I called Isobel. The timing became instinctive, a daily point of orientation that anchored the day before it fully began. She answered as she was waking, her voice carrying that soft mixture of sleep and recognition that collapses distance instantly. We picked up exactly where we had left off, as if conversation were a continuous thread rather than a sequence of separate exchanges. We talked and laughed easily, moving between subjects without effort — music, muses, love, the nature of intimacy, and the broader textures of life that surface when two people feel unexpectedly understood.

The calls possessed a quality that felt, at the time, almost transcendent. I experienced a heightened emotional state that bordered on euphoria, a sense of expansion difficult to articulate without risking exaggeration. There was an unmistakable feeling of being lifted beyond ordinary emotional gravity, as if the connection existed in a space slightly removed from daily constraint. For brief stretches, I felt powerful in a way that had little to do with control and everything to do with aliveness — the psychological equivalent of standing in clear light after months of muted color.

Yet even within that intensity, I carried a quiet awareness that such states are rarely sustainable. The experience felt too vivid, too precise in its timing, to belong to permanence. I understood, somewhere beneath the exhilaration, that what we were inhabiting was a moment granted rather than guaranteed. For the time being, however, there was a mutual permission to exist within that space without prematurely interrogating its future. We allowed the conversations to unfold fully, accepting their immediacy without insisting on outcome.

The rest of the weekend unfolded around those calls like a soft frame. I moved through ordinary activities — brief walks, small household routines, moments of shared quiet with my wife — with an undercurrent of emotional intensity that did not demand expression but remained unmistakably present. Silence felt less empty than suspended, as though the days themselves were pausing before the arrival of consequences not yet visible.

What remained most striking about that weekend was not any single event but the emotional totality it carried. The combination of resignation, solitude, reconnection, and emerging uncertainty produced a state that was both exhilarating and fragile. I was aware, even then, of the paradox inherent in the experience: the joy of discovery intertwined with the inevitability of complication, the brightness of connection shadowed by the knowledge of its precariousness.

That was the weekend. In its quiet span, I found myself inhabiting an emotional condition that was at once expansive and difficult, sustaining and destabilizing. I was, deeply and undeniably, in love — not in a settled or declarative sense, but in the raw, immediate way that accompanies sudden recognition. The feeling carried power and tenderness in equal measure, along with a subtle ache that suggested awareness of its limits even as it unfolded.

The Rest of September

The rest of September passed with a quality that is difficult to reconstruct in precise sequence. Days did not feel discrete or individually memorable; instead, they merged into a continuous emotional field in which time moved forward without the usual markers of routine. The absence of work removed one of the primary structures that normally segments experience, and without that scaffolding the month acquired a dreamlike texture. Moments were vivid while they occurred, yet quickly dissolved into the broader atmosphere of the period.

Isobel and I remained in frequent contact. We spoke most days and exchanged messages with a familiarity that no longer required initiation or explanation. The connection persisted, but the intensity that had defined the immediate aftermath of Oxford began, subtly, to dim. This was not a collapse or a dramatic withdrawal — rather, a gentle tapering, the natural adjustment that follows emotional peaks once they settle into the rhythm of distance and everyday life. The calls remained warm, often intimate, and still carried laughter and shared curiosity, but the sense of suspended transcendence that characterized the earlier weeks softened into something more ordinary.

My days were largely unstructured. Without professional obligations, I devoted time to my blog, experimenting with longer reflections and shorter fragments that attempted to capture the evolving emotional landscape. I also began broadcasting on Periscope, drawn to the immediacy of speaking into a space where audience and solitude coexist in curious balance. These activities did not replace work so much as fill the temporal vacuum it left behind, offering forms of expression that required presence without imposing rigid expectation.

Later in the month, I briefly reentered the professional sphere when I accompanied my senior students to a university fair at Canadian Academy. The experience felt almost surreal in its normalcy — a reminder of institutional rhythms that continued independently of my altered position within them. It was the only direct work engagement I undertook during that period, and its brevity reinforced the sense that September existed outside the usual professional narrative.

Toward the end of the month, I traveled for a significant assignment: serving as lead evaluator for the Diploma Programme at Western Academy of Beijing. The responsibility was substantial, and I approached it with an intention to perform at the level expected despite the internal shifts that characterized the preceding weeks. The visit, however, was complicated by dynamics within the evaluation team. The MYP leader’s preference for extended, often unfocused meetings created an atmosphere of fatigue, and Ashish, the Head from IB Singapore, lacked either the authority or inclination to redirect those discussions effectively. Evenings stretched late into the night. We ordered Indian food, reviewed documentation, and navigated the procedural demands of the evaluation with a professionalism that felt increasingly mechanical.

During one of those evenings, after the meetings had ended and the day’s formal responsibilities were complete, I called Isobel. We spoke at length, as had become our habit, but the conversation carried a different quality. She told me about a dream — one involving a fire and a cabin in the forest. In the dream, I was present. She mentioned that she had shared the dream with her therapist, a detail that suggested the experience held significance beyond casual narrative. Yet when I asked about it, she hesitated. She did not want to recount the dream in full. The partial disclosure introduced an ambiguity that I could not immediately interpret but nonetheless felt.

The moment did not register as conflict or withdrawal. There was no overt tension, no articulated concern. Yet something subtle shifted in the emotional atmosphere between us. The change was nearly imperceptible, detectable less through words than through absence — a slight alteration in tone, a new reticence where openness had previously been instinctive. It was not dramatic enough to prompt confrontation, but it carried the unmistakable sensation of movement beneath the surface.

As September drew to a close and October approached, our communication began to thin. Calls became less frequent, messages shorter, pauses between exchanges longer. The transition unfolded gradually, without a definitive turning point, but its trajectory felt clear. What had once been continuous conversation now required renewed initiation, and the ease that had defined our early exchanges gave way to a quieter, more tentative rhythm.

In retrospect, September stands as an interlude — a period suspended between ignition and resolution. The connection with Isobel remained meaningful and emotionally resonant, yet the conditions that had sustained its earlier intensity were shifting. October would bring both culmination and conclusion, the apex of the relationship’s emotional arc and, simultaneously, its quiet dissolution.

October

October arrived without ceremony, yet the emotional atmosphere surrounding it was markedly different from the suspended haze of September. I was not working at all during that month, and the absence of professional structure began to feel less like pause and more like rupture. Relations with my Principal, Dr. Fox, had deteriorated to an all-time low, and what had once been a strained but functional working relationship now carried open hostility.

We had two phone calls that month about university counseling, both of them angry and vitriolic. The topic itself — university advising — should have been procedural, collaborative, even routine. Instead, it became a flashpoint that exposed a deeper accumulation of mistrust and frustration. From my perspective, he was mishandling critical processes and creating unnecessary stress for students and staff alike, and I felt a growing sense of professional indignation that was difficult to contain. I shouted at him on the phone twice: once while walking along the river, my voice carrying across the water in a way that felt disproportionate to the setting, and once from a hotel bar in Osaka, where the contained intimacy of the space made the confrontation feel even more exposed. The bartenders glanced at me with a mixture of curiosity and quiet concern, clearly aware that they were witnessing a private eruption in a public place. Still, they allowed the moment to pass without interference, serving drinks and processing the bill with the practiced discretion that characterizes hospitality in Japan.

In mid-October, I traveled to Singapore for another IB training. This assignment positioned me as lead trainer for the Diploma Programme, with Duan Yorke serving as my deputy. Duan was excellent — steady, competent, and easy to work alongside — providing a professional counterbalance to the internal instability I carried with me. Yet despite the outward success of the training’s first day, something felt off internally. The emotional residue of the previous weeks, combined with the unresolved professional tensions, manifested as a quiet but unmistakable dissonance. On the second day, I found myself unable to maintain the expected level of engagement and withdrew temporarily to visit an esoteric healer. The visit itself belongs to another narrative thread, one that requires its own context, but its occurrence reflected the broader sense that I was searching for equilibrium in unconventional ways.

I returned and completed the training successfully, fulfilling my responsibilities with the professionalism the role demanded. Afterward, I remained in Singapore for an additional three days, using the time to decompress in a city that had long felt both familiar and emotionally neutral. The extended stay provided space for quiet reflection, casual wandering, and the gradual release of accumulated tension. Professionally, my obligations were minimal. I completed a handful of recommendation letters for early decision applicants — necessary work, given that our new counselor was struggling with the process — but beyond that, my professional identity remained largely suspended.

During this period, Isobel and I spoke only once. The call carried an unmistakable clarity: whatever had sustained the connection through September was no longer present. Whether the shift stemmed from the dream she had mentioned earlier, the simple realities of distance, or the natural fading that accompanies emotionally intense encounters, the result was the same. The spark had dissipated. What struck me most was the absence of dramatic heartbreak. I did not feel shattered or undone. Instead, I experienced a dull void — a quiet ache occupying the space where my love for her had briefly lived. It was less a wound than an absence, the emotional equivalent of a room that had been furnished and then emptied.

Singapore became the final location in which we spoke. After that call, the connection ended without formal closure, dissolving into silence rather than conflict.

When I returned to Japan, I settled back into writing and Periscoping with a renewed sense of creative urgency. Singapore itself had already played a role in that shift. In a billiards bar there, I drafted the first installment of The Thin Man, capturing fragments of narrative that would later expand into a larger project. The act of writing felt less like discipline and more like necessity — a way of metabolizing the preceding months and translating emotional experience into narrative form. Back in Japan, I continued this process through a series of essays that month, each exploring different facets of the transitional period.

October also introduced another unexpected connection. That month I met Mela, a woman from New York City in her thirties who was on medical leave from her work as a props assistant in film production. She was housesitting at the time and occupied her days in ways that mirrored my own state of suspended routine: scrolling Tinder, investigating potential matches with a mixture of curiosity and humor, and broadcasting extensively on Periscope. We connected easily, moving from initial interaction to Instagram texts and eventually long phone calls. Neither of us had pressing daily commitments, and the absence of structure created space for conversations that extended for hours — sometimes entire afternoons — ranging across music, film, personal history, and the broader philosophical questions that surface when time is abundant and emotional stakes feel low.

Months later, in December, I would meet her in person during a museum visit in Queens. The day unfolded quietly: exploring exhibits, browsing the bookstore, and sharing soup in the café. At one point, descending a staircase, she leaned into me in a way that felt intentional — a brief physical gesture that carried a hint of performative vulnerability. She said, “you saved me,” a remark delivered with ambiguity that allowed interpretation without demanding it. The moment marked the closest we came to flirtation, and even that remained understated, more symbolic than consequential.

Yet the defining emotional endpoint of October remained tied to Isobel. Singapore had been the final setting of our conversation, and with its conclusion, that chapter closed without spectacle. The month that began with professional conflict and emotional residue ended in creative ignition, quiet acceptance, and the emergence of new but less charged connections. October stood as both apex and dissolution — the culmination of an emotional arc that had begun in Oxford and the gentle fading that followed its brief, luminous peak.

Conclusion

Looking back on it now, the question that naturally arises is what, if anything, can be concluded from the experience. Memory has a way of smoothing edges while preserving emotional truths, and the passage of time introduces perspective without necessarily dissolving ambiguity. What remains is not a tidy narrative with a clear moral, but a series of impressions that continue to carry meaning long after the events themselves have receded.

Was I in love with Isobel? The answer, for me, is uncomplicated. Yes — absolutely. The feeling was immediate, powerful, and unmistakable in its emotional clarity. It was not rooted in fantasy or projection so much as in recognition: the sudden awareness that another person had seen and engaged parts of me that often remain peripheral or unarticulated. The connection possessed both intellectual and emotional intimacy, creating a sense of alignment that felt rare and therefore significant.

Whether she was in love with me is less certain. That question remains open, and perhaps necessarily so. Love does not always manifest symmetrically, nor does it require identical emotional timelines. What I do believe is that she was deeply drawn to me — enamored with qualities she named explicitly: my maturity, my openness, my willingness to explore symbolic and esoteric frameworks such as astrology, and what she described as my confirmed oddness. These were not superficial points of attraction but aspects of identity that shape how one moves through the world and forms connection. In response, she opened herself in ways that felt unprecedented in my experience with other women. The openness was emotional, conversational, and psychological, revealing vulnerabilities and reflections that suggested a level of trust both genuine and meaningful.

Yet that openness stopped short of the one dimension that often defines romantic relationships in conventional terms. Physical consummation never occurred. And still, I remain convinced that it might have — that the night of the red dress, that Wednesday evening suspended in quiet possibility, carried the potential for that final step had I not withdrawn. The decision to pull back was not rooted in lack of desire but in an instinctive recognition of complexity and consequence, a moment where restraint felt simultaneously protective and destabilizing.

At the beginning of this narrative, I wrote the line: “I did not sleep with her, so I had to quit my job.” On its surface, the statement reads as paradoxical or even absurd. Yet in a literal and emotional sense, it reflects the truth as I experienced it. Something that transpired between us disrupted my internal equilibrium in a way that extended far beyond the boundaries of romantic encounter. The experience did not create professional dissatisfaction where none existed; rather, it crystallized tensions that had long been present but insufficiently confronted. In the altered emotional state that followed Oxford, I could no longer compartmentalize or tolerate dynamics that had gradually eroded trust and professional fulfillment. The decision to resign emerged not as a reaction to Isobel but as a response made possible by the clarity her presence inadvertently catalyzed.

What, then, did Isobel have to do with that decision? It is a question without a definitive answer, and perhaps one that resists definitive resolution. Objectively, professional circumstances and romantic encounter belong to separate domains, each governed by distinct motivations and consequences. Yet subjective experience does not always honor such boundaries. In my mind and in my heart, the two remain inextricably linked. The emotional awakening precipitated by our connection illuminated aspects of my life that had grown untenable, accelerating a reckoning that might otherwise have unfolded more gradually.

In this sense, Isobel did not cause the decision but revealed the conditions that made it inevitable. The encounter functioned as catalyst rather than origin, exposing fractures already present and clarifying the need for change. The love I felt for her, whether reciprocated in equal measure or not, became intertwined with a broader transformation — one that encompassed identity, professional alignment, and creative direction.

Ultimately, the experience resists reduction to a singular meaning. It was neither tragedy nor triumph, neither mistake nor destiny. It was an encounter marked by intensity, ambiguity, and consequence, leaving behind a residue of insight rather than closure. If anything can be said with certainty, it is that the connection altered the trajectory of my life in subtle but enduring ways. The emotional truth of that alteration persists, even as the specifics of the relationship have receded into memory.

And perhaps that is the most accurate conclusion available: that some relationships are defined not by duration or outcome but by the clarity they introduce, the decisions they precipitate, and the self-recognition they make possible. In that sense, Isobel remains both part of my past and part of the internal landscape through which I continue to move — a presence whose significance lies less in what occurred than in what it revealed.

Coda

What remains, after the noise has faded and the chronology has settled into memory, is not regret but recognition. Isobel was never meant to be a permanent figure in my life; she was a moment of ignition, a flare that illuminated terrain I had been walking blindly for years. Loving her did not undo me — it clarified me. It revealed fault lines in my professional life, deepened my awareness of emotional possibility, and reminded me that connection can arrive without warning and depart without resolution while still altering everything that follows. Some encounters are not chapters but catalysts, and their power lies precisely in their brevity. I did not leave Oxford with a lover, but I left with a truth that could no longer be ignored, and that truth reshaped the decisions that defined the months and years ahead.

So the story does not end with loss but with transformation. The quiet house in Kyoto, the late-night calls across time zones, the resignation spoken into an office heavy with history, the essays written in the wake of confusion and clarity — all of it forms a single arc whose meaning resides not in permanence but in awakening. Isobel remains a presence not because of what we became, but because of what her existence made visible: that love, even when fleeting, carries the capacity to reorder a life. And in that sense, the experience stands complete. Not a tragedy, not a triumph, but a moment of rare and incandescent alignment — a brief crossing of paths that left behind warmth, ache, and an enduring knowledge that sometimes the most consequential relationships are the ones that arrive, burn bright, and quietly pass into memory while continuing to shape the person who remembers them.

Note: If you linked this piece, you may also like my short story Simona below.

Everest Dream

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The night of December 31, 2012: Long dream about climbing Mt. Everest.  This third Everest dream was very different from the first two.  First, I was at a school and then climbed up a small opening, kind of a snowy slit barely big enough to fit through.  There were some basketball games going on and I planned to be back in 20 minutes or so.  Therefore, the school was probably my high school.  At first, the slit was just itself, but then Everest loomed up over me to my left.  I entered the frame, from the left.  Everest was enormous, black, and composed of huge blocks of ice-like mini-mountains such that it was difficult to discern where the actual peak was, or the possible way up. 

I was all alone and it seemed to be dawn, then two figures sleeping on the ice in orange suits started to stir.  They arose and then there were 20-30 more, mostly kids led my two overweight men.  We all spilled down to a kind of small clearing that may also have been a breakfast space.  The men explained that they could take the group only to 11’000 feet, no higher.  There was some disappointment, not much.  Everyone looked very well outfitted, except the speaker who was plump and wearing a kind of jersey. 

This group went away and there were other climbers, one or two of whom I spoke to.  It all started to take a rather long time and I knew I would be late getting back.  I started to head back up to the ridge that would lead back to the slit, but realized that I had forgotten a shoe in the clearing.  Eventually I got back to the ridge with the shoe, looked up, and saw what was probably Everest’s peak.  It was rounded and covered in black ice.  It looked very far away, although at one point in the dream, perhaps before, I had analyzed what looked like a viable path toward the top.  Back at the snowy slit, I ran back down it at full speed, cheerfully.

First Interpretations: The Everest dream is the third in a series.  The first Everest dream I climbed Everest overnight.  It took about 12 hours.  Everest was covered in asphalt and climbing it was a breeze.  The second one I was with my son.  We did not get to the top, and the mountain was somewhat more realistic, craggly with ravines.  There were shops alongside the ravine we were climbing made of wood and we ate there and also climbed around through the shops that were all connected and made up a kind of maze. 

There was no pressure to get to the top, lots of climbers on the mountain.  In this most recent one, Everest was at its most interesting and symbolic.  It was massive and loomed above me with presence.  It was to be revered, feared, awed.  The access is interesting as well–the slit almost like a birth canal, covered back over itself and very narrow.  Then, it opened unto another world entirely.

Impressions: The birth canal to a spiritual world.  Most people, even well equipped, cannot go above 11’000 feet (you can do this in a day hike).  Also, 11 could signal the 11th house, with the 12 house of mystery being difficult to access.  I could make out the top, but didn’t have the time and wasn’t equipped just now.  Still, it was an honor to have been there, and I came back exhilarated.

Note: If you enjoyed this piece, you may also enjoy “Border Dream.” Available below.

Border Dream

Note: From time to time, we shall intersperse our other work, with dream journaling.  There is no excuse for this exercise other than a simple attempt to register some of the content that comes from beyond and beneath in the course of one person’s ongoing encounter with the subconscious.  Are dreams mere kaleidoscope regurgitations of the mundane facets of everyday life, or do they partake of something deeper, something broader, something transpersonal?  We shall leave this judgment to the reader.

Dream: Series of loosely connected dream incidents, but in the dream itself they flowed seamlessly into one another. First, although of course something was happening before this as well, I am watching my son play in the PGA. He is on the 16th hole, and the only kid in the field. Later I learn that it is unusual for kids to play in the PGA championship, but at the time this does not seem odd. You do not have to qualify, only sign up. He is playing well for his age, but nowhere near winning. Suddenly, he slows up and shows signs of being tired. He walks off the course and his group moves on. The leader is in his group. I take him off the course and he says he wants to quit. I tell his that’s OK, but he only has two more holes. He jumps up and runs back to finish, but his group is already done (very fast) and the player from his group who was leading has won. He is accepting the trophy, and plays the two holes quickly. The course is mostly clear.

Jump cut to a field in what seems to be Venezuela, but is never absolutely demonstrated to be so. I am a soldier, probably an American, with a pack on my back. I am in a platoon and we are moving. The grass is pretty high and we are in a small valley, perhaps. There is a sense of tension, but not of great danger. We sit down and open our packs to eat. There is barely enough food to subsist, and I have a few dollars US and a few pieces of Venezuelan currency. Later, it will emerge that I have about 17 US and maybe 80 or so of the local currency. This does not seem sufficient, especially because I get the sense that this money will need to last for a while. Other soldiers have the same meager food rations, but appear to have more money.

Jump to a bar/ food area that same night. Still in the same country. I want to eat, and drink, so I circle the choices, but everything looks expensive. There are many people, some soldiers, some businessmen with women, maybe locals, and some random expat drunk types. The scene is not very dignified, but people appear to be having a good time. It is pretty loud. As far as food and drink go, there does not appear to be any other choice in the city. So, I order a red wine from a very nice woman at a bar. She says I can pay her a few dollars. I pull out my American money and the local currency, and she nods at the American.

I lay down three, and she shakes her head. I add another five, which I feel should be sufficient.  She shakes her head again and quotes me her retail price, which seems absurdly high. I pay her another five American which is nearly all I have. She is still not happy, but is placated, and I leave quickly. A few people are watching. I look at food stalls, especially one offering pastrami sandwiches. The price is quoted in the local currency, and I just afford one sandwich. Although I am very hungry, I do not purchase one. In fact, the whole night passes without my having anything to eat.

Sometime later, after more wandering and an interlude in another bar which is well lit (or is that later?) I find Kelly Rudd, one of my oldest friends. He is fully himself. We decide to go to an outdoor bar where there is a tent shelter structure, pretty large, which we sit in. I look at the menu and can afford just one drink. I tell Kelly this, and he halfway indicates that he will take care of the bill. I am unsure about this. I want to tell him about my life–maybe we haven’t seen each other for a while, but on the other hand maybe he is a soldier in my platoon.

I begin to tell him about a shotgun I have smuggled into the country. Although I am military, he reacts like this is a highly dangerous act. Thinking more about it, I probably didn’t smuggle a gun, because my luggage is not large enough. Aware that I am probably fibbing, I continue with the story. A waitress asks us through the tent wall what we want to order. Kelly orders red wine, after a lot of trouble getting her to hear us. I look around the edge of the tent, but somehow it is clear that we need to communicate through the tent wall. Looking around the corner I get the sense that she has been listening to our conversation for some time. Maybe not so long, but long enough to have heard about the gun. I am concerned that she will go to the police.

I tell Kelly about some of the things that are on my mind, and he seems only partially interested. He gives me little in return. We are drinking, and I am almost finished with my drink when I realize that it is a Corona, not red wine. I am mildly put out by this, but more puzzled by why I didn’t notice. All of the sudden we are no longer in a tent but on a blanket or ground sheet in roughly the same position. However, there is a large auditorium (whose shape I know from previous dreams, I think) behind us. I see the head of my high school, walking downhill toward us. I think that he is going to censure me about some various work issues, but instead he walks a short distance away behind some bushes and urinates. He is quite drunk.

Several more people from work stumble by, some of them urinate. Then, the blind teacher, who retired last year, comes down the hill with his cane. He is looking for a place to urinate. My mother’s aunt, indicates a spot just a few paces past our blanket. I tell them that it is too close, but it is too late. Somehow I am given to understand that I am supposed to be in the auditorium for some kind of speech or ceremony. I decide to avoid this if at all possible and stall by getting up and milling around.

Jump to the inside of a large gymnasium. This may or may not be the same building, possibly not. Instead of the ceremony, I am at basketball practice. There are a couple of coaches, and the head coach is in a white T-shirt. I am kind of involved with the play, kind of talking to the coaches. John Innes may or may not be a coach. Practice seems to go on for a long time. Not much happens. Then, on the far side of the floor I am talking to the coach and see a play developing. A strong point guard is driving the right side baseline and beats his defender for a lay up. Most of the players are female, and this point guard may have been a female at the start of the drive as well. The defense gives up, but I can tell he/ she will miss the layup. I circle in from the left and, taking the rebound, I dunk it without coming down. The dunk transpires in slow motion. I expect everyone in the gym to be amazed, but only a few people notice.

Practice is moving on, but I try to call it to a stop by explaining how the weakside defenders should have been blocking out and how when defenders don’t a player can get offensive rebounds. A few people start to listen, probably because I seem like a coach/ adult figure. Then, more people are listening, then they are sitting down, they they are all in the bleachers as I talk. I go through the matter in detail. My father becomes the coach. I can’t see his reaction to my speech, but at some point I realize that it is time to cut it off. Practice is over, and the players spill out of the gym. My father comes over and takes me by the arm. He tells me that some of the more intelligent players may have been able to follow what I said, but that most players are not intelligent enough to follow more than one idea at a time.

I don’t really know what he is talking about, because, although I spoke for a while, the ideas were pretty simple and obvious. I try to push back a little, but he becomes increasingly strident. Finally, we are outside and I see my mother. I tell my father that he is obviously uncomfortable with complex ideas, and shake free of his arm. My mother makes an inquisitive face, but I just shake my head. Out of the dream, a little timer beeps, and I wake up. It is just after 6 AM.

That’s the end of the dream proper, but either after this of before it, or running throughout, there is anxiety on my part about how I will get out of this country (all the basketball activity took place in the same country). I visualize the border crossing, which I seem to have been to before in a previous dream. There are logs across the border and soldiers. It is not terrifying, perhaps because I have been there before and crossed, but it does create anxiety. Again, it is not clear when this anxiety comes to me, if it is a postscript to the dream or sort of a running commentary.

First interpretations: This dream is about communication, specifically my poor communication skills. At different turns I am frustrated by my inability to communicate clearly and with my audience’s lack of interest and/ or capacity to understand. Whether negotiating the price of a drink (small matter) or talking about my life to an old friend or giving a speech to a large group, what I expect in terms of a reaction and what I actually get are at odds. It is not clear who is at fault in any of these incidents, and in fact in the dream I feel an alternating sense of frustration with others and frustration with self.

Especially with the bar woman, I am aware that I “do not speak the language” and should be more intuitive about what she means, but also in the basketball speech, even as I am speaking I know that I am going on too long, and insisting on the importance of what I am saying too much. This dream seems important in that it encompasses most of my life stations, parents, my own family, work, and friends. Interestingly, my communication with my son seems to be the most effective, and the golf is the only incident that does not seem to take place in Venezuela.

Impressions: At least two things in the dream reference other dreams–the auditorium and the border. Thinking about it while awake, I have memories of both of these dreams. Of course, not having kept a dream journal at the time, I am not absolutely clear whether these dreams really took place in previous months or if there were in fact part of last night’s dreams. I had a lot more dreams last night as I woke up from dreams several times, and this dream sequence here recorded was, I think, only the last tail end bit.

The drunk coworkers, one of them literally blind! are instructive. First reaction is perhaps overly positive–although I am poor at communicating, they are worse and require me to take control of communication. Finally, the long night trope is a staple of my dreams, especially those I remember well. This dream fits very well into the long night theme, although the basketball practice was in the late afternoon, and may have therefore been a flashback. Especially the drunken revelers, the various types of ladies of the night in the background, and the stumbling from place to place are characteristic of my “long night” dreams.

Note: If you enjoyed this piece, you may also enjoy “Everest Dream.” Available below.

Carl Jung’s Collected Works: I

Volume I of Jung’s Collected Works is titled Psychiatric Studies, and begins with his dissertation, “On the Psychology and Pathology of the So-Called Occult Phenomena.” The editor’s preface to Volume I characterizes the dissertation as reflecting “simple descriptive research,” while acknowledging that many of Jung’s later concerns are foreshadowed herein (vi). In our posts on Volume I we shall attempt to draw out some of these foreshadowings, while also taking seriously this most “scientific” of the phases of Jung’s career and work.

It is of course highly significant that occult phenomena signify in Jung’s first major published work, as Jung’s reputation, for better or worse, is to this day closely linked with the occult, mysticism, astrology, post-material synchronicity, and the unconscious archetype. That Jung refers to “the so-called occult phenomena” here is suggestive, on its face, of at least some measure of empirical leaning in the young Jung.

As we shall see in later posts, Jung waged a decades-long internal battle to preserve his belief in himself as a man of science, rather than an artist, and the question of whether he was primarily a scientist or an artist would play a significant role in his mid-life crisis which set in during the decade of the 1910s. It is interesting to note here that Freud also held fast to the label of “scientist,” even as critics such as Roger Brown have suggested that he surrendered all claims to the title as early as 1896 (Storr, 24).

It is well known that Jung’s early years were suffused with religion and spiritualism, with several members on both sides of his extended family being parsons (MDR 42). From his earliest writings, however much he clung to the idea of himself as an empiricist (understood in its more typically narrow sense), Jung’s interest in the faint intimations of the “other world,” in the liminal zone between normal experience and those experiences or states which stray over the borderline of normal consciousness and everyday apprehension and into the dark underbelly of the unconscious, betrays the awestruck and bemused metaphysical wanderer who at seven would sit on a stone and wonder, “Am I the one who is sitting on the stone, or am I the stone on which he is sitting?” (MDR, 20).

“Liminality” is defined nicely by Wikipedia as “a psychological, neurological, or metaphysical subjective state, conscious or unconscious, of being on the ‘threshold’ of or between two different existential planes” (Wikipedia, “Liminality,”) and from the first paragraph of “On the Psychology and Pathology of the So-Called Occult Phenomena,” we can see Jung’s interest in liminality at play:

In that wide domain of psychopathic inferiority from which science has marked off the clinical pictures of epilepsy, hysteria, and neurasthenia, we find scattered observations on certain rare states of consciousness as to whose meaning the authors are not yet agreed. These observations crop us sporadically in the literature on narcolepsy, lethargy, automatisme ambulatoire, periodic amnesia, double consciousness, somnambulism, pathological dreaminess, pathological lying, etc. (Collected Works Vol. I, 3).

The author makes no claims to being a psychologist or to having any detailed empirical knowledge of the difference between automatisme and somnambulism, but briefly, for the sake of clarity, epilepsy refers to an overly active electrical circuit in the brain which causes seizures; neurasthenia is an outdated term that referred to deep exhaustion; what Jung and Freud referred to as hysteria we would more probably call neurosis; narcolepsy is a threshold state between sleep and waking which may include hallucinations; automatisme ambulatoire and somnambulism, as far as I can make out, both refer to sleepwalking or other actions taken while one is technically asleep.

Pathological dreaminess appears to be a coinage of Jung’s own, and pathological lying is best understood to be a state where one lies repeatedly with no motive force, no hope for, or anticipation of, gain.

What all these mental states have in common is a significant lack of control which those so afflicted have over their symptoms. Indeed, in all of the above cases it can fruitfully be asked, “who or what is in control of our psychological processes?” This is precisely the question that certain childhood experiences forced Jung to ask himself.

As recounted in Memories, Dreams, Reflections, at a very early age Jung had experienced the force of unbidden subterranean psychic contents which pushed their way to the surface of his consciousness. At the age of three, Jung dreamed of an “ithyphallically enthroned” ritual phallus entombed underground behind a thick green curtain. The ritual phallus “was made of skin and naked flesh, and on top there was something like a rounded head with no face and no hair. On the very top of the head was a single eye, gazing motionlessly upward” (MDR, 11–12).

The young Jung equated this ritual phallus with “a subterranean God ‘not to be named'” as well as with the Jesuits, whom at that point he believed feasted on human flesh (MDR, 12). Looking back from late middle age, Jung writes that the symbolically freighted symbolism of such a dream is far beyond what any child’s psyche would be able to produce without some kind of blueprint. His conclusion was that someone or something was already speaking with or through his mind:

It {became} clear to me how exceedingly unchildlike, how sophisticated, and oversophisticated was the thought that had begun to break through into consciousness {…} Who was it speaking in me? Whose mind had devised them? What kind of superior intelligence was at work? {…} Who talked of problems far beyond my knowledge? Who brought the Above and Below together and laid the foundation for everything that was to fill the second half of my life with stormiest passion? Who but that great alien guest who came both from above and from below? (MDR, 14–15).

Although these ruminations are retrospective, it is fairly clear that the inner autobiographical events that Jung highlights in MDR lay the groundwork for the young scientist’s interest in psychic liminality in all its manifestations. While the early studies mostly center upon the symptomatology of young, hysterical women, Jung’s early efforts to exteriorize his investigations would eventually give way to a deeper probing of his own levels of consciousness.

Indeed, the bulk of Jung’s mature, original work draws directly from his own borderline experiences, half-induced and half-received, during and after the outbreak of the First World War.

Therefore, while the early writings of Jung may with some justice be described as “simple descriptive research,” his choice of subjects and range of interests immediately plunge us into deep metaphysical waters, as Jung wrestles with questions such as where conscious control over the psyche ends, what exists or pertains beyond this control, and who or what is exerting itself when the formerly and apparently autonomous psyche cracks and the great unknown — the serpent in the garden, the siren on the farther shore, the vast propulsive other, or the slime of the deep — makes manifest its eternal will to power.

Jungian Intimations II

Note: This is the second piece from my old blog “Jungian Intimations.” The first piece is here.

One who has no god, as he walks along the street,

Headache envelops him like a garment.

(Cuneiform tablet, late 2nd millennium B.C.  Cited in Jaynes, 225)

An idea is something you have.  An ideology is something that has you.

Morris Breman

It is well known that older people tend toward one of two poles in their attitude toward certainty, and that the degree of apparent confidence with which those in the second half of life hold forth on subjects to which they claim authority or expertise is directly related to the degree to which they suffer from an inflated, runaway, usurping ego.  On the one hand the dogmatists, those in whom opinion has ossified into ideology, whose “conversation” is always monologue ascendant.  On the other hand, those at least somewhat mellowed by time, those who have come face to face with their own limitations, whose ego has been able to absorb the blows apportioned by father time, and to grin in the face of impotence (cf Slater, 115).

There are certain professions, however, where egocentricity in the form of professed certainty is positively rewarded, where the fawning of acolytes, the plaudits of the mass media, and the material rewards issued forth from committees and councils depend in large part on stating and holding a single position, and defending such position against all comers.  The expert industry is ever at work, animated by the simple fact that very few people actually have any real idea of what they should be doing, of what the “truth” is in a given situation, or, least of all, on what basis to make a decision.  When Julian Jaynes theorizes that for most of human history the right brain hallucinated the voices of gods which were then interpreted as commands in moments of stress and decision, and that when the right brain began to cease its projections societies then turned to augury in all its various manifestations in order to simply decide, we are given a hint as to the centrality of authorized claims of certainty in the workings of human organizations (cf Jaynes, 321).

The early history of modern psychology is dominated, to this day, by two great figures, Freud and Jung.  Freud was Jung’s elder, and looked to Jung to carry on his work, to take up the mantle of his successor.  Jung, for reasons which we will explore at a later date, was unable in good conscience to do so, essentially because Freud insisted that his theory be treated as dogma, as unassailable fact.  As Jung recounts in the section on Freud in Memories, Dreams and Reflections,

I can still vividly recall how Freud said to me, ‘My dear Jung, promise me never to abandon the sexual theory.  That is the most essential thing of all.  You see, we must make a dogma of it, an unshakable bulwark.’ (…) In some astonishment I asked him, ‘A bulwark against what?’  To which he replied, ‘Against the black tide of mud’–and here he hesitated for a moment, then added–‘of occultism.’  First of all, it was the words ‘bulwark’ and ‘dogma’ that alarmed me, for a dogma (…) is set up only when the aim is to suppress doubts once and for all.  But that no longer has anything to do with scientific judgment; only with a personal power drive (MDR, 150).

The relationship between the two men never recovered, and Jung would from this point go his own way, even as he was subsequently slandered by Freud and his followers with charges of anti-Semitism, heresy, and, indeed, occultism.  Essentially, then, Freud, once he had hit upon an animating set of ideas, saw it as his job to defend said ideas against doubt, both that of others and that of himself.  Thus, Freud, for all his genius, in later life fell into defensiveness, and defensiveness, when extended over a period of years, leads only to desiccation.  The works that he did produce toward the end of his life which attempted to address issues of myth and meaning raised by Jung are generally considered to be unconvincing, even slapdash, and perhaps even a little desperate (cf Storr, 106-110).

Jung’s life and work stands in stark contrast to Freud’s, and indeed to the common prevalence of ideology in the later stages of human life, primarily in its radical openness, in his willingness to confess that he knows nothing.  This position is stated in language so moving, so forthright, and so laden with an appreciation of the numinosity and mystery attendant on the encounter of the human intellect with the broader cosmos which it inhabits, and perhaps informs, that the reader can scarcely believe that the aging scientist could summon the humility to exit the stage with a confession so radically uncertain, and yet so full of faith.  The last two pages of his life, then, read thusly:

I am astonished, disappointed, pleased with myself.  I am distressed, depressed, rapturous.  I am all these things at once, and cannot add up the sum.  I am incapable of determining ultimate worth or worthlessness; I have no judgment about myself and my life.  There is nothing I am quite sure about.  I have no definite convictions–not about anything, really.  I know only that I was born and exist, and it seems to me that I have been carried along.  I exist on the foundations of something I do not know.  In spite of all uncertainties, I feel a solidity underlying all existence and a continuity in my mode of being.

The world into which we are born is brutal and cruel, and at the same time of divine beauty.  Which element we think outweighs the other, whether meaninglessness or meaning, is a matter of temperament.  If meaninglessness were absolutely preponderant, the meaningfulness of life would vanish to an increasing degree with each step in our development.  But that is–or seems to me–not the case.  Life is–of has–meaning and meaninglessness.  I cherish the anxious hope that meaning will preponderate and win the battle (MDR, 358-359).

For Jung, the founder of analytic philosophy, one time disciple of Freud, and originator of a whole host of terms and concepts in common usage, to close the last chapter of his life by writing “there is nothing I am quite sure about.  I have no definite convictions–not about anything, really,” is, I suggest, startling.  Coming on the heels, as it does, of twenty volumes of his Collected Works, of millions and millions of words committed to print, and a life which animated both friend and foe alike to believe that he was, or should have been, in the business of prophecy and the establishment of his own religion, this statement, this closing on the simple, moving, “anxious hope” for meaning, bears closer scrutiny.  It is the intention of Jungian Intimations to retrace the steps which led to Jung, in his late 80’s, confessing to such a curious blend of doubt and faith, and to give some suggestions for what this blend may mean for those of us who stagger on, searching for the blurry outlines of his footfalls, at once craving and fearing the appearance of the voice of the gods in our ear.