“With lacquerware there is an extra beauty in that moment between removing the lid and lifting the bowl to the mouth, when one gazes at the still, silent liquid in the dark depths of the bowl, its colour hardly differing from that of the bowl itself. What lies within the darkness one cannot distinguish, but the palm senses the gentle movements of the liquid, vapour rises from within, forming droplets on the rim, and the fragrance carried upon the vapour brings a delicate anticipation ... a moment of mystery, it might almost be called, a moment of trance.”

“Whenever I see the alcove of a tastefully built Japanese room, I marvel at our comprehension of the secrets of shadows, our sensitive use of shadow and light. For the beauty of the alcove is not the work of some clever device. An empty space is marked off with plain wood and plain walls, so that the light drawn into its forms dim shadows within emptiness. There is nothing more. And yet, when we gaze into the darkness that gathers behind the crossbeam, around the flower vase, beneath the shelves, though we know perfectly well it is mere shadow, we are overcome with the feeling that in this small corner of the atmosphere there reigns complete and utter silence; that here in the darkness immutable tranquility holds sway.”

“Perhaps I am already tired of life—I feel as if it makes no difference when I die. The other day at the Toranomon Hospital when they told me it might be cancer, my wife and Miss Sasaki seemed to turn pale, but I was quite calm. It was surprising that I could be calm even at such a moment. I almost felt relieved, to think that my long, long life was finally coming to an end.”

“When I lived on the Bluff in Yokohama I spend a good deal of my leisure in the company of foreign residents, at their banquets and balls. At close range I was not particularly struck by their whiteness, but from a distance I could distinguish them quite clearly from the Japanese. Among the Japanese were ladies who were dressed in gowns no less splendid than the foreigners’, and whose skin was whiter than theirs. Yet from across the room these ladies, even one alone, would stand out unmistakably from amongst a group of foreigners. For the Japanese complexion, no matter how white, is tinged by a slight cloudiness. These women were in no way reticent about powdering themselves. Every bit of exposed flesh—even their backs and arms—they covered with a thick coat of white. Still they could not efface the darkness that lay below their skin. It was as plainly visible as dirt at the bottom of a pool of pure water. Between the fingers, around the nostrils, on the nape of the neck, along the spine—about these places especially, dark, almost dirty, shadows gathered. But the skin of the Westerners, even those of a darker complexion, had a limpid glow. Nowhere were they tainted by this gray shadow. From the tops of their heads to the tips of their fingers the whiteness was pure and unadulterated. Thus it is that when one of us goes among a group of Westerners it is like a grimy stain on a sheet of white paper. The sight offends even our own eyes and leaves none too pleasant a feeling.”

“When I saw the illustration a new idea came to me. Might it not be possible to have Satsuko’s face and figure carved on my tombstone in the manner of such a Bodhisattva, to use her as the secret model for a Kannon or Seishi? After all, I have no religious beliefs, any sort of faith will do for me; my only conceivable divinity is Satsuko. Nothing could be better than to lie buried under her image.”

“When I was at the University I knew a law student named Yamada Uruu. Later he worked for the Osaka Municipal Office; he’s been dead for years. This man’s father was an old-time lawyer, or “advocate,” who in early Meiji defended the notorious murderess Takahashi Oden. It seems he often talked to his son about Oden’s beauty. Apparently he would corner him and go on and on about her, as if deeply moved. “You might call her alluring, or bewitching,” he would say. “I’ve never known such a fascinating woman, she’s a real vampire. When I saw her I thought I wouldn’t mind dying at the hands of a woman like that!”Since I have no particular reason to keep on living, sometimes I think I would be happier if a woman like Oden turned up to kill me. Rather than endure the pain of these half-dead arms and legs of mine, maybe I could get it over and at the same time see how it feels to be brutally murdered.”

“The ancients waited for cherry blossoms, grieved when they were gone, and lamented their passing in countless poems. How very ordinary the poems had seemed to Sachiko when she read them as a girl, but now she knew, as well as one could know, that grieving over fallen cherry blossoms was more than a fad or convention.”