20. The Humidity

All morning long, the air in the cell has been growing steadily thicker and muggier as if water were being coaxed to a boil.

I pull the gray shirt over my head. The tank top under it, soaked with sweat, sticks to my skin like gauze on a fresh wound. Peeling the tank top off, I take it to the sink where I rub it down with a bar of soap, then rinse and wring it several times.

When it is humid like this, all you can do is sit half naked on a zabuton and wait patiently for a vagabond breeze to meander in.

Like that one there . . . Ahhh.

19. Zabuton

With the radio calisthenics providing light background music, I resume reading Robert B. Parker’s Melancholy Baby.

Of the many alarming prospects currently facing me, the most pressing at this very moment is the fact that I’ve only got fifty pages left of this novel. Mysteries have never been my cup of tea, but I have to admit that I am indebted to Parker: were it not for the author’s words transporting me out of this dingy cell and onto the streets of Boston and New York, I really don’t know how I would have made it through the first night in the joint.

So, what am I going to do when I finish this book?

Odds are the jail doesn’t have an extensive collection of entertaining novels and stimulating books in English, let alone in French. For all I know Melancholy Baby may be the token foreign language novel. If worst comes to worst, I can always read something in Japanese, I suppose. I passed the night at the prefectural detention center, after all, by reading Murakami Haruki’s translation of A Catcher in the Rye, didn’t I? But my soul needs nourishment like a baby needs a tit; a Japanese novel would only leave me hankering for something meatier.

“Hey you!"

"Me?"

"Yes, you!” A guard yells at me through the small window. “Get off that futon!”

“Huh?”

“Off the futon. You’re not allowed to sit on the futon now.”

Oh, for the love of God.

The guard asks if I have a zabuton.[1]

“A zabuton? No.”

A few minutes later, Gilligan comes by with a thin, spongy gray square floor cushion for me. Folding the zabuton in half, he shoves it through the bars.

Dropping it onto the tatami mat, I sit down, cross my legs, and go back to reading.

The radio calisthenics, meanwhile, have given way to a ten-minute long Pilates workout, followed by another ten-minute session of a stretching and wellness workout. The twinkling of a piano is replaced by new age ambient music. And I can’t help but look up from the pages of the novel and wonder: how many of the thugs in Cell Block C are presently healing their tired souls through low impact isometrics?

 

[1] A zabuton (座布団, lit. “sitting futon”) is a square floor cushion for sitting on.

18. Radio Exercises

The patient evaluation concluded, the doctor initials my chart and hands it without a word to the orderly. He then retreats silently back to his office where I imagine he must spend the rest of the day counting the hours till he can go home.

The orderly then leads me back to my cell. Not that he need do so; I could just as easily find my own way by following the trail of dandruff.

As the cell door is closed behind me, the sprightly plinking of a piano comes through the loud speaker. A woman’s voice, full of verve, booms from the PA system: “Good morning everyone! Radio exercises! Let’s start with back stretches . . . Now, leg and arm exercises . . . For those of you standing, let’s really spread your legs . . . one, two, three, four.”

I don’t know if this is mandatory or not, so, to be on the safe side, I spread raise my arms.

“One, two, three, four.”

I can’t catch the next bit. Something about . . .

“Wind your arms around . . . Now do it in the opposite direction . . . Chest exercises . . . Diagonally and nice and wide . . . one, two, three, four.”

“What?”

“Do it slowly if you’re seated,” the woman instructs.

“Do what slowly?”

“Now bend all the way forward . . .”

Something pops in my back.

“Let the tension go . . .”

Yeah, right.

“Twisting exercises . . . one, two, three, four.”

Try as I might to follow along with the instructions, it’s hopeless. After a minute, I thrown in the towel and plop down on the rolled-up futon.

Judging by the grunts and slapping coming from my neighbors, it sounds as if all of them—gangsters, murderers, rapists, thieves, and hustlers, alike—are doing deep knee bends and jumping jacks.

17. The Infirmary

At the end of the corridor we come to a wall of bars. The orderly asks me to turn away as he fiddles with the lock.

When the barred door is opened, I’m told to walk through and face the other way again. Even still, I can watch him from the corner of my eye as he locks the door. Of all the keys dangling from a chain on his belt, he’s using the one with a blue rubber collar on it.

The orderly leads me up four flights of stairs and down a wide hallway, the walls of which are covered with posters of Kyūshū’s scenic spots—Takachihō in Miyazaki Prefecture, the hot-spring town of Beppu in Ōita.

Down another flight of stairs we go to the third floor, where, turning a corner, we arrive at the infirmary, a cramped, dimly lit, and dingy room.

Entering, I find two thugs seated on folding chairs. One looks up with weary amusement, and, elbowing the other, whispers, “Check out the gaijin!”

Holding up a paper cup in his scabby red hand, the orderly gestures towards a toilet in the rear. I take the cup and head for the lavatory.

On the wall above the toilet is a calendar.

It’s been ten days . . . Ten days since last Sunday . . . I should be in the clear by now, but Christ . . . you never can tell, can you, what will show up if they know what to look for . . . God, what was I thinking?

I take a deep breath and start dribbling into the paper cup.

A moment later, I emerge from the lavatory and hand the warm sample back to the orderly who dips a slip of paper into it.

“Right, nothing out of the ordinary here,” he says and makes a notation on a form attached to a clipboard. Returning the cup to me, he tells me to flush it down the toilet.

After washing my hands, I sit down opposite the orderly at a clunky old steel desk, easily as old as this tumbledown jail, and answer a questionnaire.

“Number?” he asks.

Rokuban,” I reply.

After asking my name, age, date of birth, and so on, the orderly wants to know if I’m gay.

“No,” I reply, indignant.

What the hell are you throwing out a question like that with those two bruisers sitting just on the other side of this curtain?

He ticks a box that says “No”, then moves onto the next question: “Have you got pearls or piercing of any kind in your genitalia?”

Enough with the pearls already!

“No, I do not.”

“Have you got any tattoos?”

“No.”

“You ever go to Soapland?”

“Excuse me?”

I know exactly what he means. It just flabbergasts me that anyone would ask so matter-of-factly whether I got my pipes cleaned at massage parlors.

Listen: part of me clings stubbornly to the belief that there is no reason to pay good money for a commodity that still remains abundant and free. After all, even at the age of forty with my graying hair and all, young Japanese women still manage to find me only slightly less attractive than they did when I was ten years younger. The day I have to go to Soapland in order to get my knob polished is a day I dread with the same trepidation I suspect many women must face menopause.

“No, I have never been to a Soapland,” I tell him, mildly indignant.

“Right,” he says. “No worries about AIDS, then.”

Well, that was thorough.

After making a notation on the form, the orderly scratches a dry spot behind his ear with the end of the pen, sending a small flurry of dandruff fluttering down.

“Do you drink?”

“Yes,” I answer, averting my eyes from an eczema snowdrift forming on the desk.

“How much?”

“Depends.”

“On average?”

I shrug. On average, I suppose I don’t drink much, but I do go on the occasional binge if the mood strikes me. I can polish off a bottle of Ron Zacapa Centenario in a day and a half and not feel the worse for it. I can hold my own in the company of Russians over a bottle of raspberry-infused vodka. I drink, but I’m no drunk.

“A beer, maybe two, a day,” I offer the orderly.

“Tobacco?”

“Yes.”

“How many cigarettes a day?” he asks, ticking a box on the form.

“I don’t smoke cigarettes,” I reply.

“What? You smoke, right?”

“Yes, but I don’t smoke cigarettes.”

“What do you smoke then?”

Narghilè,” I reply. “A water pipe.”

“Marijuana?”

“No, no, no. Tobacco.”

“With a water pipe?” It doesn’t seem to register in that scabby head of his, and, to be perfectly honest, I couldn’t care less if it did.

“Yeah,” I say. “With a water pipe.”

“How often?”

“Once or twice a week.”

“How about drugs?” he asks.

“Drugs?”

“Do you take drugs?”

They guy must be high to think he’ll get a straight answer to a question like that.

“Aside from alcohol and tobacco and caffeine and the occasional aspirin? No. No drugs.”

“Marijuana?”

“No.”

“Methamphetamine?”

“Methamphetamine? No.”

“Right, stand up against the wall over there. Cover your left eye with this,” he says, handing me a plastic spoon.

The eye chart is across the room on the opposite wall and I have to look over the heads of the two thugs to read it.

The test reveals that my eyesight isn’t nearly as good as I believed it was, but it’s little more than a ripple on the sea of upsetting news I’ve had all week.

Next, the orderly sits me down before a sphygmomanometer.

I stick my arm through the cuff. A button is pressed and the cuff inflates, constricting my arm. Red numbers flash on the screen.

“Your blood pressure’s quite high,” he says grimly.

“I just humped up four flights of stairs,” I remind him. What’s more, I’m in jail!

“Stay there and I’ll retake it in a few minutes.”

As I wait, the orderly tells one of the thugs that the doctor is ready to see him. The goon stands up, dawdles past me, and disappears behind a shabby gray curtain where the doctor is waiting.

“What’s the problem,” the doctor asks, his voice tired and unsympathetic.

“My foot itches.”

“Show me.”

“You’ve got athlete’s foot,” the doctor says flatly. “Don’t scratch it. Next!”

The man returns to his seat, cursing under his breath, and the other inmate stands up with a groan and walks around the curtain where the doctor asks again: “What’s the problem?”

“I’ve got the runs.”

“It’ll pass,” the doctor replies.

The orderly returns to retake my blood pressure and half a minute later says, “Mild hypertension. Tsk, tsk.

Boy, that’s the least of my worries right now.

I am instructed to lie down on the examining table and wait quietly for the doctor.

Lying on my back, I notice a strip of flypaper the color of earwax hanging from the ceiling directly above my head. Speckled with the black remains of flies and gnats, I am reminded that the two thugs, the orderly, who must surely be an inmate himself, and I myself amount to little more than bugs trapped on flypaper.

After a few minutes, the doctor comes to the examining table, where he gives my abdomen a few perfunctory taps.

“How are you feeling,” he asks while looking pensively out the window.

“I’m a bit depressed.”

“Yes, well, aren’t we all, aren’t we all.”


Rokuban: Too Close to the Sun and other works are available in e-book form and paperback at Amazon.

16. The Orderly

Back in the cell, my skin has become so goddamn itchy from the soap I washed with, I feel as if I’m going to lose my mind. I scratch my right shoulder, then my right cheek. I give my forehead a good rub with both palms, then the back of my ears, and the back of my right thigh. I dig my fingernails into my shins—good God, my shin—and scratch, scratch, scratch . . .

Outside in the corridor, I hear the jangling of keys, and as I’m giving my abdomen a vigorous going over, the door slides open. Bear tells me to put my uniform shirt on, to get ready to go.

“Where to?”

“The infirmary,” he answers.

I pull the gray short-sleeved, button-down shirt over my head, slip on the sandals and step out of the cell.

“Tuck your shirt in.”

The shorts issued to me yesterday are three inches too big around the waist. I have rolled them up to keep them from dropping down to my ankles. Tucking the shirt in just makes the whole get-up look all the more ridiculous.

From the far end of the cell block, a ragged-looking man in an orderly’s uniform slinks towards me like an ambivalent angel of death. Sickly pale and scrawny, the orderly is a paragon of ill health. Worse yet, his skin is so severely afflicted with dermatitis it makes me itch even more just looking at him. Brushed back, his scraggly gray hair barely hides a scalp covered with thick eczema.

The orderly asks if I speak Japanese. Not so much a question as a forlorn whimper. I tell him I do and his dry, scabby face cracks with constrained relief.

“Follow me, then.”

15. Fifteen Minutes

To my great relief, I learn that the cell block has two private bathrooms, meaning Digger and I won’t be scrubbing each other’s ballsacks after all.

Digger drops his boxer shorts to his ankles then kicks them up and snatches them in midair before popping into the bathroom on the right.

A young guard shuts the door behind him. Checking his watch, he makes a notation with chalk on a small slate hanging on the wall and sets a kitchen timer on the door of the bathroom.

Turning to me, the guard asks for my number.

Rokuban,” I answer resolutely.

Bewilderment flashes across his face. “Rokuban?”

“Yes, I’m Rokuban.”

“No, no, no. Not your number, your cell number? What’s your cell number?”

“Sorry. Cell Number Twenty-four.”

The guard ducks into a supply room of sorts adjacent to the bathrooms. A moment later, he emerges holding a razor with a label that says: “C-24”.

Considering all the indignities you are forced to endure when tossed in jail, it is remarkable that they go to the trouble of providing a clean razor blade. I tell the guard thanks and take the razor.

A shave is just what I need to start feeling human again. I’ve got the beard of my Lebanese grandfather: three days without a shave and I start looking like the Missing Link. Wrap my head in a red and white-checked keffiyeh scarf and I could pass for a hashish farmer in the Beqaa Valley.

A timer rings and a middle-aged man covered in tattoos emerges from the bathroom on the left and starts toweling himself off.

You’d think there would be far more men in their early twenties populating the cells of Japanese jails, but the vast majority of jailbirds I’ve seen so far has been in their forties and fifties.

Rokuban, it’s your turn. You’ve got fifteen minutes. The timer will ring when there’s five minutes left. When you have finished taking your bath, refill the tub with hot water by turning the red handle there on the left. Got that, Rokuban?”

“Yes.”

“Right. On you go, then.”

“Thank you.”

I drop my boxers, and, after folding them neatly and placing them in a plastic basket on the floor with my other things, I step into the bathroom.

“Top off the bath when you’re done,” the guard says again, closing the door behind me.

The bathroom is an unremarkable room—a rectangular box, encased in black concrete. A single low-watt light bulb, covered with a blackish-green sheen of mildew, hangs from a ceiling. There’s a showerhead at chest level and a faucet closer to the floor. The bath itself is a perfect cube, filled to the brim with piping hot water.

I give my body a scrub down using one of the half bars of soap and hand towels I brought with me from the cell. Without the anti-dandruff and conditioning shampoos or moisturizing shaving gels I’ve been pampering myself with all these years, I have to make do with the soap.

After rinsing myself off, I climb into the tub. The water is scalding hot, more appropriate for soft-boiling an egg than resting your weary, defeated bones in. Worse yet, the detritus of the dozen or so inmates who have also lowered their hairy arses into the very same bathwater floats on the surface: hairs, scabby bits of skin, dandruff, and, most unsettling of all, something that looks like congealed sperm.

Just above the bath is a large window that looks out onto a clump of trees in the courtyard. It’s not much to gaze upon as you bathe, but better than nothing.

Across the courtyard, beyond the trees, is Cell Block B, the first floor of which houses what appears to be the kitchen, a barber shop, and other facilities.

Inmates in the same white t-shirts and gray caps as Gilligan form two lines, at the head and tail of which are guards. One of guards barks out an order causing the prisoners to start counting off, voices full of vigor. God only knows where they get their enthusiasm. Another order is shouted and the prisoners begin marching in line, arms flapping in unison like army recruits in boot camp. Then, with a “Forward-ho!” they march out of sight.

The buzzer rings. I’ve got five minutes to wrap things up.

I climb out of the bath, rinse off with cold water, and dutifully refill the bath for the next person.

When I step out of the bathroom, the kid with the shaved head from Cell 25 is standing butt-naked in the corridor, clutching his toiletries with his left hand, his fishing tackle with the right. He bows humbly to me, then to the guard, then bows again as he steps into the bathroom after me.

I towel off and put on the fresh pair of regulation underwear and tank top. I feel like about thirty-two bucks fifty, which is an improvement because I was feeling like shit when I woke up.

There’s a scale nearby. Stepping on it, I weigh myself. 82kg.

In the Free World, which includes only two countries beyond the shores of the United States—Myanmar and Liberia—where the phenomena of the natural world continue to be based upon the mass of a grain of barley, I weigh 181 pounds.

14. Gauntlet

About fifty yards long and three yards wide, the corridor is lined with small, barred windows and piss-yellow steel doors on the left side, a bank of windows on the right. As I make my way towards the bathroom, I see that most of the cells are cramped single-occupancy hutches like my own.

Halfway down the cell block, however, there are two cells side-by-side which are three times larger. Each accommodates four prisoners who are locked up behind a chain-linked fence. Judging by the elaborate tattoos that cover their torsos and thighs like an exoskeleton, many of the men moldering in the larger cells are yakuza.

In the first of these two cells, a middle-aged man sits on a cushion, fanning himself, while another leans up against a wall, his nose in a comic book. Two other inmates sit cross-legged before a small fold-up table, engaged in a quiet, but intense game of Old Maid.

I’ve read that yakuza consider time spent in jail a “holiday”, and, upon release from prison, can expect to receive a bonus equivalent to what they would have earned had they been out on the streets menacing society. These guys, however, don’t seem to be enjoying their “vacation” all that much. If anything, they look bored to tears. I suppose that a gaijin like myself walking past their cell must bring, as they say in the joint, a little ray of sunshine into an otherwise cloudy day, because they all perk up as I shuffle by.

Gaijin,” they murmur to each other. “Check out the gaijin.”

Approaching the end of the corridor, I find a weather-beaten old man, eyes clouded with cataracts, staring vacantly out of his window. Like Castaway at the other end of the cell block, the old man’s thin, wizened body looks as if all but the very last drops of life have been wrung out of it. Even so, just as I am passing, this fossil of a man lets out a harrowing scream that gives me such a fright that I’ll be damned if I don’t nearly soil myself.


Rokuban: Too Close to the Sun and other works are available in e-book form and paperback at Amazon.

13. Bathtime

Shortly after breakfast, Bear pokes his snout through the bars and says, “Rokuban, bath in five minutes. Get ready.”

Bath? What a relief!

My hair is a greasy, disheveled mop. My scalp itches like a son of a bitch. And, after sweating in this muggy kennel all night, I smell like I’ve been carrying on sexual relations with farm animals.

I’m not sure what Bear means by “get ready”, though. I can only hope it doesn’t entail stripping down to my birthday suit and sashaying butt-naked along the corridor, dingdong flapping with each step and the cell block echoing with lusty catcalls.

Below the sink is a plastic washbasin, the kind you see Japanese totting under their arms when they pop into their neighborhood public bathhouse. I toss everything imaginable into it—half bars of soap, two hand towels, a fresh pair of regulation skivvies and a clean t-shirt. Then, I kneel down before the cell door, and wait my turn.

Rokuban,” Bear says, sliding the door open. “Your turn.”

Pointing to the far end of the cell block where another guard is standing, Bear tells me that the bath is the second to last door on the left.

“Digger”, my well-upholstered neighbor, has also been let out of his cell and is halfway down the corridor, strutting with the air of a sumō wrestler about to step into the dohyō ring.

I hope they don’t expect the two of us to bathe together . . .

Clichéd images of prison showers cloud my thoughts: a fumbled bar of soap and an unwelcomed visitor barging through the backdoor without so much as a how-d’ye-do as the guard looks the other way.

12. Breakfast

“Plate,” Gilligan wheezes to me.

“Huh?”

“I need your plate,” he says again.

“Plate?”

“Yes, your plate.”

There’s nothing on, or under, or beside the desk that remotely resembles a plate. Gilligan suggests I check the shelf to the right window. When I do, I discover a plastic basin and dishtowel under which are hidden a set of plastic chopsticks, and a plate, salmon-colored and featuring three elephants and the message:

 

Do you like living here?

Yes, it’s great living here.

Let’s be HAPPIEST DAYS.

 

Good grief.

I feed the HAPPIEST DAYS plate through a narrow opening below the bars, where a guard, an enormous bear of a man, takes it, dumps a ladleful of pinkish cubes on it, and passes the plate back.

Placing a bowl of miso soup and a covered bowl of rice on the ledge, Gilligan and the bear go on to the next cell.

Arranging everything neatly on the desk—rice on the left, soup on the right, the plate set before the two—I kneel down for breakfast, put my hands together and with a slight bow say: “Itadakimasu.”[1]

I take the rice bowl in my hand and try to remove the lid, but no matter how hard I twist it, the damned thing won’t budge. The lid is so firmly attached, I resort to rapping it against the corner of the washbasin a few times until it gives.

You could hang a man from a goalpost with this.

When the lid comes off, I find the bowl has been filled slipshod with mugi gohan, or barley rice. Like mugi cha, I’ve never been crazy about mugi gohan, either.

I take a bite of the barley rice, and wash it down with the soup, a simple miso broth with chopped leek.

I have eaten worse.

The pink cubes on the plate stump me. An exploratory sniff gleans nothing. In all my years in Japan, I’ve never come across anything quite like it. And I have eaten some pretty odd things. Is it some kind of pickled fish or vegetable? Is it canned whale meat? What with the price of whale meat these days, they wouldn’t be dishing out a “delicacy” like that to lawbreakers top of the morning, now would they? I take the plate to the toilet and scrape the cubes into it.

Above the toilet are easy-to-follow instructions:

 

Flush once, not twice.

Don’t flush anything but toilet paper down the toilet.

 

And because you should never take things for granted, particularly in jail:

 

Use sink to wash face.

 

Gilligan returns about fifteen minutes later to collect the dishes, and, seeing how little I’ve eaten, asks if I need more time. I tell him that I haven’t got much of an appetite. Nodding, he takes the bowls away.

“Keep the plate.”

 

[1] Itadakimasu (いただきます) is a polite way of say, among other things, “to receive” or “to eat”.

 


Rokuban: Too Close to the Sun and other works are available in e-book form and paperback at Amazon.

11. Gilligan

While the guy is away serving the others, I give the schedule in the Regulations & Morals another look:

 

7:50

Breakfast

12:00

Lunch

16:20

Dinner

 

Dinner at four-twenty? Who the hell eats dinner at four-twenty?

Several minutes later, the inmate reappears before my window, the trolley now carrying with a large tin pot, stacks of plastic soup bowls, and covered rice bowls.

The first time his figure darkened my window I got the impression that he was in his forties, but now that I take a good look at the guy—the knobby knees poking out of the bottom of his gray shorts like dried persimmons, the stooped, bony shoulders, and arms like twigs—I’d say he must be pushing sixty.

And the longer I look at him, at his gaunt features, the outdated spectacles, the cap covering his shaved head, the more I am reminded of Gilligan stranded on this uncharted desert isle of ours, aging, yes, but not quite getting older season after season after season, year after year.

10. Mugicha

From the deep end of the cell block, the grating sound of casters rolling over rough concrete rises like a bubble through the corridor. As the sound draws closer, I look out the window just in time to see an inmate pass, trundling the very same trolley I got yelled at for sitting on earlier.

The two of us could be twins, dressed as we are in identical gray denim shorts and white undershirts. Unlike me, however, he has also got a matching gray cap on, and a pair of old-fashioned, general-issue glasses, the kind with the thick frames above the eyes that look like heavy eyebrows. Doing an about-face before my cell, he backs the trolley the rest of the way up the cell block.

A muffled announcement comes over the squawk box. Something about meals, if I heard correctly. And now, out in the shallow end of the corridor, muted voices can be heard, followed by a metallic clank, the sloshing of a liquid. The routine is repeated, only closer. A moment later, the inmate with the cap is back, standing before my window, poking the spout of an industrial sized kettle between the bars of the window.

In a reedy voice, he asks for my kettle.

I’ve been wondering what that was for.

I take the kettle from the desk, and place it on the windowsill where he does a cack-handed job filling it, splashing tea all over the ledge, the tatami, and me.

“Thanks,” I say and he continues on down the corridor.

Pouring myself a cup, I take a sip.

“Blech! Mugi cha.”

Barley tea, a favorite with the Japanese during the summer, tastes like mud.

9. Courtyard

In the rear of the cell, separated by a low wall, is an anachronism for a toilet: a rectangular porcelain trough set in a block of concrete. I’ve come across some pretty odd Japanese-style crappers, but this one, which must be as old as the jail itself, takes the cake. On the other side of the toilet is a large barred window that overlooks the courtyard between cell blocks B and C.

The courtyard is overrun with waist-high weeds. A small flock of sparrows, hidden among the grasses, chatter noisily, not a care in the world. The swallows dart in and out of the weeds. Finding breakfast, they return to a mud nest they’ve built in the breeze-block wall of Cell Block B.

It’s tempting to wish I were a bird, but I suspect that I would end up locked up in a cage all the same.

8. Geometry

After frisking me one more time, Bubbles orders me back into the cell, then slams the door shut. The whole exercise has taken less than five minutes, but leaves my head reeling for half an hour.

This can’t be happening.

I lie down on the tatami, clutching my head and begging for deliverance. A guard, passing by in the corridor taps his nightstick against the bars, and barks, “No sleeping!”

“Who’s sleeping?”

“No sleeping,” he says and walks off.

Grudgingly, I push myself off the floor and sit with my back against one wall, eyes focused on the opposite wall.

The cell is nothing like the tidy, antiseptic cells in photos released to the media by Japan’s Ministry of Justice to show how humanely prisoners are treated. The walls are a dingy white. A gray three-foot high border running along the base is mottled with the greasy silhouettes of the previous guests of the state, who have idled away weeks and months, perhaps years, with their filthy, sweaty backs against them.

Two seedy tatami mats, measuring four and a half feet by six total, form the main area of the cell. And, if it weren’t already cramped enough, in addition to the futon folded up in the corner near the toilet, there is a cheap, low-lying desk of sorts, butted up against the wall near the door.

On the desk, a tin kettle and a plastic cup, each one as stained as a smoker’s smile, have been waiting for me since I was brought in last night. In the plastic yellow basket tucked under the desk, are the underwear and pajamas that were issued to me, as well as the few items of my own clothing I was allowed to take, minus belts, long strings, or shoelaces.

A poster-sized calendar featuring the months of July to December and a photo of a bee hovering above a flower is taped to the wall above the desk.

Reaching up, I touch today’s date: Wednesday, the 12th of July, 2006. I feel as frozen in time as the bee in this poster, like a bug trapped in amber.

Anxiety comes crashing back like a tsunami against me.

How the fuck could this possibly be happening?

Jail never figured into the calculus of my life. Never. And yet, here I am, confined now by its stark geometry.


Rokuban: Too Close to the Sun and other works are available in e-book form and paperback at Amazon.

7. Neighbors

No sooner is the morning roll call over than a commotion, like racehorses bursting through gates, comes from the end of the corridor. Outside the front window, guards, far too many to count, gallop by, with billy clubs in their fists.

The door to my cell is thrown open. A guard calls out at the top of his voice, “Inspection. Out of the cell now!

As I’m rising to my feet, the guard shouts, “Get the lead out, Rokuban!

I’m coming. I’m coming.

Stepping out into the corridor, I find it is none other than Mr. Congeniality himself, Bubbles, who is barking at me. And now he’s yelling at me to put my slippers on.

Slippers? What slippers?

“Oh, right,” I mumble, noticing a shabby pair of rubber flip-flops set to the side of cell door. “C-1-24” scrawled on the insteps.

Sliding my feet into them, I feel a bit like Goldilocks: the left one is far too small, my heel hangs over the back; and the right one, with its strap torn, is far too loose. Taking a step forward, the right slipper flops off.

“Oh, for crying out loud.”

Slipper!” Bubbles hollers at me.

“I got it. I got it.” Sheesh.

“No talking, Rokuban!”

After giving me a good pat down, Bubbles gestures towards the opposite wall and orders me to stand with my face against it.

“But there’s a trolley . . .”

I said, no talking!

“How do you expect me to . . .”

Rokuban! Silence!

“But this trolley’s in the way.”

Rokuban! Oh, you’re right. I didn’t . . .” he says. Then, in faltering English, he tells me, “Shitto down.”

When I “shitto down” on the trolley, he shouts at me in Japanese, “Get your arse off that trolley!” Adding, that he didn’t mean shitto, he meant squatto.

Whatever, Bubbles.

So, as I squat down in front of the trolley, the others guards titter and snigger among themselves like junior high school boys.

“Hey, Katō. Great English there,” one of the guards says. “I’m really impressed!”

“Oy, Katō,” another says, holding up his nightstick, “I have a pen.”

As a guard goes through the meager belongings in my cell, I take a gander down the length of the corridor where two-dozen inmates have been forced out of their cells like worms from the soil. Four-dozen eyeballs stare back at me, the only gaijin in the joint.

To my right, a broken twig of an old man dodders out of Cell Number 26. His scraggly beard and shoulder-length gray, disheveled hair make him look like a castaway, long forgotten and given up for dead. All bent out of shape, the old man’s movements are so pained and deliberate, you can’t help but wonder what on Earth a bag of bones like him could have ever done to wind up here.

Between Castaway and me is a skinny young kid, not much older than eighteen or nineteen, whose hair has been given a hack job with a mad pair of clippers. The kid fidgets restlessly with his mouth—fingering his lower lip and giving it a good tug now and again. He steals nervous glances at me, at Castaway, at the guards, and now back at me again. It wouldn’t surprise me if the kid in Cell Number 25 was mentally retarded.

Aye, the best laid schemes o’ mice an’ men do, indeed, gang aft a-gley.

To my left, and much too close for comfort, stands my neighbor from Cell Number 23, a lout of a man a few years younger than myself with nearly double the waistline. Dressed in his boxer shorts and a sweat-stained t-shirt, he is digging into the crack of his arse as if he’s mining for gold. He stops scratching, then gives his finger a good, long whiff.

I think he found a nugget.

As bad as things are, it occurs to me that they could be so much worse were I forced to share a cell with any one of these gentlemen.


Rokuban: Too Close to the Sun and other works are available in e-book form and paperback at Amazon.

6. Rokuban

7:30

Inspection

Sit, facing front window.

Give number when asked.

 

Number? What number?

My cell number, C-1-24, has been handwritten on the cover of the R&M.

That can’t be what they’re talking about, can it?

A hand towel hanging on the edge of the washbasin also has “C-1-24” written on it with a black marker.

Maybe that is what they’re talking about. I must be C-1-24.

From the far end of the cell block I can hear the guards approaching. Not able to see diddlysquat, I press my face against the bars of the window to try to catch what’s going on.

“Cell Sixteen!” a guard calls out, his voice growing louder as he makes his way up the cell block.

“Ho!”

“Cell Seventeen!”

“Eight-nine-eight.”

“Ho!”

“Cell Eighteen.”

No reply.

Cell Eighteen!” the guard now yells.

I could be mistaken, but I think the inmate in Cell Eighteen just burped at the guard. Muted giggles rippling up through the whole cell block confirm my suspicion.

Cell Number Eighteen!

FIVE-OH-SEVEN!” the inmate roars back.

More laughter.

Unruffled, the guard carries on down the cell block, calling out, “Cell Nineteen.”

The number is screamed back: “EIGHT-SEVEN-THREE!!

As the guards near my cell it occurs to me that, one, my neighbors are such maladjusted and unpleasant bastards that you really can’t feel sorry for them being locked up, and, two, I don’t know what my own number is.

No mistake about it, I am in cell C-1-24: Block C, First Floor, Cell 24. The number is written on the cover of Regulations and Morals, the pillowcase, the towels, the . . .

“Cell Twenty!” the guard calls out, coming ever closer.

“Two-one-five!”

I pull the yellow basket out from under the desk and start rifling through the few papers I was allowed to take in: Guidelines for Americans Arrested in Japan from the Consulate, my lawyer’s business card, the receipt for my personal belongings, and so on.

“Cell Twenty-three!”

“One-four-one!”

“Cell Twenty-four!” The guards are now standing before my cell. I turn towards the window. It’s so low and narrow, all I can see are the wisteria emblems on their belt buckles.

“Your number!” he hollers.

“M-m-my number?” I gulp.

“Yes, state your number!”

“I, uh . . . I, um, I don’t . . . know what it is.”

Rokuban!”

“Excuse me?”

“You’re Rokuban!”

Rokuban (六番)? Number Six? You gotta be kidding. How come I only get one lousy digit when all the others have three?

“You’re Rokuban, okay? When we say, ‘Cell Number Twenty-four’, you have to say, ‘Rokuban’. Got it?”

“Yeah, I’ve got it.”

“Cell Number Twenty-four!” he bellows. The voice of this guard just kills me.

Rokuban,” I reply, lowering my head meekly.

And with a throaty “Ho!” from the other guard that must mean Hai, the two of them continue on.

Sure enough, a quick look at the receipt for my personal belongings shows a “Six” scribbled in the upper left-hand corner.

You’d think that a number like six would have been retired by now.

“Cell number Twenty-five . . .” the guard calls out as he moves on to the next cell. “Ho! Cell number Twenty-six . . . Ho!

5. Strip

I told Bubbles, “No, I haven’t been naughty with my genitalia.”

“Later, if we find that you do, you’ll be punished.”

Good grief.

Once the paperwork had been completed, signed and affixed with my fingerprint, I was led out of the room, down a hall and then down a flight of stairs. Passing through several sets of locked doors we came at last to a room that was cluttered with boxes, stacked floor to ceiling and several rows thick. In the middle of the room was a table, and on top of the table was a yellow laundry basket.

Bubbles ordered me to strip.

So, this is where Rémy gets buggered with a nightstick, I thought, and pretended not to understand.

“I said, Strip!

I took my time, neatly folding each piece and placing it in the yellow basket, until I was standing with my back against the wall in my white skivvies. Had I known I was going to perform sexual favors, I might have worn a more alluring pair of shorts with, say, a cupid motif or “kiss marks” on them.

“Everything,” Bubbles said, coming within an inch of my nose. He raised his gaunt, acne-scarred face, and glared at me.

I might have had a good six inches and thirty pounds on the guard, but he had the law and the authority of a nightstick. I kicked my shorts off and tossed them onto the pile in the yellow basket.

Bubbles then told me to pull on the tip of my penis, to make it taut. I did. He then told me to yank it to the right, the left, and finally upward to prove that I had neither pearls, nor piercings, nor spare change in there.

I was then ordered to turn around, bend over and spread my cheeks. Ah, what I would have given to squeeze out a sparrow’s egg right then and there as Bubbles peered winsomely up my virgin derrière.


Rokuban: Too Close to the Sun and other works are available in e-book form and paperback at Amazon.

4. Pearls

Listen: I once lived next to a man in his late fifties who had been a Japanese gangster for most of his life. He even had a lapel pin from the Yamaguchi Gumi crime syndicate[1], just like any respectable salaryman might have.

Perhaps it was only mutual curiosity, but we really hit it off, that gangster and me, and during the year or so that we were neighbors, we would often drink together. On one of these drinking sessions in the messy, sunless little rabbit hutch he was living in, he said there was something he wanted to show me.

The man was always playing Show and Tell.

“This is the knife I cut my pinky off with,” he said on one occasion, and, opening a small wooden box, pulled out a shriveled little brown digit. “And this here’s my pinky.”

I’d expected more of the same, memorabilia of his life in the yakuza, only this time, the crazy old man, hopped up off the tatami floor and pulled his pants down, showing me his dingdong. It was as bumpy as a crook-necked squash. He fingered one of the bumps and moving it around explained that he’d had pearls implanted just under the skin.

“Women love it,” he assured me.

“Oh, I’m sure they do. Now can you put that thing away?”

[1] The Yamaguchi Gumi (山口組) is Japan’s largest organized crime syndicate with as many as 36,000 members. It accounts for about 46% of the gangsters in Japan.


Rokuban: Too Close to the Sun and other works are available in e-book form and paperback at Amazon.

 

 

3. Bubbles

I flick through Regulations and Morals to find out what kind of punishment I might expect if I break any rules, something that has been weighing down on me since I was first locked up.

Every command so far has come with a warning, like the popper at the end of a leather whip.

“Speak any Japanese?” the guard asked in a gruff, condescending tone as he removed the handcuffs from my wrists.

I nodded.

“Sit,” he said, pointing to a seat. It was bolted to the floor and faced a steel desk cluttered with papers.

The guard sat across from me, and taking a sheet of paper, started going through a list of questions.

“Tattoos?”

“Huh?”

“Tattoos? Got any tattoos?” he asked testily, keeping his acne-scarred face down, eyes hidden behind the visor of his hat.

“Tattoos? No. No, I haven’t got any tattoos.” There were undertakers more effervescent than that guard.

“Bubbles” made a notation on the form. He was left-handed, and wrote in the tortured way that southpaws write, the pen strangled in a tense white claw.

Raising his head slightly, eyes still concealed, Bubbles warned that I would be severely punished if any tattoos were found on me later.

He rattled off the next question, so quickly I couldn’t catch it.

“Pardon me?”

“Have you been naughty?”

Naughty? I’m sorry, but I don’t understand.”

“Have you been naughty with your genitalia?”

Huh?” Did Bubbles want to know if I jerked off? Like any man, I did, but, Christ, it certainly wasn’t anyone’s business but mine whether I throttled the snake every now and then.

“Your genitalia,” he said, raising his acne scarred face enough for our eyes to finally meet. “You got any pearls or beads . . .”

Jesus. Now I knew what he was getting at.


Rokuban: Too Close to the Sun and other works are available in e-book form and paperback at Amazon.

2. Furigana

The squawk box crackles and pops, coughing out a garbled order.

I reach for the Regulations and Morals, a thin white manual hanging from a plastic hook on the wall, and, flipping through it, find the daily schedule:

 

7:20 Wake

Put bedding away, clean room, wash up.

Prepare for inspection.

 

A simple illustration on the following page shows how the bedding should be arranged. The futon must be folded into thirds and shoved up against the wall. The blanket and sheets folded neatly and placed on top. Failure to comply, the Regulations and Morals tell me, will result in disciplinary action.

As if being cooped up in this dismal little cell isn’t punishment enough.

In all my years of studying and translating Japanese, I’ve never come across the language so curt, so cold . . . so unambiguous. Your average Japanese will go to great pains, hemming and hawing, before he gives you a definite answer, but within the walls of the Kōchisho words are not minced. Do it, the manual says. Do it or fucking else!

 

7:30 Inspection

Sit, facing front window.

Give number when requested.

 

All the Chinese characters have furigana—phonetic notations above the characters showing you how to read them. Out in the real world, furigana is only employed for the most difficult of Chinese characters, such as an uncommon family name, or an obscure word. Here in judicial Limbo, though, literacy is not taken for granted. Even the most basic Chinese characters have these phonetic nightcaps on their heads.


Rokuban: Too Close to the Sun and other works are available in e-book form and paperback at Amazon.