The Days and Nights of My 50s II: 7/21/26. A Day of Minor Annoyances.

Epigraph:

I’m so, I’m so, unsatisfied.

The Replacements

Dude, what are you doing?

Me

I: Morning and Afternoon

Today was a domestic day. Some days have a theme. This one announced itself before breakfast. It wasn’t tragedy. It wasn’t triumph. It was simply a day of minor annoyances, one after another, each too small to matter and yet somehow impossible to ignore.

Although I wasn’t at home in Kyoto, I was only about half an hour down the road in Osaka, my other city and, increasingly, my second home. I love Tokyo as well, but it’s farther away, considerably more expensive, and there is just too much going on. Osaka is more chill. I like that

When in Osaka I usually stay somewhere around Shinsaibashi, my favorite part of town, where I can happily wander for hours without much of a plan. Over the past several months I have been working hard to make the transition from teaching to writing full-time. I’ve been writing seriously for nearly two decades and have always thought of myself primarily as a writer. This spring, however, I finally decided to treat writing not simply as a passion but as a profession. The distinction matters.

Writing is the part I love. The profession includes everything else. I published my first novel, a thriller, earlier this year. I am happy with it and eager to do ever better next time. The book sold decently, and I’m still waiting for my first royalty payment. I don’t expect this money to change my life. If I’m lucky, it might pay for a few nights in a hotel, a handful of good dinners, and a strategically irresponsible number of cocktails. That’s perfectly fine. Every career has to start somewhere.

What I’ve gradually begun to understand is that being a professional writer involves far more than sitting in front of a keyboard. There are websites to maintain, emails to answer, banking problems to solve, social media to update, editors to contact, drafts to organize, and a hundred other little administrative jobs that somehow multiply while I sleep. To be honest, some of those tasks are a bit of a pain in the ass. Others are fun. Still, they’re part of the job now, and I intend to get as good as I can with them.

I am also recently divorced and dating again for the first time in nearly thirty years. Earlier this summer I dated a wonderful woman named Litz for about seven weeks. Most of this was online, and then the last eleven days we spent in her tiny apartment in Kochi City in central Japan. Eleven days in a small apartment is more than enough for minor differences to add up, and add up they did. After this time together, we mutually decided that we would not remain a couple and would no longer be exclusive. This is the right decision for both of us. We remain close friends, talk on the phone multiple times a day, and as of this writing are planning to meet for the first time in almost a month this coming Sunday. We have agreed to give our relationship a fresh start with as few expectations as possible. This will be a little tough as we have already spent many hundreds of hours on the phone and in person, however we will give it our best shot and hope for the best. Interested readers can read my longer piece on the recent state of our relationship here.

These days I am talking with dozens of women all over Japan and the world on several dating apps. Some conversations are thoughtful, some are flirtatious, some become unexpectedly intimate, and others consist almost entirely of discussions about pets, weather, coffee, and whether either of us has remembered to eat lunch. I enjoy all of it. I only block women when they ask me for money I am not going to give them. My mother finds all of this pretty remarkable and even a little shocking, which I find quite funny and so I remind her that “yeah mom you met dad in 1969 and things were a more than a little different back then. Today every single person and many married people besides are on the apps and carrying on a bunch of conversations just like me.” She laughs too.

I have been on a few dates since Litz and I ended our exclusive relationship with both professional women and regular civilians, and while these have all been nice, nothing has really materialized yet. I also have several more dates lined up across Japan and Southeast Asia over the next month and I find this really great. When I first went on the apps back in April just days after my wife and I agreed to divorce, I expected it to maybe take a few months to get anything new going. Within just three days I met Litz and we were off to the races. I had been with my ex-wife for nearly 30 years, so I think the reader will forgive me for not fully understanding the modern dating scene. Nevertheless, I dramatically underestimated how many people are online today, how badly they seek meaningful connections, how horny they are, and frankly how they can be, and I include myself in this, just a little bit desperate sometimes.

So yeah, there is a lot going on in my life right now. Today, however, was mostly little chores. I woke just after 3:30 this morning after about four and a half hours of sleep. That may not sound like much, but I’ve slept this way since I was a teenager. I don’t necessarily recommend it, but I no longer spend any time worrying about it.

I got up, made a quick coffee, and took a quiet walk through the neighborhood surrounding my hotel near Hommachi Station. It was one of those peaceful Japanese mornings that almost seems to belong to another world. The covered shopping street nearby was almost completely deserted. Every shutter was down except for a couple of twenty-four-hour beef bowl restaurants serving the early shift workers and the late night drinkers. I wasn’t in the mood for gyudon, so I wandered into a convenience store instead, picked up a light breakfast and another coffee, and walked slowly back to the hotel while the city stretched itself awake.

Back in my room I realized I wanted to stay in Osaka a few more days. Summer vacation gives me six precious weeks away from school, and I’ve learned not to waste them. My son will soon be returning to Japan in a few days after spending much of the summer traveling overseas covering the World Cup, and I wanted enough time in Osaka to write before heading back to Kyoto to see him. That simple decision turned out to shape the entire day.

I extended my checkout twice, paying a few thousand yen for the privilege of remaining in the room instead of wandering around the city with my suitcase for half the afternoon. The extra time was worth every yen. I finished editing an essay, attended to some texts, and worked for a little while on my finances, a full time job in and of itself. When I checked the TV with the intention of extending for three nights, I realized that, although it was mid-week and not a holiday, the price was suddenly jacked up by double. This pissed me off a bit, however there was nothing I would do so I started looking for another hotel that didn’t require a working credit card. That last detail turned out to be more difficult than I expected.

I’m currently replacing both my primary bank and my credit cards, which means that perfectly ordinary tasks occasionally become miniature adventures. Booking a room, moving money between accounts, confirming reservations, receiving verification codes, signing into banking apps—none of it is difficult in isolation, but together they have an ability to consume an entire morning.

After a while I found a hotel in my price range near Tennoji Station and took the short train ride across town. The hotel is a former love hotel, a little older than my previous one, and the room is enormous. It has a huge bathtub, an improbably large bed, an oversized sofa, enough switches to launch a small spacecraft, and, for reasons known only to former love hotels, more amenities than I could possibly need.

The air conditioner was already on high when I arrived, which felt like an act of unexpected kindness after walking through the July heat. I unpacked my bag, plugged in my computer, laid tonight’s clothes across the sofa, and settled in. I had time, so I did something I had been putting off for nearly two months. I took all the things out of my large suitcase, laid them on the desk, and ended up throwing several bags of old clothes and other junk away before putting the rest back. This felt great because I am a bit of a minimalist and I seriously dislike clutter. For the first time all day there was nothing that absolutely had to be done. The domestic work was finished. The night could begin.

As of this writing, it is just before seven o’clock in the evening. I just finished editing and published yesterday’s diary entry, so I am starting on today’s. My plan is to begin the evening at a wonderful little cocktail bar near Shinsaibashi Station before wandering a few blocks over to one of my favorite karaoke joints. I hope to meet a woman tonight. I’m optimistic, but we’ll see. If it happens, wonderful. If it doesn’t, that’s perfectly fine too. When I was younger, I was relatively introverted. Over the years I’ve worked hard to become more outgoing, and these days I genuinely enjoy talking to strangers. I’ll probably end up chatting with a few dozen of people before the night is over. Perhaps a few will become new friends. Maybe one of them will become something more. Either way, I expect to wander back to my hotel sometime after midnight, finish this essay, get a few hours of sleep, and wake up tomorrow ready to do it all again. We’ll see where the night takes me.

II: Evening and Night

After getting settled into my new hotel, I decided it was time to head over to Shinsaibashi for the evening. Before I could think about cocktails or karaoke, however, I needed one thing: cash.

That turned out to be more complicated than expected.

The ATM had an English button, which naturally suggested that it would operate in English. Of course it did not. Add it to the list of minor annoyances that my day for some reason oriented itself around. I switched back to Japanese, poked my way through the menu, and managed to withdraw enough money for the evening. The whole episode took only a few minutes, and yet felt strangely representative of the day. Even the simplest tasks seemed to require one extra step, one extra guess, one extra little annoyance.

Even the cash in my pocket got in on the action. One of my ¥10,000 notes somehow emerged from my pocket slightly damp, despite the complete absence of rain. I have no idea how this happened. Whatever.

Outside, the evening was magnificent. As night fell, the temperature had fallen into the high sixties, and Osaka had become wonderfully walkable again. Summer nights here have a way of redeeming even the most irritating afternoons. I set off toward Shinsaibashi, thinking I’d simply grab a taxi and be there in a few minutes.

Google Maps had other ideas.

For reasons known only to itself, Google confidently informed me that Shinsaibashi was thirty-five minutes away by car. That couldn’t possibly be right. I know Osaka well enough to know when something doesn’t pass the common-sense test. Tennoji and Shinsaibashi are quite close together, but the app was operating like they were on opposite sides of the moon. They are not. I stared at the map, looked around at the streets in the area, and became increasingly convinced that either I was out of it or Google Maps was.

As it turned out, the answer was a little of both.

Unable to find a taxi, I wandered toward the nearest station hoping to sort things out underground. I asked the station guy the way to Shinsaibashi Station. He told me to take the Seninmichi Line. I walked over and of course, this is just the kind of day it was, the Seninmichi Line didn’t stop at Shinsaibashi at all. It did however stop at Namba, the stop before Shinsaibashi. Thinking about it I remembered that Namba was actually closer to the Drunken Clam than Shinsaibashi. Great. I had been to the Clam about five or six times and thought I had a pretty good sense of where it was. This would turn out to be wrong.

On the train I found myself making small editorial changes in my head to the Bobby Fischer essay I had just finished back at my hotel. I reread the essay on my phone, and focussed on one sentence: I had written that Fischer “couldn’t outrun what was following him.” Following wasn’t quite right. Chasing was better. Much better. It gave the sentence urgency. That’s the sort of microscopic revision nobody else notices but that writers somehow can’t stop making. I made a mental note to change it later.

Before leaving the hotel I’d also checked the latest stats for my blog. The Fischer essay had begun attracting readers, and the comments were starting to arrive. Other recent pieces were also moving well. This made me happy, because although I would not say I am obsessed with my stats I do find myself checking them several times a day.

At this point, I thought, I had sufficient cash, a reasonably good idea where I was going, and a beautiful July evening stretching out ahead of me. The middle part, again, turned out to be dead wrong.

Namba Station is only a few minutes from Tennoji Station, despite Google Maps claiming it is 35 minutes by car. It is not. It is more like five. Whatever dude. Do better I guess. If you can.

When I got up to the street above Namba Station, Google Maps told me that the Drunken Clam was 8 minutes away and it showed me the direction. The two blue arrows were pointing in opposite directions, but this is nothing new. I have learned over time that the arrows never have a clue as to what the hell they are doing, for some reason, and the only way to do it is to rely on the blue dotted line who generally is much more accurate. It was now close to 10 PM. I set out for the Clam and walked about 5 minutes before checking the app again. This time it had me going in the same direction, however it said I was now 13 minutes away. Typical. This seems absurd, so I looked around and at this point I still felt like I was more or less on track. I was not.

At one point I found myself standing in what appeared to be a dead end, staring once again at the little blue dot on Google Maps. The spinning wheel turned, the arrow drifted, recalculated, spun again, and generally behaved like a man trying to remember where he’d parked his car. I began to lose my patience.

A reassessment of the situation revealed to me that I was lost. I was not getting any closer to the Clam, and in fact Google Maps was insisting I was getting further away. I found myself asking the obvious question. How, after all these years, is this all still so difficult?

Presumably Google employs thousands of brilliant engineers whose entire job is making sure people know where they are. They have satellites, artificial intelligence, unimaginable computing power, and enough data to know what I had for breakfast. Yet somehow the little blue arrows still can’t tell me which way to walk down a street in central Osaka.

This isn’t a village in the mountains. It’s Osaka. It is one of the largest metropolitan areas on Earth. Tens of millions of people move through these streets every day. It is extensively mapped. If there is one place on the planet where a navigation app ought to know exactly where you are, surely Osaka is it. Nah.

I walked around in circles for another 20 minutes and then gave up and tried hailing a taxi. Google Maps was just busted. He sucks. Figure it out. I don’t know. The first taxi swept straight past me, reserved, which seemed about right. The second one stopped and picked me up. By this point I was sweating heavily in the July heat and was mopping my face with my shirt. The blast of cold air in the taxi felt like heaven.

After about a five minute drive the driver said the street to the Clam was closed to cars and it was just a few minutes away. This felt about right to me, so I paid my fare and made my way in the direction where I thought the Clam was. I was right back where I started over an hour ago, right next to Namba Station. I guess I was just being stupid and I should have just asked somebody instead of relying on the ever increasingly outta control Google Maps. But I had not. Oh well, I was almost there now. So I thought.

I was excited to sing karaoke as it had been months since my last time. Although I was a weekday, I knew from experience that the Clam would be packed. I would be lucky to get even one song in and I was going to choose Elton John’s Tiny Dancer, a real crowd pleaser. I knew that someone would play What’s Up by the 4 Non Blondes and Mr. Brightside by the Killers. These two songs are absolute staples of the karaoke scene in Japan and around the world. I was by this point thirsty and hungry and was looking for somewhere, anywhere, that was still open where I could grab a quick bite before the Clam. I felt that I was mere minutes away.

Right about then a total babe, a little chubby with rosy apple cheeks, walked past me. She made three seconds of eye contact, gave me a big smile, and winked. I smiled back. Nice. Her boyfriend noticed and kind of gave her the side eye. She glanced at him then looked back at me, smiled, and winked again! She wants the D I thought to myself and laughed. At least something was going my way.

I switched back to Google Maps, somewhat against my better judgement at this point. The large blue arrow pointed east while the smaller one pointed north. Again. A few seconds later they had switched places. Meanwhile the blue route calmly suggested I continue straight before making a short turn a block ahead. The map, the arrows, and my own sense of direction were conducting three entirely separate conversations.

So I made an executive decision to just ignore the arrows. They were not helping at all. The suggested route itself seemed about right. I started recognizing familiar landmarks. Sam & Dave’s couldn’t be far away. Neither could The Drunken Clam. Once those places enter your mental map, you’re effectively home.

As my confidence returned, so did my mood. A row of misting fans blasted cold air onto the sidewalk, and after well over an hour of wandering around in the July humidity they felt miraculous. I stood there for a few seconds longer than necessary, letting the cool mist wash over me before continuing on. Sometimes the smallest comforts are just the best.

Google Maps, however, remained committed to its own interpretation of reality. Every time I looked down, the arrows had adopted another opinion about which direction I was facing. Eventually I stopped arguing with them. They clearly weren’t interested in hearing my side of the story.

The streets grew busier. Hostesses and sex workers called out to passing pedestrians with the practiced ease of people who had repeated the same lines thousands of times. I smiled, exchanged a joke with one or two of them as I often do, and kept walking. It was simply another familiar part of the neighborhood, another sign that I was finally getting close.

When I checked the map one last time, it informed me that I was nine minutes away. An hour and a half ago minutes earlier it had insisted I was only eight minutes away. Whatever dude.

By now I had reached the point where optimism was becoming difficult to sustain. The estimated walking time seemed to change every time I looked down despite the fact that I had been walking steadily in what I thought was the right direction. It no longer mattered. What mattered was that I was once again lost. The bright, busy streets around Namba had quietly given way to somewhere much quieter. It simply didn’t feel right. I knew enough about Osaka to recognize when the city stopped matching the picture in my head.

After another twenty minutes of wandering through the July heat I was soaked with sweat and rapidly losing enthusiasm for the adventure. I wanted air conditioning, a cold drink, a restroom, and bed. The romantic idea of strolling across Osaka had officially run its course.

I finally admitted defeat and decided to grab a taxi to go back to my hotel. One pulled up right away. I climbed in, gave the driver the name of my hotel. After spending the better part of two hours arguing with Google Maps, there was something deeply reassuring about talking to a human being who knew exactly where he was going.

I thought the ride would take about 12 minutes, so I kicked off my crocs and leaned my head back against the seat to catch a few Zs. Instead the ride lasted all of four minutes. That, more than anything else, confirmed what I’d suspected all along. I’d never been very far away. The whole trip from door to door should not have taken more than 10 minutes. By the grace of Google Maps it took two hours. He is simply outta control. He does not know his ass from his elbow after 20 years. It makes zero sense.

III: Close

Back outside my hotel I walked the two minutes to Seven Eleven to get a few late night provisions. I lit a cigarette on the walk, because I smoke all day long, and also because I was still a littler stressed from my ordeal. With finally a minute to breathe I thought about ordering an escort. Although it was almost midnight, I knew the escort agencies would still be open. Some of them are open 24 hours, and others close for just a few hours in the morning. I would use the same agency I used last night to book Yuki. My date with Yuki had gone well enough, and she was very sweet, however she just wasn’t my speed and I was not going to book her again. I liked the picture of another girl on the app, and briefly contemplated booking her once I got back to my room. I just as quickly rejected this option because after my long walk around the greater Namba area I was simply exhausted. The only move was to smoke a couple more cigarettes, wash up, drink some water and maybe a little red wine, and call it a night. And this is what I did.

IV: Final Reflection

Looking back on the say, there wasn’t a dramatic event. Nobody fell in love. Nobody died. I didn’t solve any great problem or have any profound revelation. Instead I spent the better part of twenty hours dealing with hotel reservations, bank cards, ATMs, Google Maps, train stations, taxis, convenience stores, and the thousand tiny pieces of modern life that quietly consume so much of our time. Twenty-five-year-old me would have dismissed it as a wasted day. Fifty-two-year-old me isn’t so sure. Ordinary days are, after all, what most of life consists of. If you can’t learn to appreciate them—or at least laugh at them—you’ll spend most of your life waiting for life to begin.

In the end everything worked out. I found another hotel, finished some writing I was happy with, got hopelessly lost, eventually found my way home again, shared a smile with a beautiful stranger, sang no karaoke whatsoever, and ended the night exactly where I was supposed to be: back in my room, tired but happy, and with another essay nearly finished. Tomorrow will almost certainly bring another entirely different collection of small victories and minor frustrations. If today’s lesson was anything, it’s that those days are worth paying attention to too.

Dedication:

To the apple cheeked babe. There is always tomorrow honey.

The Days and Nights of My 50s I: 7/20/26, the Unwritten Libretto.

Author’s Note:

Five days ago, I made what may prove to be the most important professional decision of my life.

For months—years really—I had been thinking about giving up my teaching career and becoming a full-time writer. I have talked to many of my family and friends about this and taken several small steps in this direction. I recently published a novel, have written and published hundreds of essays, and written almost every day for eighteen years. I have hundreds of pages of dream records, journals and letters, some sent and some only in draft form. I am hard at work on the sequel to my first novel, and am currently working on five books with many more in the making.

Over this time I have also become very good at making excuses. School is too busy. Life is complicated. The timing isn’t quite right. Next month. Next term. Next year. One day. It was all true, and yet it barely matters. A few days ago, I finally admitted what had been staring me in the face for a long time: if I wanted to call myself a writer, I had to stop waiting for someone else to make that decision for me. Whether I eventually succeed or fail is almost beside the point. The decision itself changed something in me. I stopped thinking about the life I wished I had and started taking responsibility for the one I actually have.

Today wasn’t the happiest day of my life, nor the saddest. It wasn’t the day I got married, the day my son was born, the day I published my first book, or the day I realized my marriage was ending. Objectively speaking, it was an ordinary Monday in Osaka. I listened to music. I wandered the city. I shared dinner and my bed with a woman whose path happened to cross mine for a couple of hours before diverging forever. By tomorrow morning she would be somewhere else, and so would I. Yet somewhere between checking into a modest hotel, thinking about my future, and sitting alone quietly after she left, something finally clicked. My teaching career is rapidly coming to a close. The marriage that defined most of my adult life is over. The books I dream about haven’t been written yet. The cities I may someday call home are still only possibilities. The people who will matter most over the next twenty years are, at this moment, complete strangers.

For the first time since I was a young man, there is no obvious script. That realization is exhilarating. It is also terrifying. Most of all, it is deeply liberating.

So this seems as good a place as any to begin this series.

Epigraph:

Yesterday is history. Tomorrow is a mystery.

Anonymous

Anything could happen.

Bash and Pop

I: My General Situation As of Today

For the better part of thirty years, my life had possessed a remarkable amount of structure. I graduated from college. I moved to Japan. I found a teaching career almost by accident and stuck with it for a quarter of a century. I got married, and my wife and I bought a house together in Kyoto. We raised a wonderful son together who we both love more than words can say. We have paid bills, argued over groceries, worried about our dear dog Daisy, taken vacations when we could afford to, and slowly accumulated the ordinary rituals that eventually become a life. There were wonderful years and there were difficult ones, but there was almost always a next step waiting patiently in front of me. Whether I liked the script or not, there was a some kind of a script.

Then, almost imperceptibly at first, it disappeared.

My marriage ended not with a single dramatic explosion but with the gradual realization that two decent people could simply reach the end of the road together. My teaching career, once the defining feature of my adult identity, began to quietly recede into the background. Friends scattered across countries and continents. My parents grew older. I turned fifty-two without feeling especially old, but with the unmistakable sense that I had entered the second half of whatever story remained.

It is a peculiar thing to discover that freedom and uncertainty are twins. For years I imagined freedom as something uncomplicated. Finish work. Write books. Travel. Meet interesting people. Drink coffee in strange cities. Listen to music until two in the morning. Wake up whenever I pleased. Answer to no one.

There is truth in that fantasy. There is another truth as well.

Freedom also means that no one hands you tomorrow. No institution is waiting to promote you. No family obligation automatically determines your next decision. No invisible current carries you downstream. Every meaningful choice becomes your responsibility. Every success belongs to you. Every failure belongs to you too.

That realization can feel less like opening a door than standing on the edge of a cliff. You can step forward. Or you can spend the rest of your life admiring the view. Five days before the evening you’re about to read about, I decided I was done standing still.

I wasn’t retiring, not yet anyway. I wasn’t exactly reinventing myself. I wasn’t chasing some impossible dream. I was simply acknowledging something that had probably been true for twenty years. I am a writer. I feel like I was born to be one. Whether anyone else eventually agrees is, in many ways, beside the point. The work itself has become the destination. Everything else—the cities, the books, the women, the music, the bars, the victories, the humiliations, the friendships, the failures—is simply material for my work.

This series is an attempt to pay attention to the contours of my daily life, in whatever form the may take. And, perhaps for the first time in my life, to trust that the story doesn’t need an outline before it begins.

II: Osaka

Osaka has always felt different to me than Kyoto.

Kyoto is the city where I built my adult life. It is where I have worked, and lived for more than twenty years with my life and son. It is where the mortgage was paid and our dog was walked, where ordinary afternoons quietly accumulated slowly into decades. I know its rhythms inside and out. I know which coffee shops open early, which bridges are worth crossing at sunset, and where to stand beside the Kamogawa when I need to remember that almost everything eventually passes.

Osaka has always been to me something else entirely.

It has never asked me to be responsible. When I come here, I feel somehow lighter. Less like a teacher. Less like a husband. Less like the man who spent twenty-four years inside the same corporate institution. Osaka has always given me permission to become, if only for a day or two, a slightly different version of myself. Not a better man or a worse one. Just someone with fewer expectations resting on his shoulders.

Perhaps every city we visit has a role to play in our lives. Kyoto has been my home. Tokyo has often been a dream. Singapore has long been my favorite escape. Osaka, though, has become my intermission. A place where I can step off the stage for a little while before the next act begins. A place to just get away.

This Monday afternoon I checked into a small APA Hotel not far from Shinsaibashi Station, which I affectionally call Mr. Shin. Like most APA hotels, it is clean, efficient, and just a little too compact. The room isn’t exactly designed for lingering. It is designed for sleeping, showering, and moving on. My suitcase for neatly against one wall. The desk is barely large enough for my laptop and a cup of coffee. The large television in front of my bed I will barely use. It suits my current mood perfectly.

I took a taxi to the hotel from Shin-Osaka Station and arrived around 7:30 PM. I dropped my overnight bag on the floor, drew the curtains apart, and looked out over another slice of Osaka. Nothing spectacular. Just traffic, apartment buildings, and the quiet machinery of a city getting on with its day.

I remember thinking how strange it felt to have absolutely nowhere I needed to be. No lesson to prepare. No meeting to attend. No papers to grade. No one waiting for me at all.

That realization no longer frightened me the way it once might have. It felt… spacious. There are moments in life when freedom announces itself with fireworks. This wasn’t one of them. It arrived almost silently. Like an empty afternoon. Like a city that has never asked me to explain myself. My hotel room is simple. It is what I can afford.

Outside, Osaka continued exactly as it always had. Inside, almost without me realizing it, the next stage of my life had already begun.

III: Meeting Yuki

I should flash back briefly here to introduce my date for the evening. There are evenings that require months of planning. This was not one of them.

The plan, such as it was, consisted of very little. Conversation. Sex. Cigarettes. Dinner. That was enough. As I stepped out of the taxi, I saw her standing quietly on the street.

She was slightly built, dressed in a simple black skirt, and carried herself with the quiet confidence of someone accustomed to meeting complete strangers. There was no dramatic meeting, no cinematic slow motion, no instant thunderbolt. We smiled, introduced ourselves, and within a minute or two were walking side by side into the hotel through the warm Osaka evening as though we had agreed to meet as old friends rather than someone we had never laid eyes on before.

Her name was Yuki.

We went up to my room and made the sort of awkward conversation that strangers always make at first. Where are you from? Where do you live today? Had I been to Osaka often? Was I enjoying the summer?

Nothing remarkable. Which, in retrospect, was itself remarkable. There is something deeply comforting about ordinary conversation. For a little while, neither of us had to be anything more than two people just getting to know each other.

Eventually, because pretending otherwise would have been absurd, the reason we had met entered the conversation. She is thirty-six and works as an escort. I had hired her for the evening.

There is no point dressing those facts up in prettier language. They are neither the whole story nor something I feel any particular need to defend. They simply belong to it. Human lives are untidy. We make decisions for reasons that are sometimes noble, sometimes lonely, sometimes curious, and sometimes impossible even to explain to ourselves. This was one of mine.

I went into the bathroom to wash up, took my clothes off, and hung them neatly on the hangers on the wall. By the time I came out of the bathroom she was naked too. That was what we were there for. I put on one of my favorite bands Whiskeytown, lay back on the bed for a few minutes, listened hard, and let the sweet sweet sounds of Ryan Adams’ voice wash over me. I was, briefly, in heaven.

Then, inevitably, we began to kiss. She is a smoker and tasted like stale tobacco and faintly like green peas. I am a smoker too so I am sure I tasted the same. She unwrapped one of the condoms that I had bought earlier for occasions just like this and began to pleasure me with her mouth. While I do enjoy oral sex to some extent, it is far from my favorite sexual act and I have never been able to cum this way. Not for lack of trying, I simply find that the women who have performed the act on me can never sufficiently been able to get their teeth out of the way. It is not their fault at all, but it is just that simple.

Soon enough, I asked her to climb on top of me. My penis was already erect and she was slick as well, and I entered her cleanly and easily. After a little while, we flipped around and began to engage in the missionary position. I was on the urge of cumming when I pulled out, turned over on my back, and finished my self off with two hands. Nine times out of ten I finish this way if I finish at all. After all, I know my own equipment better than else, so to speak. Before we began to have sex I put on some porn. I chose very quickly as we were on the clock. I selected some perfectly nun priest porn, totally chalk. Of course we both barely watched it as our eyes were mostly closed. The moment I came I toweled off, shut off the porn, and immediately pressed play on the Whiskeytown video I had paused before sex.

Then a funny thing happened. During sex she had repeatedly asked me to turn down the porn and to shush in general. She said we were at a business hotel and that we were bothering the other guests. Although I love to be babied. I do not like to mothered at all. It is just not my thing, and I have written about this at some length here. I already knew that I would not book Yuki again, and this moment helped crystalize my decision. She is sweet and cool, and I am glad I met her for one night, however she is just not my jam. And also, nobody shushes my boy.

Anyway, she asked me to turn my music down. I just laughed and cranked it. Then she laughed too and the mood lifted and passed. Neither of us was yet in the mood for a shower, mostly because we were on the clock and by this point only had about 40 minutes left in our appointment. I did not feel like a round two, so I suggested we head down to the street to smoke for a smoke and then get a little dinner. Although we had less than an hour left and the hotel restaurant was a little busy, she agreed to have dinner with me.

We finished our cigarette and entered the first floor hotel restaurant. We sat down and briefly consulted the menu. The restaurant specializes in pasta, so I ordered tomato pasta with eggplant and she ordered the zucchini linguine. The food took a while to arrive, so halfway through the meal she asked for a doggie bag. I quickly finished my meal and we went upstairs so she could pack her bag.

The evening had never pretended to be anything it wasn’t. Neither of us confused it with romance. Neither of us imagined it was the beginning of some extraordinary love story. It was simply two lives crossing for a few hours before continuing in different directions. There is something quietly beautiful about that too.

Outside, Osaka was still very much alive. Trains rattled somewhere in the distance. Traffic rolled steadily beneath the hotel windows. Thousands of strangers were beginning nights that had nothing to do with ours. Ours, quietly and without complaint, was coming to an end.

I told her I was going to wash up for a minute. She said through the door that she had to leave. I said goodbye babes and she replied in the same fashion. When I came back out, she was already gone.

And I didn’t even kiss her goodbye.

IV: Coda

For most of my adult life, my future had always arrived with an outline. There was always another semester to teach. Another report to write. Another mortgage payment to make. Another family holiday to plan. Another school year waiting just over the horizon. Even when life became difficult, I almost always had a sense of what would come next. The details may change, but the broad shape of the story had already been sketched.

And now it hadn’t.

As I write this the marriage that defined nearly half my life has come to an end. My teaching career, after almost thirty years, is slowly coming to an end. My son is a grown man, trying his best making his own way in the world and earning his own money. My wife and I are immensely proud of him as well we should be. Our house of 19 years will soon belong to someone else. My life is rapidly becoming quite different and everything that had once seemed permanent has become part of the past.

This all may sound just a bit sad. Some of it may be, sure. It also happens to be exhilarating. Tomorrow I might wake up in Kyoto. Next month I might find myself in Singapore. A year from now I may be living in Osaka. Anything could happen.

Perhaps I’ll write ten more books. Perhaps no one will read them. Perhaps I’ll fall in love again. Perhaps I won’t. There will be close friends I haven’t made yet. There are cities I have not yet wandered. There are songs I haven’t fallen in love with, thank god.

There are mistakes waiting patiently for me. There are joys I cannot yet possibly imagine. For the first time since I was in my early twenties, the next chapter of my life has not yet been written.

As I stood there in that little Osaka hotel room, listening to Whiskeytown waft through the room, I finally understood what life had trying to tell me for days.

My life hadn’t fallen apart. It had, in fact, opened up. And somewhere beyond everything I thought I knew, waiting patiently for me, was the unfinished libretto.

Dedication:

For Yuki. Thanks for a lovely evening. I’ll never see you again, babe. Go with God.

The Adventures of the Thin Man and Andrea II: The Thin Man’s Son. CHAPTER 3: The Thin Man in Costa Rica

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.

On Some Meetings and Close Encounters with Musicians II

Note: This is the second piece in our series “On Some Meetings and Close Encounters with Musicians.” You can find the first installment here.

The encounters described here span more than thirty years and several cities — from a first arena concert in Pullman, Washington in 1991 to small club shows in Cambridge, Osaka, and Kyoto over the decades that followed. As with many memories of live music, the exact setlists and dates blur, but the rooms themselves — the sounds, the atmosphere, the strange and fleeting meetings between artists and audiences — remain vivid. These sketches attempt to capture a few of those moments as they were experienced at the time.

Epigraph

No fears alone at night she’s sailing through the crowd

In her ears the phones are tight and the music’s playing loud

— Dire Straits, “Skateaway”

Live music produces strange meetings. Sometimes you meet the musicians themselves. More often you meet a moment — a room, a sound, a feeling that sticks with you for decades while entire years of ordinary life quietly disappear.

Here are a few such encounters.


I. Initiation

My first real concert was the On Every Street tour in 1991.

The band was Dire Straits, the venue was Pullman, Washington, and the company was the usual Spokane crew: Seth, Innes, Kelly.

I was the biggest fan in the car by far. The others liked the band well enough but I was the one who had studied the records, who knew the guitar parts, who was ready for the moment when the lights dropped and the first notes hit the arena. This was the On Every Street tour, which turned out to be their final record.

They played everything: Money for Nothing, Walk of Life, Sultans of Swing. It was a great show, and one of their last before retirement, though at the time I had no real way to judge such things. It was simply enormous — lights, volume, spectacle. I bought the black and blue tour shirt and wore it for five years.

At the time I thought concerts were supposed to be like that: huge, polished, and far away.

I would later learn otherwise.


II. Revelation

Several years later, during the Hamilton years, I saw Red House Painters at the Middle East in Cambridge.

I went with Ian. The room was small, maybe a few hundred people at most. Nothing about it resembled the arena in Pullman. And then, near the end of the set, Mark Kozelek began playing “Little Drummer Boy.” It lasted nine minutes. You could hear a pin drop in the room.

No spectacle. No lights. Just absolute concentration from everyone present. When the final notes faded the silence lingered for a moment before the applause came.

Afterward Ian and I drove back toward New York through the cold night with the windows cracked open, heaters flying out into the darkness, and Hell’s Ditch blasting through the car stereo to keep us awake.

That was the night I realized concerts could be something else entirely.


III. Chaos

Not every show produces reverence.

I once saw The Fall with Ian as well. The band’s leader, Mark E. Smith, seemed to be operating in his traditional mode of total hostility. The set was short — twenty-eight minutes by my estimate. Ian later checked the official record and insisted it was forty-three. Either way it felt brief and volatile. Smith barked into the microphone, glared at the band, and treated the entire enterprise with the air of someone barely tolerating the existence of the audience.

Which, to be fair, was exactly what many people had come to see.


IV. Theatre

The strangest performance I ever witnessed may have been Cat Power at Club Quattro in Osaka.

The evening began badly. An opening act — a woman in what appeared to be a fairy costume — sat at the piano and played for what felt like an eternity. Forty-five minutes at least. Perhaps longer. By the end of it the audience was openly confused.

Then Cat Power appeared.

Or rather she refused to appear in the conventional sense. Instead of remaining on the stage she wandered through the venue with a handheld microphone, singing and rapping while walking amongst the crowd, occasionally placing an arm around a patron or leaning against the bar.

At one point she came right up to where I was standing near the back rail and sang a line or two before drifting off again into the room.

The entire show felt less like a concert than a piece of improvised theatre.


V. Ritual

A few years later I saw Damo Suzuki at Club Metro in Kyoto. Damo had once fronted the legendary German band CAN, but this night bore no resemblance to those recordings. Nothing recognizable from the catalog appeared. And here he stood, just a few feet away from the audience with long black-and-grey hair flowing, bellowing and chanting over a constantly shifting improvisational band.

It was less a performance than a ritual.

Damo passed away not long ago. RIP and prayers up. I’m grateful I saw him when I did.


VI. Canada Night

Not all memorable shows are mystical.

Sometimes they’re simply loud.

One such evening occurred at Club Quattro in Osaka when Broken Social Scene and Death From Above 1979 came through town.

The Canadian ambassador was present and delivered a brief speech before the set explaining that Death From Above 1979 represented a fine example of Canadian enterprise because they were “only two men making so much noise.”

The room was packed with Canadian expats and the atmosphere was celebratory chaos. The ambassador was probably correct.


VII. Breakdown

Not every concert goes well.

I once saw Bonnie ‘Prince’ Billy at the small Kyoto venue Taku Taku. Something had clearly gone wrong with the lineup. The guitarist appeared to be brand new and could barely navigate the chords.

Will Oldham tried to push through but quickly grew frustrated and began openly calling the guitarist out from the stage. It was uncomfortable for everyone involved.

The show never recovered.


VIII. Redemption

Fortunately the story has a better ending.

Some years later I saw Bonnie “Prince” Billy again, this time at the beautiful Kyoto venue Urbanguild and everything worked great. Low benches and tables filled the room, Heartland beer bottles glowed green under the lights, and the band played a relaxed, confident set drawn mostly from the Bonnie “Prince” Billy catalog with a few Palace songs mixed in.

Opening the evening was an instrumental group called Bitchin Bajas whose sound reminded me faintly of early Phosphorescent if Phosphorescent had chosen to make instrumental records. After the show I found myself talking with three members of the band while they drank beer and ate fries. They were humble, friendly, and slightly surprised that anyone in Kyoto knew who they were. We talked for a while about touring and the constant challenge of trying to make a living as working musicians. Eventually the conversation drifted off and the room began to empty.

The music was over. The musicians were just people again, finishing their drinks and preparing to move on to the next city. And that, in the end, may be the most interesting encounter of all

Dedication

For live music fans everywhere. My true people. I love you baby.


Note: If you enjoyed this essay, you may also enjoy the essay below on the four time I met Yo La Tengo. Happy reading!

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.

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.

Dedication:

For Isobel (aka Elodie). You completely changed my life. You are amazing. I will never forget you.

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

On a Guy Called Whit (with a Cameo from Ambassador Rahm Emanuel)

New Note: I am republishing this piece for two reasons: First it’s been three years since I wrote it and it is one of my all time favorites. Second, as the title shows the politician Rahm Emmanuel makes a cameo and there is at least a possibility that he will run for President in 2028. This is a funny piece and it totally speaks for itself. I hope you like it.

Note: This is a piece about a guy called Whit. Over the past little while I’ve run into this guy in a couple of craft beer pubs in North and Central Kyoto. In a sense, it’s faithful to the original intention of thekyotokibbitzer—to check stuff out around the local area. Naturally, “local” is a highly fungible term, which is what makes it so excellent, but it feels good to get back to basics.

Interested readers may also want to revisit my earlier piece about my North Kyoto run-in with musician Damon Krukowski—currently a prominent critic of Spotify’s business practices, but formerly a dick to my face.

I met this guy called Whit at a Kyoto pub we’ll call T’s. T’s is owned and operated, naturally enough, by T. It’s a pretty nice place, although not everyone thinks T is a nice guy. He and I, though, rub along fine. T likes to wear sandals. So do I.

T’s seats about twenty-odd and lets people stand around without a chair, so it can get crowded. On the night I met Whit, though, it wasn’t. There was just me at the L-shaped corner near the entrance, Whit and three male friends at a table, a lone woman mid-bar, and a few other strays.

Whit and his buddies were winding things down, and before they paid, Whit sidled up to the lone woman.

“Genki desu ka?” he asked.

To understand what’s happening here, you need a little context on the phrase. Literally it means “are you cheerful?” but in practice it’s “how are you?” — a totally standard, everyday greeting. It is also, however, a classic Japanese pick-up line. Both the pickup artist and the garden-variety sleazeball deliver their “genki desu ka” with a little extra—an undertone, a wink, a leer.

This guy called Whit, I could see immediately, was leaning heavily into the leer.

I have no idea of how this guy called Whit would have fared with his approach if it had been allowed to develop because T himself came flying around the bar and snapped at Whit (in Japanese) “don’t talk to her, get away from her.” As a mere observer to the developing situation this seemed excessive, especially because T’s is the kind of place where fairly easy conversational congress between the sexes is not only tolerated but actually encouraged. T and his crew will proactively introduce men to women and women to men on the regular. Later in the evening, all sorts of events may transpire at T’s. So this was out of character for sure.

This guy called Whit was taken aback, and soft-pleaded with T to let him join the woman, however T was firm. “If you don’t go back to your table you will have to leave. If she comes to talk to you you can talk to her. Not before.” Again, I cannot stress enough how out of character this is for T’s, so naturally I was curious. I am not normally nosy, however when curious I can be. Whit took the L and slunk back to his table. His friends didn’t seem to have noticed the action, but I did, so I said to him, “hey man, that was pretty crazy. What did you do?” “Nothing,” said Whit, “I just wanted to talk to the lady.” “Yeah,” I said, “I’ve never seen T react that way.” “He just doesn’t like me,” said Whit, “maybe I’ll never come back here.”

Whit and his crew left shortly after and I asked T what was going on. “Whit always hits on women,” he explained, “I don’t like it.” “What about Philip?” I asked (“Philip” here being someone T and I both know), “Philip is always hitting on women too.” “Case by case,” said T, “case by case.” Case by case arguments are very hard to rebut as they index in advance their non-adherence to norms of “fairness” or “consistency.” Also, I knew nothing about Whit and was in no way invested in manning his corner. T and Whit have a history, I supposed, and T would not kick a customer out just because. Such was my first meeting with this guy called Whit.

Not long after this first meeting I was with a friend at a pub we will call K’s, which is in Central Kyoto. K’s is smaller than T’s, seating only about 8-10 inside with some flexible outdoor space as well. Unlike T’s, at K’s there is not much flirting and the like as the space just doesn’t really allow for it. I was there with a buddy and who should come in but this guy called Whit. Now I didn’t mention that at T’s Whit had an American accent. (I later learned he is from Philadelphia by way of San Fransciso.) However he rolled into K’s rocking a full-on British accent, and not a bad one at that. He was standing right next to me, and I did a double take. “That’s that guy called Whit,” I thought, “but it can’t be, Whit’s American.” I looked again. Definitely Whit.

So I asked him, “hey guy called Whit, what’s with the British accent?” He slipped back to his American accent, “oh yeah mate, that’s just something I do sometimes.” OK. We chatted a bit and it was clear that he didn’t recognize me. I reminded him of our meeting at T’s, and he recalled the incident. But I could tell he wouldn’t remember my name next time. He left K‘s after one beer.

My buddy hadn’t met this guy called Whit before, however I had already told him the story of his getting shit-canned at T’s. “That was the guy,” I told him, “the guy called Whit.” “What was with the British accent?”my buddy asked. “I don’t know, some kind of affectation. Maybe he lays it on when he tries to pick up women.” Just a guess on my part, but a pretty good one considering later events.

A few weeks later I was at a pub we will call M’s, also in North Kyoto with another friend we shall call “Philippe” in order to easily differentiate him from “Philip.” It was just before seven in the evening, when who should walk in but the guy called Whit with none other than the newly appointed United States Ambassador to Japan Rahm Emanuel and his wife Ann. They just strolled on in and it was clear that Whit was somehow chaperoning them. I stared over at Rahm Emanuel for a bit and then said “hey there Mr. Rahm Emanuel.” Rahm Emanuel (or just Rahm, as I like to call him) acknowledged his identity and he and I started chatting. At the same time Ann was chatting with old Philippe there at the bar. Before I said hello to Rahm I wondered what on earth he was doing with Whit. And then I thought well, I know Whit doesn’t have a job, he seems to frequent pubs all the time, probably he has some money somewhere, tech money or something. Maybe he’s some kind of VC and the Rahmster has gone out of his way to meet him in Kyoto. Implausible as this scenario seemed, I didn’t know what another explanation for this threesome could be. However, I was off-base.

Had this guy called Whit in fact been a prominent VC it would have added layers to my understanding of him for certain. So I asked him, “hey there guy called Whit, how do you know Rahm Emanuel?” “I just met him,” he replied, “across the street at L’s. We got to talking and I brought him over here.” (L’s is a cocktail bar I have never been too, which is 15 feet from K’s.) It turned out that Rahm and Ann were in Kyoto en route to Hiroshima where they were to visit the Hiroshima Peace Museum with none other than the Prime Minister of Japan. In the meantime here they were, hanging with Whit. Rahm explained the situation thusly: “here in Kyoto my minders let us off the leash so we can walk around freely. This would never happen in Tokyo, because we have security around us all the time.” He seemed genuinely happy to be minderless, and was as relaxed as could be at the bar. In no time he was dropping f-bombs, dapping up the waitresses, and asking me how to say things in Japanese. Rock and roll Rahm baby.

(As promised in the title, Rahm is only supposed to have a cameo in this story, however I have to recount our brief conversation about politics. After I introduced myself, Rahm asked me “are you on the team?” I understood him to mean was I a Democrat. I replied that I was basically on the team, but that I was kind of a left libertarian. “No such thing,” said Rahm. “Well then you’re looking at a unicorn baby,” said I.)

In any case, once I had gotten a bit of a feel for my new buddy Rahm I had to fill him in on something. “Hey Rahm, you know this guy called Whit likes to go into bars and put on a fake British accent?” Rahm didn’t miss a beat as he turned to Whit and, I swear, elbowed him in the ribs, saying “did that help you score buddy? Did you get across the finish line?” Rahm Emanuel, former chief of staff to President Obama, former Mayor of Chicago, and presently the honorable ambassador to Japan, had already grasped the essential nature of this guy called Whit. And he, for one anyway, had no issues with it.

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On Why I Told the World to Fuck Off for 36 Hours

Subtitle: And Saved My Life in the Process

So I called you a cab and they called you a hearse,
and I knew what they were talking about.

— The Mendoza Line, “It’s a Long Line (But It Moves Quickly)”

Note: This piece pairs naturally with my recent essay On the Safe Space (aka Corner Girl). Both pieces are about the small moments that hold us together when we are breaking apart. You can read that piece here.

By 2012 I finally understood what I had been circling back in 2008 without fully naming: the business hotel wasn’t just a neutral space — it was a controlled dissociation chamber. A place where my mind could flatten without collapsing. A room where the world muted itself into CNN-colored soft focus, where time thinned out, where nothing asked anything of me. I didn’t know it then, but all those mid-range rooms — the bland art, the sealed windows, the gentle hum of an air conditioner tuned to the exact frequency of psychic anesthesia — were teaching me a skill I would need later: how to disappear just long enough to come back intact.

So when the pressure finally broke, when I had been working thirty straight thirteen-hour days and felt myself sliding toward the edge of something unnamed, I took the Shinkansen to Tokyo, checked into a business hotel, turned my phone off, and told the world — or most of it — to fuck off for thirty-six hours. And the shocking thing wasn’t that it worked. The shocking thing was realizing I had been preparing for it years earlier, in those identical rooms where the towels were always clean, the windows always closed, and 9-ball was always on.

So I ducked into the nearest konbini and bought a latte from the machine — the one small ritual that still made sense. The warm cup in my hand steadied me just enough to get through the turnstiles. Kyoto Station felt too bright, too full of intersecting lives and needs, the air full of other people’s urgency. I didn’t have the bandwidth to absorb anyone else’s story; I barely had enough for my own. All I knew was that the next Shinkansen to Tokyo was leaving in eleven minutes, and if I didn’t get on it, something in me would snap in a way I wouldn’t be able to walk back. The latte was cooling fast, my hands were shaking, and every part of my body was saying the same thing: Go. Now. Before you say yes to one more thing you don’t have the energy to carry.

Once the room was arranged — bag on the stand, shoes lined up by the door, Pocari Sweat sweating slightly on the desk next to the bottle of red — my whole system downshifted into something like relief. Not joy. Not peace. Just the quiet recognition that, for the next thirty-six hours, my time belonged to me and no one else. I didn’t have to speak. I didn’t have to answer. I didn’t have to hold anything together. All I needed to do was sit on the bed, take a long drink of Pocari, a short drink of wine, and let my body loosen by degrees. It wasn’t dramatic. It wasn’t cinematic. It was just freedom in the smallest, most essential sense: I get to be here, in this room, alone, and the world can wait.

After the first wave of relief, the question always arrived: Do I go out?

Tokyo was right there.

Akasaka-Mitsuke humming five floors beneath me, restaurants lit up like little stages, the crossing full of men in suits walking fast enough to convince you they knew exactly where they were going. I never did. So I’d sit on the bed and pull up the map — not to plan, but to orient. Izakaya here, ramen there, a bar tucked down some side street with red lanterns and a name I couldn’t pronounce. Nothing fancy. Nothing difficult. Just food, warmth, and maybe one drink that wasn’t red wine from a convenience store. I wasn’t looking for a night out. I was looking for simple movement, the kind that doesn’t require performance or decision-making. A walk, a meal, a seat at a counter. A single beer poured by someone who didn’t know my name and didn’t need to.
That was the whole question every time: stay in the bubble, or slip into the Tokyo night just long enough to remember I was a person.

Stepping out into Akasaka-Mitsuke wasn’t lonely — it was liberating. The air felt different the second the sliding doors breathed me out into the crosswalk light. I wasn’t hiding from anyone. I wasn’t avoiding anything. I was simply off the clock in a way that almost never happened in my real life. No one knew where I was, and for the first time in weeks, that fact didn’t carry a threat or a stain of guilt. It felt clean. It felt earned. I wasn’t missing; I was saving my own damn life by giving it a night without responsibility. The freedom wasn’t dramatic. It was simply this: I could walk in any direction, and every direction was allowed.

Out in the Akasaka night, I felt like the version of myself that gets buried under work and obligation — the real me, the one who just wants to wander and see who’s out, what’s open, what energy the city is holding. I wasn’t searching for anything dramatic. I wasn’t looking for revelation or escape. I was just checking things out — the izakaya with the red lantern, the alley with the quiet bar, the group of people laughing too loud on the corner. Dabbling. Moving lightly. Letting Tokyo show me whatever it wanted to show, without needing to make a night out of it. It was the simplest, purest freedom: explore until something feels right, and stop when it doesn’t.

I walked the Akasaka backstreets the way I always do when I’m in this mode — cutting down alleys, taking long cuts and shortcuts that don’t make geographic sense but feel right in my body. Tokyo is a city you navigate by instinct, not logic. You follow energy. You drift. You take the turn that looks interesting, then the one that feels safe, then the one that’s pulsing with life. Sometimes I’d follow the Google map to the place I thought I wanted to eat, only to walk past it and keep going. Other times I’d catch a glimpse of something through a noren curtain — warm light, the sound of laughter, a chef moving with the right kind of ease — and that would be the signal. It was never about the spot itself. It was about finding the right spot, the one that matched the night’s frequency. And over the course of the evening, I usually did both: follow the algorithm, then abandon it; trust the map, then trust myself.

Eventually I found the place — an oyster bar tucked behind one of those half-lit alleys where Akasaka feels a little European and a little dreamlike. Warm light, wood counter, the soft clatter of shells, and a chef who moved with the kind of quiet competence that settles you the moment you sit down. This was exactly my jam: an oyster platter arranged like a small geography, cold and briny and perfect, a bowl of clam chowder steaming in front of me, and a carafe of white wine that I poured slowly, deliberately, one glass at a time. Spendy, sure — but in this mode spendy isn’t excess. Spendy is permission. Spendy is dignity. Spendy is saying to yourself: I get to take my time with this. I get to have a meal that cares for me back. And in that moment, slurping an oyster with the city humming outside, I could feel the night open around me in the cleanest way.

The white wine hit me in that way good pairings do — not as a buzz, but as a reminder of how people take care of themselves when they’re not drowning. White wine and oysters belong together; everyone knows that, and sitting there I felt myself re-enter that understanding. The pairing wasn’t fancy. It was human. It was the kind of small, civilized pleasure most people allow themselves without thinking, and I’d been so buried under work and obligation that I’d forgotten what that felt like. The red I’d had earlier had already warmed me, softened the hard edges, and now the white layered over it, sharpening the night just enough to make everything shimmer. I was slightly buzzed and buzzing — not out of control, not hiding, just finally aligned with myself again.

I left the oyster bar with that warm, gentle buzz humming through me — the kind that makes Tokyo feel lit from within — and walked until I found the sort of place I always look for on these nights. A spendy cocktail bar: dim lights, bottles arranged like small works of art, a bartender in a crisp vest moving with that Japanese mix of precision and grace that makes you feel taken care of without being noticed. I took a high seat at the counter and ordered something I never drink in real life — a proper cocktail, layered, balanced, spendy. Spendy was the point. Spendy meant: I am worth slowing down for. Spendy meant: no one is waiting, no one is watching, no one needs anything from me. I sipped slowly, letting the night stretch out in front of me like a long exhale, feeling myself settle into the version of me that only Tokyo brings out — curious, quiet, open, free.

The bar I ended up in wasn’t some sleek Tokyo cocktail temple — it was better. Two bartenders from Nepal were working the counter, the kind of guys who’ve lived ten different lives before landing in Japan, commuting in from way out because Akasaka rent is a joke. We talked the way travelers talk when no one is trying to impress anyone — about where they were from, how far they lived, what Kathmandu feels like in winter. I wasn’t performing, just listening, rapping with them in that easy drift that happens when you’re slightly buzzed and buzzing in a foreign city. I ordered red wine — not more cocktails — because that was the right shape for the night, and when I finished my glass one of them poured me another, full to the brim, “for the gentleman.” It wasn’t flirtation. It wasn’t special treatment. It was the small grace of the night saying: You came to the right place. You came at the right time. And you’re not carrying anyone else’s weight right now.

When I stepped back out into the night after the second glass of wine, the whole neighborhood felt like it belonged to me. Not in a macho way, not in a performative way — just in that rare, private way where the city’s pace matches your own and you fall into step with its pulse. Akasaka was quiet but lit, humming but not crowded, and for five or six blocks I felt like I owned a slice of it. My slice. The alleys, the crosswalk glow, the last trains whispering underneath the city — all of it moved around me without touching me. I wasn’t hiding. I wasn’t disappearing. I was just walking back to my faded little hotel in a state of clean, earned sovereignty, knowing the world wasn’t tracking me for once. And for those fifteen minutes, Tokyo wasn’t a megacity. It was mine — exactly the size of the person I was in that moment.

Back in the room — my little faded Akasaka hideout five or six blocks from the bar — I didn’t overthink a thing. I drank more red wine, chased it with Pocari, stripped down to my boxers, and let my body fall exactly where it wanted to fall. There was nothing left to hold, nothing left to manage, nothing left to translate. I slept like a baby — a full, unbroken twelve hours, eleven to eleven — the kind of sleep that only arrives when you’ve been carrying too much for too long and finally set it all down in a room no one else can enter. No dreams, no interruptions, no alarms. Just the deep, uncomplicated sleep of someone who gave himself thirty-six hours of mercy and actually took them.

When I woke up around eleven, I felt clear-eyed and ready for more of exactly what the night had been—a continuation of me time. No urgency, no guilt, no one waiting on anything. Just hunger in my stomach and calm in my body. I didn’t rush. I stayed in the room for hours, drifting between the bed and the window, drinking instant coffee, sipping a little more Pocari, scrolling nothing, letting the quiet stretch. I could go out or stay in—either was fine. The whole point was that the day was mine to waste or spend however I wanted. After twelve hours of baby-level sleep, I wasn’t reborn—I was simply functional again. Hungry, steady, grounded, and free.

The next day I was set to return to Kyoto. When it’s time to go, it’s time to go — and the Thin Man cleans up quick. I showered, shaved, packed my bag with the same neat ritual I’d used the night before, and stepped back out into Akasaka like someone who had never been tired in the first place. Before heading to the station I picked up omiyage — the small gesture that makes the return feel seamless — something for the office, something for home. It wasn’t guilt; it was continuity. A way of saying: I left for a day and a half, and now I’m back in the world with all the edges smoothed. By the time I boarded the Shinkansen back to Kyoto, I was already shifting into IB mode — the coordinator, the problem-solver, the guy who keeps the whole thing moving. But now the engine was clean again. The reset had worked. Thirty-six hours alone in a faded Tokyo hotel, oysters, wine, a long sleep, a morning that belonged only to me — and suddenly I could re-enter at full tilt. Not as a martyr. Not as a runaway. Just as myself, restored enough to carry everything again.

Dedication:

For Akasaka — whoever designed that little slice of urban order also re-ordered my mind in the best possible way. Thanks there, baby.

Scenes from St. George’s Part III: Mr. Dreyer, French Teacher Extraordinaire (with a cameo from Richard Marx)

When I was in middle school I took French from one Monsieur Dreyer. I had already been studying (the verb is used loosely) French for a couple of years, and had some of the basics. In Mr. Dreyer’s class I learned a little more, and could actually kind of hack it in French there for a bit. But any actual language learning that took place in Mr. Dreyer’s class was seriously secondary to the excellent action that took place around his class.

I wasn’t first introduced to Mr. Dreyer in middle school, however. In fact, I first met him when I was in elementary school around the time he began teaching at the school where my father taught, and I attended, in the early 1980s. I remember going to the apartment he shared with his wife, who is Japanese, when they had an exchange student called Atsushi from Japan staying with them. Atsushi was my age, and he showed us how to make onigiri (rice balls). Making rice balls is not all that tough, just rice, water, and salt. Still, I thought onigiri were pretty exotic and Atsushi pretty cool. Some time later Mr. Dreyer and his wife must have come up a bit short of ready cash, because they lived in a tent in my family’s front yard for a while. This seems a little strange looking back, but it wasn’t then. I have no idea what the bathroom or shower situation looked like, but something must have happened.

(My brother Mike also lived out in a tent in the front yard during the summer for a number of years. Maybe it was the same tent. Mike would run an extension cord out to the tent and play his boombox. This was a few years after the Dreyer clan was tenting it, and Mike was deep into the singer Richard Marx. I thought Richard Marx was alright, but he didn’t seem to have a lot of songs. This mattered not at all to Mike who played the same Richard Marx tunes over and over again.

Today Richard Marx is, strangely enough, bigger than ever. But not as a musician. He runs a popular Twitter account where he is a big liberal and also pretty funny. Marx is like Rex Chapman but less problematic. Rex Chapman is super-problematic. I’m not sure exactly how, I just know he is.)

Mr. Dreyer also played a little chess with my father, although my impression is that both of them were pretty bad. Certainly they were not pulling out a lot of “hard-to-find” moves. At that time, I knew Mr. Dreyer was a French teacher, but didn’t know if he was in fact French. Today I believe it to be the case that he is not French, is in fact from California, and just somehow became proficient in the language. Good for him.

Even before I took his class, I was aware that Mr. Dreyer was, let’s say, a different sort of fellow. He liked to tell a story about his brother who lived on a massive contour map of the San Francisco Bay area. The map was located in an enclosed structure that hung under a bridge in Oakland or something. And his brother just chilled there full time, so the story went. So Mr. Dreyer, apparently, was the normal one in his family.

(I remember Mr. Dreyer talking to me about John Lennon one day as well. This was maybe when I was taking his class, but I think it might have been before that. “John Lennon’s assassination was really sad,” he said, “he was just starting to put his life back together.” I had heard of John Lennon but at that time knew nothing of the circumstances of his death. And I certainly didn’t know about his ups and downs in the 1970s. Mr. Dreyer must have been a Lennon fan though, and wanted to tell me about it.)

In any case, when I got to middle school I was assigned Mr. Dreyer, as mentioned. Mr. Dreyer wore a mustache that looked pretty Frenchy to me—maybe that’s why I kind of thought he was a French native. There were also a number of the Tintin books in French on a shelf in the back of the room. I had read most of the Tintin books in English by then, so it was fun to browse the French versions and take in some of the action from a new lens.

In Mr. Dreyer’s class everyone got a “French name,” and I was called “Philippe.” I don’t really care for all these fake names in language class, although I recognize that some people do adopt them as a kind of alter ego. I mean, if a Japanese gal called “Sari” wants to go by “Sally” in English class that’s great. Makes sense. But my actual name sounds nothing like Philippe, so it just seemed kind of random. In any case, little Phillippe was not a bad French student, but he was a restless one. Mr. Dreyer’s classroom opened from the back door onto a kind of grassy area, and for reasons passing understating Philippe would leave class in the middle of the lesson and then try to crawl back in through the back door and up through the room, hoping to escape Mr. Dreyer’s attention. Mr. Dreyer did notice, of course, but he was pretty cool about it.

“What you doing there Philippe? Sneaking back into the room again? Welcome to French class si vous plait.” Something like that. I wasn’t trying to aggravate Mr. Dreyer or anything because I really liked him as a teacher, I was just doing what 12 year old boys do. However, Mr. Dreyer did not view every student as leniently as myself. One of my classmates was a guy we’ll call “E.P.” E.P. was a trouble-maker, and was known to pull the fire alarm in the middle school there on a regular basis. His parents were called, repeatedly, but he didn’t care. He loved pulling that fire alarm. E.P. would also prank call mothers of other students for whom he somehow had phone numbers from the school phone and talk dirty to them in a fake voice. So, yeah.

One week, E.P. and some other students had started throwing wadded up pieces of paper toward a metal garbage can located at the front right corner of Mr. Dreyer’s classroom. Mr. Dreyer let this roll for a few days, however one day before lunch he decided to crack down. “Mr. E.P.,” he said, “I’ll make you a deal.” “You can have one more throw of a paper at that trash can. If you make it, you can go to lunch. If you miss, you have lunch detention.”

Now this struck me as a pretty fair deal, because E.P. didn’t have to accept the challenge. He could have just passed and gone about his day. That, of course, is not what happened. Instead, E.P. wadded up yet another piece of paper and lobbed it at the trash can. He missed. This was the last straw for Mr. Dreyer who, instead of keeping him in detention as promised, took matters a step further. He grabbed the trash can (which was about three and a half feet high) and carried it over to where E.P. was sitting.

“You like garbage!” he shouted. “I’ll show you garbage.” And sure enough Mr. Dreyer, onigiri expert, former tent dweller, and French teacher extraordinaire, emptied the whole thing right on top of E.P.’s dome. Now you might think this was some bad action, and from today’s perspective sure, it probably was. But for us middle schoolers it was hysterical.

“Did you hear what Mr. Dreyer did?” we whispered for the rest of the week. “He dumped a full garbage can on E.P.’s head.” This was the biggest thing to happen all month, and we milked it, obviously. Again, if this happened today, Mr. Dreyer might have faced some kind of sanction, but the 1980’s were not like that. E.P. had been dumped on, and life moved on.

Mr. Dreyer eventually left that school and moved to Kyoto where he taught for a while at Kyoto International School before ultimately moving back to California where his brother lived on a map. Years later I reconnected with Mr. Dreyer on Facebook, where he regularly posts groaningly bad, yet still somehow funny, visual puns. “Cyrano wins by a nose” with a drawing of Cyrano crossing the finish line in a foot race, that sort of thing. Anyway, I wanted to get his perspective on the whole the garbage can situation so I sent him a message. What did he recall of the incident?

He didn’t remember it at first, but then he said “oh yes, that was with a student called “J.”

“No,” I replied, “it was with E.P.”

“No, no, no,” he replied, it was “J. JFK.”

Now I knew that Mr. Dreyer is prone to making some strange jokes, and at first I thought he was making some kind of oblique assassination reference. Was he suggesting that there must have been a second shooter?

“This was not JFK related,” I said. “It was some E.P. action. I‘m sure of it.”

Mr. Dreyer was not sold though, and it occurred to me that there may have been more than one dumping. This may, in fact, have been Dreyer’s go-to-move. After all, his treatment of E.P. was, in truth, pretty unfair—the deal was advertised as sink the shot or detention. Dumping was never mentioned. Was Dreyer moving about the globe and dumping full garbage cans on students left and right? It was a possibility. Maybe I was smart to stay low to the ground after all.

These days, Mr. Dreyer is living in California where he enjoys the warm climate. And he reads this blog. Hey there Mr. Dreyer baby, you’re a cool guy but that garbage can move could maybe use a little reflection. E.P. was a troublemaker, sure, but dumping just wasn’t part of the deal.

to be continued…