Matt texts the Thin Man before he has even fully decided to.
There is a kind of threshold in sending a message like that, where intention arrives slightly after action. The screen shows the name and then the words appear as if they were always going to exist.
Found her.
There is no immediate reply.
Matt goes to the hotel rooftop pool instead, because the body refuses to remain still when the mind is doing work it cannot complete. The city below is a port city, functional rather than beautiful, ships moving like punctuation marks across water that does not care about narrative.
He swims slowly. Not exercise. Just repetition. Something to keep him inside himself.
The Thin Man arrives without announcement.
Matt sees him later in the lobby, as if he has always been there and only now decided to become visible. There is nothing theatrical about his movement. He is dressed simply, unremarkable in a way that only becomes noticeable after you have already started paying attention.
They do not greet each other like friends. They never have. They greet each other like continuity.
Matt watches him cross the space and feels, not for the first time, that proximity to him changes the temperature of events.
LUCÍANA
The café is near the port, where the air carries salt and fuel in equal measure. Luciana arrives slightly early, not because she is nervous, but because she is efficient. She chooses a table where she can see the entrance without appearing to be watching it.
When Niko arrives, she recognizes him immediately, though recognition does not translate into welcome. Time has done what time does, which is soften edges without removing structure. He is older now, but not unfamiliar in the way she expects him to be unfamiliar.
They sit.
For a long moment, neither of them performs memory. When they finally speak, it is careful, almost formal. He asks about her life. She answers without inviting him into it. There is warmth in her tone, but it is bounded. Controlled.
She tells him about their son. He listens without interrupting.
“He is in Dubai,” she says after a time. “He is working in media. Content. Travel. He is doing well for himself.”
Niko nods once. No visible reaction beyond that. But something in the air shifts slightly, as if a long thread has been acknowledged without being pulled.
Luciana continues. She has a daughter now. A marriage. A life that has moved forward without apology. When Niko asks nothing more, and she is briefly grateful. Then she tells him, clearly and without cruelty, that this is not something she wants reopened.
He understands. He does not argue. He never argues with time.
MATT THOMAS AT THE HOTEL
I am still at the hotel when he returns. He does not look like a man who has just been refused something. He looks like a man who has confirmed a hypothesis and chosen not to act on it. There is a difference, and I am beginning to understand it.
I ask him if he saw her. He says yes.
I ask what she said. He does not answer immediately. Then he tells me about Dubai, about the son, about the fact that life has continued in a direction that does not require his permission.
I wait for more. There is no more.
That is when I realize how little I actually know about him, even now. Later that night, I finally ask the question I have been circling since Tokyo.
“What is your real name?”
He does not look surprised.
He never looks surprised.
He says he is from Georgia. That his name is Niko. That he was born in 1977.
Nothing more.
And somehow that is enough to change the entire shape of what I thought I was holding.
CODA — MATT THOMAS IN KOYTO
I am back in Kyoto, but I am not fully back in anything that resembles ordinary life. The school still exists. I still teach. I still perform the version of myself that can explain narrative voice to students who are mostly thinking about lunch. I have had readings now—one in Kyoto, one in Tokyo—and people are starting to treat me as if I might become something recognizable.
It does not go to my head. But the Thin Man does. He’s always there.
We talk on Signal in fragments. Nothing structured. No schedule. Just interruptions in time that feel more real than the rest of the day. I sit in shisha places after work and try to write, but what I am actually doing is waiting for the next message.
Book II is already taking shape in my head.
I am just not sure yet whether I am writing it is writing me.
Before I got on the place for Costa Rica the school was still trying to pretend this was still a normal conversation.
Vice Principal Nakata-san called me into the office with the kind of politeness that always signals something is already decided. The room was too bright, the air-conditioning too strong, the framed notices on the wall insisting on order. I sat down expecting administrative concern and got something closer to procedural disbelief.
“If you leave during term time,” Nakata-san said carefully, “your employment status may be affected.”
I nodded as if this was news I could process. Inside my mind was pure white. I said I understood. but I was going anyway.
There was a pause after which neither of us spoke.
“I am not firing you,” Nakata-san added, almost gently. “But you are… on thin ice.”
I thanked him, which felt like the wrong response but also felt like the only one available. When I left the office I was not thinking about consequences in the way institutions intend. I was thinking about distance, and how quickly it can become irreversible.
The flight to Costa Rica felt like a correction rather than a journey.
I watched the map on the screen and thought about how absurd it was all becoming. Somewhere over the Pacific, I opened my laptop and tried to write some notes, but nothing useful formed. Everything kept collapsing back into the same name.
Luciana Solís.
I did not yet know what I was looking for. I only knew that stopping now would mean admitting the shape of the obsession too clearly.
San José arrived humid and unceremonious. Costa Rica did not announce itself so much as absorb you. I moved through it with the slightly displaced awareness of someone who has read too many fragments of a story before seeing the whole thing.
I started where any amateur investigator starts: public record offices, municipal archives, online registries that are barely maintained but still technically alive. Marriage records, birth records, civic logs that feel like they were designed to discourage curiosity rather than enable it.
The work was slow and unglamorous. Most of it was administrative noise.
And then, on the third day, something aligned. A record. A name. Luciana Solís.
It is not dramatic when I found it. There was no cinematic recognition, no surge of certainty. Just a quiet moment where the page refused to behave like a coincidence.
I sat back from the screen and realized that my hands were slightly cold.
That is when I knew I was no longer guessing. This was the Thin Man’s son’s mother.
Note: This is the first entry in a new series about my time in Kumamoto, Japan between April of 1997 and December of 1998. What began as a recollection of a short, chaotic teaching stint but became an excavation of place, power, and early adult identity under surveillance. Set against the compressed social ecosystem of a small Japanese city in the late 1990s, the piece moves through NOVA’s glass-room culture, its porous rules, and the peculiar cast of lifers, bosses, and drifters who inhabited it. What emerges is not a complaint but a tonal study: of being watched, of improvising freedom within constraint, and of the quiet luck of finding something real—Sachie—amid a system that often felt artificial.
Epigraph:
Kim You Bore Me to Death
—Grandaddy
I arrived in Kumamoto in April of 1997 to teach English at NOVA, which at the time felt like a pretty wild thing to be doing. Kumamoto is not Tokyo. It’s a smaller city, slower, and NOVA was right at the north end of the Shotengai, basically downtown. Everyone knew everyone, or at least knew of them, which I didn’t fully understand yet.
What I also didn’t fully understand was that I would be living with one of my bosses.
Her name was Sam. She was about 35, from Wales, and she had this story she loved to tell—more like boast—that Donovan had written a song for her mother. I never quite figured out which one. She was in the apartment with me and another teacher, Heather, and she was there all the time. Not just physically there, but present. Observing. Asking. Not in a relaxed roommate way, but in a way that felt like she was always slightly checking something.
NOVA had a loose rule about no fraternization between students and teachers. Loose being the key word. It happened all the time. Another teacher, Cameron, told me a lot of the young women came to find a boyfriend. Whether that was true or not, relationships were constant. There was this big izakaya on the Shotengai where everyone went, and it was basically understood that whatever the rule was, it wasn’t really enforced.
By early June I was seeing Sachie, who had been my student. She was my girlfriend then and is my wife now. I went to her house pretty early on. Her father, Tetsuyo, a gruff, older, very conservative Japanese dad, said he would meet me, but then he went to take a “bath” and didn’t. So I didn’t meet him for months. Her mother, Kazuko, was lovely then and is lovely now.
We couldn’t really spend time together at my place, obviously, so we’d drive around in her car. That was our space. We’d park wherever passed for lovers’ lane in Kumamoto, which, thankfully, was not the Zodiac. No Zodiac in Kyushu, thankfully. We’d sit there, windows cracked, the car quiet, the whole thing feeling both secret and completely ordinary at the same time. That was just how it worked.
At some point I told Joy, another teacher, that I was seeing Sachie, and I told her not to say anything because it was technically against the rules. She said of course. And then, of course, she immediately went and told John G., and from there it got around.
By that point it didn’t really matter. I had to leave, but I also wanted to leave. NOVA felt like a factory. The hours, the structure, the constant low-level supervision—it wasn’t for me. I gave my one month’s notice and in July of 1997 I moved to Washington. Better hours, easier gig, and a lot more freedom.
There were a couple of long-term guys at NOVA, both Brits, both lifers in a way I couldn’t really imagine.
Cameron was the more interesting of the two. We’d go to the big izakaya on the Shotengai—yakitori, big beers in frosty mugs, the usual—but his real place was Madam’s Bar, also on the Shotengai. Madam was the owner, a transvestite, and Cameron loved her. Absolutely loved her. He went there every night.
He took me a few times. It was small and dark, always smoky, with Queen playing on a loop. I drank White Russians and, for reasons that made sense at the time, felt like a bit of a stud. It had its own rules, though. You could feel that pretty quickly.
By Halloween of 1997 I was already at Washington, but I was still around Kumamoto a fair bit, still seeing people. The week before Halloween I went back to Madam’s with Cameron.
“Matty baby, T-shirt time,” Madam said. “You will buy the bar T-shirt. Halloween theme. ¥4000.”
¥4000 was a lot for me then.
“Madam baby, that’s a bit steep,” I said. “I’ve already got plenty of T-shirts. Maybe next year.”
She and Cameron had a quick whispered conversation off to the side. We finished our drinks and left. Outside, Cameron turned to me.
“Matty baby, there’s not going to be a next year. You’re banned. 86’d. Hit the bricks, pal. You’re out.”
“For not buying a T-shirt?”
“Oh yeah,” he said. “T-shirts are serious business.”
And that was it. Never went back.
Mark was the other lifer. Late thirties, married, one daughter. Solid guy. He loved his wife in a way that was both sincere and slightly odd in its phrasing.
“I can hack this job,” he’d say, “as long as I can go home each night to my little mouse’s ear.”
I never heard that expression before or since.
John E. was our boss, technically over Sam. He was always in and out—Osaka, Fukuoka, training sessions, that kind of thing. When he was around, though, he had a habit.
When we drank, he would smack Mark on the butt. All the time. Didn’t ask. Just did it. Mark would try to laugh it off.
“John E. baby, maybe not tonight,” he’d say.
Didn’t matter. It kept happening.
One night John E. turned to me. “Matty baby, can I smack your ass?”
“John E. baby, no way,” I said. “Thanks, but no thanks.”
At least he asked.
John G. was an anomaly. Everyone else was in their twenties or thirties; he was in his sixties. He said—said, mind you—that he had made and lost six fortunes, mostly in gold in South Africa. Maybe. By the time I met him he was broke as fuck.
He would fall asleep in class. Not subtly either. Full-on snoring, loud enough that you could hear it through the glass walls. And these were small classes, three or four students at most, everyone sitting there while he just drifted off. You could see it happen in real time.
John E. had a number of supervisory conversations with him. Nothing changed.
Then there was Paul, who wasn’t even at Kumamoto—he worked out of Osaka. I met him during training in late April of ’97, and he was a strange guy from the jump.
He told this whole story about growing up in Arkansas, parents who were abusive, into drugs, no money. Said he ran away at sixteen and found God on the road shortly after. Compared himself—without irony—to St. Paul on the road to Damascus. Claimed he made a living hustling poker, which might have been true, but there was something else in there too. Not exactly dishonest, but… flexible.
He wanted to convert me. That was clear immediately.
We walked all night. Ten hours, maybe more, all over Osaka. Through neighborhoods, through stations, at one point through a huge homeless encampment—post-bubble Japan, a lot of salarymen who had fallen hard. It stuck with me. Paul talked and listened in equal measure, which is its own kind of technique, but there was always one direction to it.
The goal was simple: Matty finds Jesus tonight, come hell or high water.
I didn’t.
A couple of months later he came down to visit Kumamoto. We went to the izakaya on the Shotengai, then another bar—not Madam’s. Different energy.
There was a girl there, Yoko, and she was very clearly interested in me. So she’s all over me and Young Mr. Johnson is getting, uh, perky. I’m kind of nuzzling her neck and all, and Sachie and I are barely dating, not exclusive yet. Cameron leans over.
“Uh, Matty baby, YMJ is looking a little perky there.”
“Ruh roh,” I said. “Gotta go.”
There were a few good reasons for that.
One, I wanted to date Sachie only. I wanted to be exclusive. I told her the next day what had happened and she was like, “Good. Let’s go exclusive then.” So that was that.
Two, Yoko was like nineteen and I was twenty-three, and she had tons and tons of pancake makeup, which just wasn’t my thing.
So I jetted. Walked fifteen minutes home.
On the way I passed Fumachi. Of course, “machi” means street in Japanese, so to me it read FU-machi, which I found hilarious. I tried to explain this to Sachie once and she was like, “Yeah, machi just means street.”
“Yeah, I know,” I said. “That’s why it’s funny.”
Didn’t really translate.
By the river, as always, hammered dudes were out there pissing into the water. Just part of the scenery.
I get home, it’s around eleven, I’m getting ready for bed, and a taxi pulls up.
Out step Paul and Yoko.
Ruh roh.
Paul’s staying over, sleeping on a futon in the living room, and I’m thinking, what’s the plan here—hook up with Yoko right there while me, Heather, and Sam are all in the apartment? Outta control. Maybe that’s just how he rolled.
Anyway, Yoko took one look at me and jets. She’s gone.
Paul shrugged it off.
“Easy come, easy go.”
We end up playing poker instead. For a little money. I’d played all through childhood, in college, figured I was about a B+.
He wiped the floor with me. Took all my lunch money and didn’t lose a hand.
That’s when I started to believe him.
Looking back, those first two months in Kumamoto feel both chaotic and oddly contained, like everything was happening all at once but also exactly as it was supposed to. NOVA was a factory, no doubt—bad bosses, strange rules, glass rooms, and the occasional existential crisis over whether a black turtleneck and a white short-sleeved shirt constituted a violation of “regs.” I smoked Mild Sevens like it was part of the job description, drifted between pool halls and izakayas, and tried to make sense of a place where everyone seemed to know more about what I was doing than I did. And in the middle of all that, somehow, I met Sachie. That part feels less like chance the older I get, more like the one thing that cut cleanly through all the noise.
It didn’t last long—April to July, just a couple of months—but it stuck. The people, the rhythms, the small absurdities, the feeling of being watched and not quite fitting and also not really caring. I left because I had to, and because I wanted to, and both things were true at the same time. Better hours, easier life, more freedom. But Kumamoto was the start of something, even if I didn’t know what at the time. I never did get that T-shirt.
Dedication:
For my wife Sachie. Glad I met ya baby.
Note: If you like this piece, you may like the pieces below, which take up my time just before moving from the US to Japan.
Well everyone, today is the day. My first novel, The Adventures of the Thin Man and Andrea is now available on Amazon and wherever books are sold.
This one took a while—written in fits and starts, in bars and hotel lobbies here in Kyoto—but it finally found its shape. More than anything, today I just want to thank all the readers of The Kyoto Kibbitzer, wherever you hail from; I’ve always thought of this as an ongoing conversation, and a lot of this book grew out of that exchange.
If you do pick it up, I hope you enjoy the ride—and if it lands for you, a quick review on Amazon would mean a great deal. Thank you, as always, for reading.
Note: This piece overlaps my three essays on my week with Isobel series (I–III), though it approaches that week from a different direction. Where those pieces follow the arc, this one lingers on the moment before it resolves—the pre-game, as I’ve come to understand it. It is also a direct response to the book The Game, by Neil Strauss. In what follows I don’t intend to rebut Strauss so much as correct what I see as a fundamental weakness in the subculture he dissects. The reader will judge whether I succeed.
Epigraph
“No one else could play that tune, you know it was up to me.”
— Bob Dylan, Up to Me
Part I: Ippei
I’m at Zaza, the club on Kiyamachi in Kyoto. It’s around 11 PM and just getting going. Zaza is a late night place. It doesn’t peak until well past midnight, and at this hour it’s still stretching, still finding its rhythm.
I’m there by myself, drinking a White Russian.
A Japanese guy comes up to me. He’s about fifty-five. No preamble, no easing into it. He introduces himself—let’s call him Ippei—and within seconds it’s on.
“See those two ladies over by the window,” he says. “Wanna help me pick them up?”
I’m intrigued. Not because I’m especially interested in the outcome, but because I’m a curious guy and I want to see what he’s doing.
“Ok,” I say. “What’s the play?”
He doesn’t hesitate.
“You’re my old friend from California. I haven’t seen you in twenty years. I just ran into you by chance here. Take it from there.”
That’s it. That’s the entire setup. Handed to me fully formed.
I ask him, just to check, “Is this going to work?”
He smiles, completely unbothered.
“Yeah,” he says. “I do this every night. Had a threesome last night.”
Well alright then.
We walk over. He starts talking immediately, in Japanese, smooth, fast, confident. “This is Matt, my best friend from California. Would you believe I just found him here?”
I met him five minutes ago.
It doesn’t matter.
In no time the two women are completely engaged. Smiling, leaning in, laughing. The story has landed. The reality has been accepted. They’re not being approached. They’ve been included.
And I’m there, but I’m not really there. I’m not trying to win anything. I’m not trying to escalate. I’m watching. Taking it in. The nightlife anthropologist, just observing the field.
After a while I step out to the balcony to smoke.
Twenty minutes pass.
When I come back down, he’s still there. Still going strong. Still inside the same story.
That’s when it clicks.
He didn’t need me.
He needed the role I filled.
He needed a premise.
Part II: Neil Strauss
Neil Strauss’ The game
That night at Zaza stuck with me, not because of what happened, but because of what it revealed.
There is a whole body of writing—call it a subculture, call it a system—that attempts to explain and formalize moments like that. The most famous version of it is The Game, by Neil Strauss, which I’ve read twice.
I want to be clear about something before I go any further.
I’m not anti–Neil Strauss. In fact, I respect him. He’s an elite investigator of subcultures, and I love subcultures. He embedded himself in a world, learned its language, mapped its hierarchies, and reported it out with real precision. That’s not easy to do. It’s a serious piece of work.
What follows is not a dismissal of Strauss.
It’s a response to what the game represents.
Because once you move from observing a system to adopting it, something changes.
At its core, the game assumes that attraction can be engineered. That with the right language, the right sequence, the right calibrated signals, you can break down a woman’s resistance and get to the desired outcome, which is of course bed.
It’s a kind of a linguistic technology and NLP at its worst. A system designed to move someone from one state to another.
And for me, that’s where I part ways.
For me The Game is a massive turnoff, because it flattens everything and kills any chance at romance.
It scripts what should be alive. It reduces seduction to a manual and turns something unpredictable into something repeatable. And in doing so, it drains it of the very thing that makes it worth pursuing in the first place.
There’s no space for real connection. No space for the unexpected. No space for the moment where something happens that neither person could have predicted. No space for the kind of encounter that might actually change your life.
And beyond that, it produces a life that I don’t want.
The guys in The Game end up living together in this kind of shared house—Mystery, Strauss, Courtney Love—surrounded by other guys, talking about women, thinking about women, analyzing women. It’s a sausage fest. And it’s not cool.
The Gamers think they’re players. I prefer to think of them as incel-adjacent. They’ve optimized the system, but they’ve lost the thing itself. They’ve mastered the game and stepped outside of life.
Part III: On Action
I’ve had a handful of sexual partners that I’ve gone all the way with. The precise number is under an NDA. I’ve made out with more. But I haven’t been especially active, at least not in the way the game would define it.
What I have done is, flirt with, connect with, and have crushes on dozens of women.
And the truth is, I enjoy it.
I actively enjoy the pre-game.
I enjoy getting close. The moment before something becomes something else. The tension. The ambiguity. The recognition that something might be there, and neither of you has named it yet.
The thrill of newness and the possibility of a spark. If it burns, great. If it flickers, that’s also good. For most men, the pre-game is a means to an end. For me, it’s the end.
And that’s the difference.
This doesn’t mean I’m not interested in action. I am. Very much so. In fact, I’m something of an action junkie. But I’m a highly specific kind of action junkie. Like Wittgenstein, who was said to have manufactured his own oxygen, I manufacture my own action.
I don’t chase it blindly. I don’t optimize for it. I don’t try to force it into existence through systems or scripts. I generate it. Selectively. Intentionally. And in moments where it actually means something.
Part III: Luna
I’m at Umineko with a friend—call him Mr. Editor. It’s early, maybe six in the evening. We’re mid-bar, having a beer, when I notice a woman sitting off to the side.
She’s stunning. And I HAVE to go talk to her. Not because I expect anything to happen. Not because I’ve calculated the odds. But because the moment demands it.
I tell Mr. Editor what I’m about to do. He nods. “Go for it,” he says. “I’ll watch.” I walk over and ask her name. She smiles. “Call me Luna.”
We speak in Japanese. The conversation flows. I bring everything I have to the moment—attention, presence, curiosity—and it lands. There’s a spark. Not forced. Not engineered. Just there.
We talk for a while. Long enough for the room to shift slightly around us. Eventually I ask for her Instagram. She gives it to me. I walk back to the bar and sit down next to Mr. Editor. I’m on Cloud 9. The next day, in the late afternoon, carefully timed, I send her a message but she doesn’t reply.
Failure? Not for the pre-gamer. Because the pre-gamer already got what he came for. The moment. The spark. The approach. The brief, electric possibility that something might happen. That was the action. That was the point. For the Strauss guys, the night ends when the text goes unanswered. For me, the night ended at the bar.
Up to this point, the pre-game is contained. Safe, even. A space where things can happen or not happen without consequence.
But sometimes it doesn’t stay that way.
Isobel Revisited:
I have written about my week with Isobel extensively elsewhere, however part of that story is relevant to what we are discussing here. I met her at the Faculty of Astrological Studies, held at Exter College, Oxford, in late August 2018. We spent the week together and I fell in love. But I didn’t sleep with her. My choice. What follows is a light re-write from my essay “On My Week with Isobel: Part II”:
Wednesday.
I wake up early and we have breakfast together in the dining hall. By this point, people are noticing us. Comments here and there, snickers, sideways smiles.
Morning and lunch blur into one long conversation—the garden, the bench, a little grass, nothing hidden. We’re finishing each other’s thoughts. I’m in deeper than I’ve ever been.
We don’t attend much of anything.
In the afternoon break she goes to change. I go back to my room and put on The Mendoza Line with the full weight of obsession. She comes back after and tells me, without shame, that she had pleasured herself during the break. Just fucking states it.
This is a complication.
That night she changes again. A red dress. Short, but not careless. Stunning. We sit at dinner whispering, touching lightly, laughing against each other. Everyone knows by now.
After dinner there’s wine again, talking with the tutors, the long courtyard. I meet Darby Costello in person for the first time. She’s fully alive, drinking wine, holding the room effortlessly. I’m so happy she’s my astrologer. But I’m elsewhere.
We stay late. Clear the courtyard. Around two in the morning we part. Cheeks touched. No bedroom. No act. No close. Back in my room, lights low, Mendoza Line still in my ears, I lie on the narrow bed and I know exactly where I am standing.
I will keep going. I will see where this leads. But I will not sleep with her. I can’t.
It’s not that I don’t want to. I do. Totally and much more. But I can see it. The complications. For her, for me. The chain of events that would follow. I’m old enough to see it coming. And I know, standing there in the courtyard, with the last of the wine and a cigarette burning down, that it’s on me.
I have to be the one to say no. That’s the shape. That’s the decision.
=====
Up to this point, the pre-game has been something I could enter and exit at will. A space I could step into, generate action, feel the spark, and leave intact.
With Ippei, the action was scripted. With Strauss, it was systematized. With Luna, it was self-contained.
But there’s another version of the pre-game, and it’s the one that matters most. The one where the moment doesn’t stay light. The one where it deepens. Where the spark doesn’t just flicker—it starts to take shape. And at that point, something shifts. Because now it’s not just about whether something will happen. It’s about whether it should.
This is where the line from Dylan starts to carry real weight. No one else could play that tune. There’s no system here. No script. No borrowed language. No Ippei handing you a premise. There is only the moment as it actually exists, and your ability to see it clearly.
And then the second part. It was up to me. Not to escalate. Not to optimize. But to decide. The game ends when something happens. The pre-game ends when you decide it should.
Dedication
For pre-gamers everywhere. May you get a little action tonight baby.
Note: If you liked this piece, you may also like the following pieces that also take up the themes of romance and seduction.
Note: This poem is a reconstruction. The original version appeared briefly on my first blog, Classical Sympathies, sometime around 2010, and like many things from that early site it was eventually lost in the digital shuffle. What remains here is an attempt to recreate the spirit of the piece from memory.
The poem itself is a mash-up of two real taxi rides that somehow fused together in recollection. One took place in Adelaide, Australia, during a ride from a hotel to the airport where the driver became thoroughly disoriented and began looping through unfamiliar streets. The other occurred years later in Kyoto, somewhere north of Sanjo, when a similarly confused driver managed to transform a short ride into a wandering tour of the nighttime grid.
Over time the two rides merged in memory into a single universal experience: the moment when a passenger realizes that the person holding the wheel may no longer fully know where he is going.
The result is presented here, perhaps a little mythologized, as a small recovered relic from the early days of the archive — a lost classic of the wandering taxi ride.
The haunted sweating taxi driver took another right, the meter ticking bravely in the middle of the night.
The city slid past sideways in a crooked grid of light, and every turn he promised somehow made the journey slight.
The haunted sweating taxi driver muttered to the wheel, as if the streets were hiding some essential missing deal.
A restaurant we’d passed before returned into my sight, which meant the haunted driver had again chosen wrong from right.
The haunted sweating taxi driver took another right, and wiped his brow dramatically beneath the yellow light.
Now when your taxi driver loses the plot this could go on all night, because the man who holds the wheel is captain of your flight.
You sit behind his kingdom like a mildly troubled guest, while every wrong decision slowly multiplies the rest.
The haunted sweating taxi driver leans forward in his seat, as though the road might whisper some confession through the street.
The meter ticks its steady hymn to time and mortal plight, while hostage to the haunted man who’s searching for the right.
The haunted sweating taxi driver takes yet another right, and somewhere in the city dawn prepares its quiet light.
But we remain in orbit of his navigational blight—
for when your taxi driver loses the plot this could go on all night.
Note: If you like this poem, you may also like the poems linked below. Happy reading!
The Kyoto Kibbitzer 