All posts tagged geisha

Hiroshige: artist of the open road @ the British Museum

This is a wonderfully beautiful show of pure visual, intellectual and aesthetic pleasure.

A leading US collector of Hiroshige’s work, Mr Alan Medaugh, has recently gifted 35 prints by Hiroshige to the American Friends of the British Museum and loaned a further 82 works, and it’s these – plus additions from the British Museum’s own collection and the more modern works in the final section –which make up the contents of this fabulous exhibition. Thank you very much indeed Mr Medaugh!

Ferry on the Fuji River, Suruga Province from Famous Places in Japan c. 1832 by Utagawa Hiroshige. Colour-woodblock print © The Trustees of the British Museum

Hence this exhibition, the first on Hiroshige to be held in London for quarter of a century, and the first ever to be held at the British Museum. The great majority of the prints in the exhibition have never been displayed before, and several are believed to be the only surviving examples of their kind in the world.

The title has two elements, Hiroshige, and the open road, and thereafter is divided into themes or topics. I’ll address them one by one.

Preliminary note

This review relies more than usual on the curators’ own words, which can be found in the large print guide i.e. the complete wall labels, for the exhibition. This is because it is a more than usually scholarly and academic exhibition. At exhibitions of Giuseppe Penone or even Arpita Singh, I can start from my knowledge of western art and the traditions those artists invoke and movements they work within, to generate my own thoughts about the design and style and themes of their work.

This is not that kind of exhibition. It is highly educational about a subject and style remote from most of us. It is a display of immense scholarship which digs into levels of detail – for example about different types of Japanese nature painting, or the subtle influence of Chinese schools of landscape painting on Japanese art – which you and I are just not informed about.

Did you know that a yūjo is the name for a Japanese sex worker or courtesan or that bijin-ga (pictures of beautiful women) were one of Hiroshige’s most popular print subjects? Could you distinguish between Hiroshige’s style and the compositionally bolder style of the Kyoto Maruyama-Shijō school? Or that the tanzaku is the name for the tall, narrow format of a strip of paper used to record poems?

No. Me neither. This is a very information-dense exhibition which is why to write a meaningful review I need to repeat a lot of the scholarly commentary which informs the show.

Hiroshige

Utagawa Hiroshige (1797 to 1858) was one of Japan’s most prolific and popular artists. People at every level of society embraced his calm, lyrical depictions of daily life, nature and the rural landscape. The work of modern and contemporary artists across Europe, the US and Japan reveals his lasting influence.

Born into a low-ranking samurai family in Edo (present-day Tokyo), Hiroshige was orphaned at the age of 12 and inherited his father’s title of fire warden. A superior in the fire department taught him to paint in the Kano school style. By the 1830s he was focusing on what were to become his best-known subjects: tranquil views of famous places, panoramic views of city life, and beautiful depictions of the natural world. Over time he became renowned for his innovative compositions and subtle use of graded ink tones (bokashi).

Hiroshige’s earliest series depict scenes in and around his home city of Edo, such as ‘Famous Places in the Eastern Capital’ and ‘Eight Views of the Eastern Capital’. They depict well-known sights around Edo Bay.

Pleasure Boats at Ryōgoku in the Eastern Capital, 1832-4 by Utagawa Hiroshige. Colour-woodblock print triptych. Collection of Alan Medaugh © Alan Medaugh. Photography by Matsuba Ryōko

Following a career spanning more than four decades, Hiroshige died on the 12 October 1858, perhaps the victim of a cholera epidemic then afflicting Edo.

Avoiding politics

Hiroshige lived at the end of the Edo period (1615 to 1868), when a samurai government ruled Japan from the city of Edo. It was a time of urban growth, but also of famine, social crisis and foreign military incursions. Hiroshige, however, avoided depicting turmoil in his art. On the contrary it was his realistic but beautifully stylised landscapes that earned him greatest fame in his lifetime and continue to win admiration today.

The open road

The samurai government of Japan had banned foreign travel since the 1630s but by Hiroshige’s time there was a growing interest in domestic journeys. Samurai lords with hundreds of attendants made their way to Edo to pay their respects to the shogun. Others set off on business, pilgrimage and sightseeing trips, independently or in organised groups.

Inspired by his own explorations, and by East Asian painting traditions and guidebooks, Hiroshige created landscape pictures that were visually inviting and filled with human interest. They offered an imaginative escape for those unable to travel. As the man himself wrote:

[My] drawings present completely true-to-life landscapes to give people just a moment of pleasure without the inconvenience of a long journey.

Landscapes and meisho (famous places) were a safe subject for publishers during the early 1840s, a period of severe censorship.

Evening View of the Eight Scenic Spots of Kanazawa in Musashi Province, 1857 by Utagawa Hiroshige. Colour-woodblock print triptych. Collection of Alan Medaugh © Alan Medaugh

The Eastern Coast Road

But the exhibition focuses on a couple of famous roads in particular. The 500-kilometre-long Tōkaidō (Eastern Coast Road) connected Edo (present-day Tokyo) in the east with Kyoto, the emperor’s capital, in the west. It was the most travelled highway in Japan. There’s a big map of the route of the road(s) on the wall which, like a numpty, I forgot to take a photo of.

The fifty-three post stations along its route provided travellers with places to rest and stock up on supplies. Accommodation ranged from simple guest houses to luxury inns reserved for daimyō (samurai lords). From around 1833 until the end of his life, Hiroshige designed more than 20 series of prints on the Tōkaidō, about 700 works in total.

Nihonbashi, ‘Morning Scene’, from the 53 Stations of the Tōkaidō, c. 1833-35 by Utagawa Hiroshige. Colour-woodblock print © The Trustees of the British Museum

The Central Mountain Road

Later in the exhibition there’s a work from a series depicting a different rout. The Kisokaidō (Kiso highway, also called the Nakasendō or Central Mountain Road) took travellers on a difficult journey through the mountain ranges north-west of Edo, today called the Japanese Alps. It crossed some of Japan’s most awe-inspiring scenery. Steep passes and heart-stopping suspension bridges made it an adventurous route through sixty-nine stations connecting Kyoto and Edo.

Hiroshige depicted the highway in only one major series, which he took over from another artist. It’s represented by a really evocative depiction of a tiny road winding among snow-covered mountains.

Wherever he travelled Hiroshige took a sketchbook which he packed with sketches of different landscapes, and several of them are on display here.

Prolificness

Mention of the 700 works raises a key fact about Hiroshige which is his astonishing prolificness. Hiroshige was commissioned by publishers. The publishers published works in series. If a series was popular, more would be commissioned.

The point of these colour woodblock prints is they were designed to be cheap, affordable, and popular, in subject matter and format. Late in the show they tell us about scientific forensic work which has been done on Hiroshige’s surviving woodblocks and so we think that his most popular designs may have been printed up to 15,000 times before the woodblocks wore down completely.

Throughout his life Hiroshige returned to depictions of Edo, capital of the Tokugawa government during the Edo period (1615 to 1868). He did so in more than 150 print series, including ‘One Hundred Famous Views of Edo’ which covered every neighbourhood, including areas that were not especially famous.

The mass-production of these colour woodblock prints during the Edo period met the demand from an expanding audience for inexpensive art and meant that ordinary people could buy beautifully made but disposable prints for a few pennies.

Print production began with the publisher, who hired the artist, block cutter and printer. Hiroshige worked for around 90 publishers! In a competitive business environment Japanese publishers needed to cultivate as wide an audience as possible. They may have issued variant designs of a single work as a way of appealing to different tastes, which explains the samples here of the same basic design (of a pheasant, say) being reversioned to appear as if in spring, summer and winter, by changing details of the design (adding snow for winter etc).

All this explains why the complete catalogue of Hiroshige’s work amounts to some 5,000 designs for colour woodblock prints, as well as hundreds of paintings and dozens of illustrated books.

Uchiwa (fans)

In Edo-period Japan, warm weather brought a demand for inexpensive, hand-held fans that people could use and enjoy for a season and then discard. A popular type was the uchiwa, an oval fan on fixed ribs with a handle. Unlike folding fans (ōgi), uchiwa are non-collapsible and so allow woodblock prints to be pasted onto their rigid bamboo frame. Uchiwa fan prints were disposable and only a few examples of each design survive.

Several examples are here along with depictions of them in works by Hiroshige and contemporaries, with a copy of a book of stories based on different types of fan by Hishikawa Moronobu.

Modern specialists in ukiyo-e (Edo-period popular prints) have counted every known uchiwa design by Hiroshige and concluded that he produced well over 500, far more than any other artist. The subjects range from rustic and urban scenes to still life.

The exhibition doesn’t have any fans decorated by him, but examples of his works which depict fan-bearing geishas, along with a very big portrait-shaped depiction of a young geisha with an older woman carrying different types of fan, by Kitagawa Tsukimaro.

Kachō hanga (prints of birds and flowers)

Hiroshige’s depictions of nature, especially his kachō hanga (prints of birds and flowers), show his intuitive bond with the natural world. Many include a Japanese or Chinese poem inscribed in flowing calligraphy, reflecting the connection between nature and poetry in Japanese culture and the high level of literacy at the time. Hiroshige’s kachō hanga contributed to a sudden flourishing of the genre in Japan from the 1830s and furthered the artist’s popularity.

Crane and asters, Three geese and full moon, Pheasant and chrysanthemums by Utagawa Hiroshige. Colour-woodblock prints. Gift from the collection of Alan Medaugh to the American Friends of the British Museum Centre © Alan Medaugh. Photograph by Matsuba Ryōko

This section was, for me, the most appealing. There are lots of works depicting a wide range of birds, plants and trees, including wonderful depictions of an owl, mandarin duck, cuckoo, parakeet, cockerel, Eurasian jay, heron, wagtail, kingfisher, falcon, pheasant, tit, oriole, you get the picture.

Also, there’s sound. The curators commissioned a 25-minute long audio track combining the sound of streams, waterfalls, rainfall and animals, including birds and crickets.

One of the most striking images is from late in his career when he experimented with putting objects in the foreground so that they dominate the image, and did so with an enormous carp.

Suidō Bridge and Surugadai

An enormous black carp appears to leap into the air high above the samurai neighbourhood of Surugadai in Edo. In popular East Asian belief, if a carp reaches the top of a waterfall it turns into a dragon, symbolising hard work leading to success. People in Edo displayed koi-nobori (carp banners) like this during the Boys’ Day Festival (5th day of the 5th month, now called Children’s Day).

Bijin

After his attention shifted to landscapes in the early 1830s, Hiroshige did not return to depicting bijin (beautiful women) for more than a decade. As government censorship restrictions started to ease in the late 1840s, he began designing bijin triptychs, depicting women beautifully dressed in kimonos which are depicting in loving and yet always stylised detail.

Cherry Blossoms on a Moonless Night along the Sumida River (1847-8) by Utagawa Hiroshige. Colour-woodblock print triptych. Gift from the collection of Alan Medaugh to the American Friends of the British Museum © Alan Medaugh. Photograph by Matsuba Ryōko

Videos and tools

The exhibition includes three or four videos showing modern craftsmen demonstrating the techniques of woodcarving, and painting, which Hiroshige used in his prints.

the artist Hiroko Imada demonstrates the bokashi (gradation) woodblock printing technique – this is an effect achieved in the printing process by the controlled application of ink to the woodblock
extracts from a film by the artist Kawase Hasui (1883–1957) showing him cutting the omohan or key block
Capucine Korenberg, scientist at the British Museum, discusses her work on the different versions of Hiroshige’s Plum Garden at Kameido prints

And, of course, display cases containing tools of the trade, woodblock-cutting tools like a mallet and chisel, an omohan or key or outline block, a baren or printer’s pad, and explaining the techniques

kimedashi or relief printing
musenzuri or contourless printing
kasanezuri or over-printing

Hiroshige’s influence in the West

In the late nineteenth century there was a vogue in Europe and America for Japanese prints, fashions and designs on vases, tea services etc which goes under the name of Japonisme. It was fed by the opening up of Japan to trade in the 1850s which led to the rapid dissemination of Japanese products in the West.

The exhibition has a modest section describing some highlights of this. Most notable are two big names from the end of the century, Vincent van Gogh and James McNeil Whistler.

In a fascinating little section, we are shown an original Hiroshige print – The Plum Garden at Kameido, 1857 – and told that Vincent van Gogh bought a copy around 1887 and then meticulously traced it onto a numbered grid which he used to enlarge the composition to scale onto the canvas for his oil copy, with van Gogh’s numbered grid placed net to it.

In fact Van Gogh and his brother Theo purchased over 400 Japanese colour woodblock prints and Vincent copied a number of them. Further along the wall is a large-scale sketch of ‘The Countryside along the Shore of the Rhône’ in which he consciously tried to adopt the Japanese approach to landscape, seeking harmony of composition over photographic realism.

The Whistler connection is less dramatic: American artist and educator Arthur Wesley Dow published a book which included examples of Hiroshige prints next to reproductions of works by Whistler to show the influence, namely abandoning the quest for photographic realism in an effort to create atmospheric compositions.

A bit more tenuously there’s a not very good 1895 print by Henri de Toulouse-Lautrec titled The Passenger in 54 which may, or may not, have been influenced by Hiroshige’s strategy of placing the subject in the foreground so as to eclipse the background setting. This is the kind of thing we’re referring to where, pretty obviously, the tree is the focal point of the image, with the people in the background utterly eclipsed.

The Plum Garden at Kameido from 100 Famous Views of Edo, 1857 by Utagawa Hiroshige. Colour-woodblock print. Collection of Alan Medaugh © Alan Medaugh. Photography by Matsuba Ryōko

Modern homages

This final section brings together a dozen or so artworks by contemporary artists which pay homage one way or another to Hiroshige’s achievement. They include:

Julian Opie who produced a set of lenticular prints of the landscape around Mount Fuji (2009)
Koya Abe who digitally altered Hiroshige’s print Seba to convey the destruction caused by the Great Tōhoku Earthquake on 11 March 2011
Emily Allchurch who has digitally collaged hundreds of her photographs of Japan to create new interpretations of Hiroshige in Tokyo Story
Noda Tetsuya who noticed the similarity between the view from Tate Modern looking down on the Thames and Millennium Bridge and Hiroshige’s print, ‘Sudden Shower over Ōhashi and Atake’ and so did a Hiroshige-style treatment of the London view, titled Diary: Feb. 23rd

Thoughts

Magic. ‘Luxury, peace, and pleasure’ Japanese style. Go and see it.

Related reviews

Tokyo Station by Martin Cruz Smith (2002)

The plot

It is Tokyo, December 1941, and Harry Niles is a fast-talking, streetwise American nightclub owner, one-time American movie importer, gambler and fixer with friends in low – and high – places. He was brought by his parents (Roger and Harriet Niles) to Japan soon after the First World War. They were Southern Baptist missionaries who came to convert the Japanese and left young 10- and 11-year-old Harry in charge of drunk Uncle Orin while they went off for long journeys around the country.

So while uncle was off drinking, Harry grew up speaking fluent Japanese and running wild in the red-light district of Asakusa. The book opens with a scene of the boy Harry being chased by his Japanese schoolboy friends as they re-enact an ancient Samurai legend (which requires an inordinate amount of fighting with bamboo sticks), running through the streets till they tumble through a building, and up against a closed door which, under pressure of their fighting bodies, springs open and lands Harry and the most aggressive of his native Japanese pursuers, Gen, suddenly into the dressing room of a small theatre, the Folies.

Harry and Gen become friends with the manager, with a camp artist Kato who hangs around the theatre and draws and sketches the clientele, and some of the showgirls at the theatre, and are quickly running errands for them and gaining all kinds of new insights into adult life. He develops a crush on the beautiful actress and sometime geisha Oharu, who is fond and kind to him in return.

This is all set in 1922 in the opening chapter of the book, and the narrative for the first half of the book alternates chapters between grown-up Harry, ‘now’, in 1941, and boy Harry, ‘then’, back in 1922, giving us more of Harry’s childhood memories, which explain his character, and also relationships with some of the central adult characters.

But the ‘now’ of 1941 is where most of the narrative takes place and which entirely takes over the second half of the story. It is December 1941, in December. Tension between Japan and America is becoming intense. America has long since imposed an oil ban on Japan, along with a ban on a wide range of modern textiles and produce, but it’s the oil ban that’s hit hardest, with the result that all cars are having to be propelled by charcoal-burning stoves set up in their rears.

All the talk is of conflict, and most of the Americans who can leave Tokyo have already done so. But Harry remains, a puzzle to his acquaintances, happy-go-lucky, blessed with an intimate knowledge of Tokyo, not so lucky in his mistress, Michiko, a fervent communist who he rescued from being beaten up by the ferocious Tokyo police after a protest march some two years earlier, and who latched onto him ever since. He has installed him as the Record Girl in his bar, standing by the jukebox, changing records and mouthing along to the words, dressed in a dinner jacket and sexy stockings. Give the place sex appeal. Encourages the male clientele to buy more drinks. Unfortunately, Michiko is fiercely almost insanely jealous, continually threatening either to shoot Harry or kill herself. Yes, she is quite a strain to be with.

The last plane to leave Tokyo is scheduled to take off on Monday December 8. Unfortunately, as we the readers know, the Japanese launch their surprise attack on Pearl Harbour on 7 December, so we know the plane will probably be cancelled and Harry trapped. Ooops.

So the book follows Harry through three or so days of feverish, against the backdrop of mounting war hysteria, as half a dozen or more complicated plotlines meet and clash to provide a complex plot and mounting tension. Among these are:

Eight months earlier Gen, now a lieutenant in the Japanese Navy, introduced Harry to a man in the back of the geisha house opposite Harry’s Bar who turns out to be Admiral Yamamoto. As a notorious con-man Harry is taken to see the experiments of a certain Dr Ito to turn water into oil. These are impressively staged with lots of electric arcs and sparking, but Harry immediately sees it is a confidence trick and helps Gen expose it.

Now, eight months later, Harry repeatedly makes it clear to anyone who will listen that any coming war will be entirely decided by access to oil. America has vast supplies of it, not least from its own Texas oil ranges. Japan has no oil in its territory but will have to invade and conquer the oil-producing islands of the Dutch East Indies. Hence the willingness of the desperate High Command to believe in the ridiculous Dr Ito and his experiments.

Now we discover that Harry has been involved in falsifying the shipment papers of American oil tankers coming to Japan, to the harbour of Yokahama. He makes it look as if they set off with ten thousand barrels of oil and arrive with only one thousand. Where do they stop off? Hawaii and the naval base of Pearl Harbour. So Harry’s fiddling with the accounts seems to imply that the Americans are building up stocks of oil in secret oil storage tanks somewhere at the harbour. But are they?

Why is Harry bothering to do this? We learn that nobody is paying him to. In fact, he is definitely persona no grata with the American authorities, a position he consolidates by making an outrageously anti-American speech at the Chrysanthemum Club, the club for Tokyo’s most important businessmen and politicians. Here Harry makes a big speech explaining why there is no need for a war. This is because he genuinely doesn’t want there to be a war, but it has the effect of setting both the American and powerful British community against him as a traitor.

As a sideline, there is the thread of Willie Stauber, a German emigre, fully paid-up Nazi, but who Harry worked with in Nanking four years earlier, and who returned from China with a Chinese bride in tow. He is desperate to get out of Tokyo but to make sure his Chinese bride can accompany him. At odd moments, in the midst of his other concerns, we see Harry purposefully working to try and help Willie, eventually by securing faked official documents, into which he, Harry, writes an official text declaring Iris a fit person to travel, sealed with an official seal which he himself makes and stamps, using one of his many underworld skills, this time as a forger.

Colonel Ishigama 1

But the central driving force of the narrative is definitely is the fact that, right from the start of the book, Harry is being hunted by a certain Colonel Ishigama, who has vowed to kill him. Why?

Their paths have crossed twice before. Once, back in 1922, the artist Kato had asked Harry to deliver a fine print to a client. Harry had already taken several to the tall severe figure inside an opulent-looking house. This time he wants to see a new movie so asks his friend Gen to take it. Bad mistake. Hours later, when Gen has not returned, Harry goes to the house and is invited in by the forbidding owner. He finds gen lying sideways on a large pillow with an odd look on his face, while the owner proceeds to show Harry his collection of antique swords, and then to demonstrate samurai moves with it. Eventually, he ushers both boys out of his house, giving Gen a white chrysanthemum as he leaves.

Back at Kato’s studio, the artist explains that this is because Colonel Ishigama (for this is the man’s name) has deflowered Gen, taken his homosexual virginity. This is why he had wanted Harry to take the print; Harry is too ugly for a connoisseur like Ishigama to be attracted to. Now he has spoilt everything.

Kato and Oharu

In fact Kato is so disappointed with Harry that he decides, on the spot, to sever friendship with him, to see him no more. Harry is devastated. the past few months have given him a wonderful insight into art and adult life, and wonders and mysteries. But Kato is unbending and Harry is kicked out to wander the streets in tears.

That night boy Harry tracks down Kato to a walled garden. Sneaking over the wall Harry is transfixed to discover that Kato is sketching Harry’s beloved actress Oharu being fucked in various positions by one of the comedians from the Folies theatre. Having become drenched in Japanese aesthetic values Harry is able to appreciate the subtlety of the positions, and the rapid way Kato sketches lines and form, writing scribbled notes in the margins indicating what colours later to use when he works them up to prints in his studio.

But a sudden flash of lightning reveals Harry standing in the garden watching the scene. Quick as a flash he turns and leaps back over the garden wall, scampering way through the alleyways of Asakusa in the pouring rain back to the house where he’s meant to be supervised by drunk Uncle Orin, but where he is, as usual, alone, and hunkers down into his bed cold and wet and miserable. Except that, a few minutes later, Oharu knocks meekly at the door, comes sits by the bed and apologises. ‘It was only sex, Harry,’ she says, voicing the very different attitude the Japanese take to copulation from us shame-filled Westerners. it was just poses and positioning for her friend the artists, Kato, nothing more. She strokes his head. He is cold and feverish. She insists on getting him out of his wet things. She climbs in behind him and Harry feels her nipples hardening. She takes his hand and guides it between her legs. In short, she guides him through the mysteries of sex, and takes his boyish virginity.

All novels are, at some level, wish fulfilment. The wish fulfilment and fantasy is nearer the surface in ‘genre’ fiction. What man reading this could not be transported and wish this was how he lost his virginity.

Unfortunately, Harry is just falling asleep in Oharu’s arms when the light is brutally turned on to reveal Harry’s parents standing over them, unexpectedly returned from a long missionary tour, accompanied by the bleary-eyed and mortally embarrassed Uncle Orin.

Harry’s father brutally yanks Oharu by the hair out of Harry’s bed and when Harry protests belts him so he reels across the room. He would have pushed Oharu naked out into the street, except that his wife points out the neighbours will see, the humiliation etc, so they let her hurriedly dress in her kimono before kicking her out then Roger Niles takes his belt to Harry and beats him till he bleeds.

Suffice it to say this experience crystallises Harry’s love for everything fine, refined and Japanese and his contempt for everything big, blundering and brutal about America. Within days they are on a boat sailing back to the States. A few months later Tokyo is devastated by the vast earthquake and firestorm known as the Great Kanto earthquake, an appalling disaster in which some 144,000 people lost their lives in the unimaginable holocaust of out of control firestorms. Harry later learns that Kato died trying to protect his prints, and nothing was heard of Oharu: like so many other she simply disappeared, burned without trace.

Colonel Ishigama 2

Anyway, it is only two-thirds of the way into the book that we discover the cause of Ishigama’s ire and why Harry has been trying to evade him for the first 300 pages, in a prolonged flashback. The story is actually told by the German Willie Staub. Four years earlier Willie had been in China when the Japanese invaded. He had been in the capital Nanking when the Japanese arrived and began their reign of fear. They gang raped all the women they could find. they rounded up men and shot them in squads of up to a hundred. NCOs arranged for the still raw recruits to use live Chinese as bayonet practice in order to perfect their technique.

In the midst of this holocaust Willie and the handful of other Europeans tries to set up a safe quarter of town to protect the Chinese fleeing there. From nowhere appears an American who can speak fluent Japanese and becomes Willie’s driver. He tells several stories about how Harry used his con-man confidence to interrupt executions and gang rapes.

Best technique was to muscle through the Japanese soldiers holding down the woman, take out a stethoscope and examine her groin (having first gotten the Japanese penis removed) and announce confidently that she had venereal disease, reminding the soldiers that they don’t want to infect themselves and bring this pollution back to their wives and sweethearts. The Japanese desisted. Harry and Willie took the traumatised woman to their lorry, to join all the others, and, once the lorry was full, be driven back to the (relative) safety of the European zone.

Anyway, one day on their tour of the atrocities, they come across a crowd of soldiers surrounding a line of ten Chinese civilians who have their hands tied behind their backs and have been made to kneel in a line. At the end of the line is Colonel Ishigama. Harry recognises him instantly. And recognises the beautifully crafted, infinitely sharp samurai sword he is holding. He is about to see if he can behead ten people in a row in under 60 seconds. As he flexes his wiry forearms, and as his aide de camp prepares the bucket of water and cloth with which he will wipe the sword between strikes, Harry grabs all the cash he and Willie have in the cash box in the lorry, jumps down and walks confidently into the ring of soldiers, yelling that he will give Ishigima 100 yen and every man in the watching soldiers ten yen each, if Ishigama can behead them all in under thirsty seconds, those left unbeheaded to walk free. The soldiers cheer for the money and Ishigama reluctantly agrees (refusing would lose face) and Smith then describes the grisly decapitation of the first five civilians, with Ishigama losing time because he’s flustered, because the aide de camp drops the wiping cloth, accidentally hitting his own aide de camp on one backswing: the upshot is that Ishigama only manages five before the thirty seconds is up.

The crowd of soldiers roar, Harry gives them the huge bundle of yen to distribute and hustles the surviving five civilians – including a 13-year-old boy who has pooed and peed himself – into the back of the lorry alongside the raped women, and they carefully reverse, through the cheering soldiers and drive off before Ishigama can do anything.

This is why, when Harry hears, right at the start of the story, that Ishigama is back from China in Tokyo, it fills his mind with anxiety and drives the narrative.

Ishigama’s revenge

There are a lot of other plot strands. Harry meets with his mistress (Lady Alice Beechum – wife of Sir Arnold, the British ambassador), tries to hide the fact from Michiko, runs his bar, the Happy Paris, makes his speech at the Chrysanthemum Club, meets other friends Japanese and American, for drinks and gossip, is present at the small group for drinks where Willie tells the story about Ishigama, meets his schoolboy friend and nemesis Lieutenant Gen, now in the Japanese Navy, for conversations about oil or lack thereof for the Japanese war effort.

In a separate plotline he is being investigated and followed by Sergeant Shozo of the Special Higher Police, also known as the Thought Police, and his goon assistant Corporal Go. They have been tipped off about his involvement in the Magic Oil experiments of Dr Ito, and turn up at the Yokohama dockside offices of one of the oil companies whose books Harry is fiddling to make it look like oil is being offloaded in Hawaii.

Also we run into several of Harry’s small gang of boyhood Japanese friends, and discover how they’ve turned out. One is a sumo wrestler, Taro, twin of Jiro, who had joined the navy and been killed and who, in a series of scenes, Harry promises to accompany to the office where they collect his ashes and official war box (containing the ashes, military citation and so on) to be given to the dead hero’s family.

Plus involvements with various local gamblers and a strand where Harry swaps all the cash he has for gold from a friendly pawnbroker.

Altogether, these intertwining plotlines and strands form a wonderful fabric, a tapestry of stories and adventures and scams, each of them shedding light on different aspects of Japanese culture, and tradition, building up a persuasive sense of life in Japan of the period.

But it is only in the last 100 pages or so that Ishigama finally catches up with Harry. It is in the willow house, a geisha house opposite his bar. Harry has returned from various meetings and adventures to discover his own bar dark and locked up. Unusual. He didn’t give instructions for this. And the willow house opposite is strangely quiet. It is unlocked. He takes his shoes off and tiptoes along the hall until he hears a voice calling his name.

In a genuinely bizarre scene, he discovers Colonel Ishigama quietly kneeling at a traditional Japanese table with his immense super-sharp samurai sword lying on it, attended by an immaculately painted geisha girl. Harry knows everything about Japanese culture and so this scene is stuffed with facts about geishas and the intricacy with which they are painted, their social and cultural role, as well as lots of information about Ishigama’s background.

Ishigama is infinitely polite and solicitous. He asks the geisha for hot sake. They drink each other’s health. Harry knows that if he makes one false move or says something wrong, Ishigama will whip up the sword and behead him faster than he can move.

It is the standout scene in a novel full of strikingly vivid, beautifully imagined scenes. Ishigama calmly and politely informs Harry that he (Harry) owes him (Ishigama) five heads, the five heads he never got to take off back in China. Of course Harry’s will be last, but he, Harry, will select the identities of the other four. Harry’s mind races…

At which point one of Harry’s acquaintances, Al DeGeorge, a journalist with the Christian Science Monitor, knocks on the door. He is drunk as a skunk. He stumbles inside shouting Harry’s name wanting to know why his bar isn’t open. He makes it right up to the entrance of the back room when Ishigama abruptly swoops to his feet, with one stride is at the doorway, and with one enormous sweep of the sword cleaves DeGeorge from shoulder blade to belly button. the dying man grunts a last syllable and falls in two halves.

Neither Harry nor the geisha has moved. As I say, powerful scene. In the event it slowly dawns on Harry, to his amazement, that the geisha is none other than his fierce lover, Michiko. All kinds of speculation goes through his mind. Was she always a geisha on the side. Who painted her so elaborately, every geisha needs an assistant? Was it Ishigama, a psychopath famed for his aesthetic abilities? In which case, did she service the brutal sadist?

Harry’s mind is swimming while he all the time makes no movement as Ishigama ritually cleans his sword and returns to the kneeling position opposite Harry at the low table. More sake! And the three toast each other as if nothing had happened. Then suddenly Michiko has a small dagger at Ishigama’s throat. She makes him put down the sword and Harry grabs both it and the smaller ceremonial sword from Ishigama’s sash.

Ishigama is neutralised. He smiles. Now he knows Michiko’s true relationship with Harry. Then he stands up and, of course, Michiko can’t bring herself to stab him. Before they can stop him he leaps through the paper wall of the room and is into the garden and beyond. Harry collects up the swords, grabs Michiko’s hand and they run back across the road towards his bar, letting themselves in, locking the door, Harry fumbling for the pistol he has hidden under the floorboards.

Then Harry is picked up by the Thought Police and taken to a prison where he sees the manager of one of the oil companies whose records he had faked, bound to a table and beaten senseless with bamboo rods. Sergeant Shozo is very polite, offers him a cigarette, says this will happen to him unless he tells them what he knows about the secret oil tanks at Pearl Harbour. They only beat Harry a little and eventually (and a bit inexplicably, to me) they let him go.

Harry makes his way back to central Tokyo and spends the remaining 100 or so pages of the book in increasingly desperate attempts to inform the American ambassador, and then his mistress, Lady Beechum, that he is now convinced a Japanese attack is coming very soon. The ambassador, cornered at a swish Japanese golf course, simply pretends to ignore him. Lady Beechum tells him noone will believe him; he is the most discredited man in Tokyo.

Then there is another encounter with Ishigama, in the street which is interrupted by news announcers blaring from every streetside loudspeaker – that Japan has launched a surprise attack on the American fleet and utterly destroyed it. People stream out of their houses, cheering. Ishigama is lost in the torrent of people. All the plotlines come together. Harry drives through the throng to the American embassy only to discover, amid scenes of panic as all the embassy staff gather and burn all their secret information, that Harry’s name is not on the list of Americans who will be repatriated. His old schoolboy friend Hooper explains it is partly because he is persona non grata with both the American and British ex-pat community. But more because the Japanese want him.

Finally Ishigama catches up with him, helped by his oldest schoolboy frenemy, Gen, giving rise to a prolonged chase through shops and back alleyways until Harry finds himself, unwittingly, tumbling once again through the door into the dressing room of the Theatre Folies, where he had tumbled all those years ago. Now it is dusty and abandoned and now, on its empty stage, the last gruesome scene of the novel takes place.

You will not be surprised to learn that heads roll. But I think you should read this immensely enjoyable to find out whose.

Cast

Whites

Lady Alice Beechum – wife of Sir Arnold, British ambassador, Harry’s sexually athletic mistress, who has also worked in the British code room for two years, very well informed about international affairs

Sir Arnold Beechum – purple faced blimp who knows full well Harry is having an affair with his wife and, late on in the novel, ambushes Harry with a cricket bat, knocking him unconscious, as if Harry didn’t have enough to worry about already

Willie Staub – member of the Nazi Party, former managing director of China Deutsche-Fon – who was with Harry back in Nanking, China, then married Iris, a Chinese woman, who he is desperate to help get away with him back to Europe

Al DeGeorge – sceptical journalist for the Christian Science Monitor

Japanese

Agawa – keeper of a local pawnshop who exchanges Harry’s cash for small gold ingots

Corporal Go of the Thought Police, a grinning sadist

Goro – reformed pickpocket friend of Harry’s, gone straight and married the owner of a stationery shop he once tried to rob

Haruko – waitress at Harry’s bar, the Happy Paris

Ishigami – the young army officer who deflowers the boy Gen, and gives him and Harry a display of samurai swordsmanship, who Harry cheats out of his Chinese beheadings in Nanking, and then pursues Harry implacably through the second half of the novel like an avenging Fury

Kato – artist and printmaker, who teaches Harry (and the reader) the aesthetics of Japanese prints and design; after Harry lets Gen take a print to Lieutenant Ishigama – who seduces him – Kato drops Harry as unreliable

Kondo – bartender at the Happy Paris

Michiko Funabashi – young woman communist who Harry saves from a riot, sleeps with and thereupon becomes his fiercely jealous mistress, she serves as the Record Girl in his bar, and pops up unexpectedly painted as a geisha girl in the central scene with Colonel Ishigama

Oharu – actress in the theatre who wipes the boy Harry’s face when he tumbles into the changing room, and becomes his muse, and who later takes his virginity: lost in the great earthquake of 1922

Sergeant Shozo of the Special Higher Police – thoughtful and playful officer who unwaveringly pursues Harry to find out if he was lying about the oilfields at Hawaii

Taro – sumo wrestler, twin of Jiro, who joins the navy and is killed, whose ashes Taro receives on the main day

Tetsu – one of their boyhood gang who becomes a yakuza and is covered in tattoos

Gen – the leader of their gang when they were boys, now a lieutenant in the Japanese navy

Admiral Yamomoto – head of the Imperial Japanese Navy who Harry is introduced to by a nervous Lieutenant Gen eight months earlier, whose trust Harry wins by playing poker with him, and who then asks for Harry to come and watch the conman Dr Ito perform his fraud of supposedly turning spring water into oil

Cruz Smith’s prose

Cruz Smith’s writing has two obvious pleasures: one is that he really transports you to his locations, making you feel and smell and breathe them. The bustling, noisy cityscape of 1940s Tokyo is vividly conveyed, from the pomp of the British Embassy, via the top businessmen at the Chrysanthemum Club, to the umpteen bars and pawnshops and sumo training gyms and artists studios which Harry’s numerous interests take us to.

Second is the way he can make language jive and shimmy. I’ve just read a couple of thrillers by the Englishman Robert Harris, which are written in clear efficient journalistic prose, the text’s ‘grip’ deriving from the mounting tension implicit in the increasingly fraught situations he describes. Harris’s prose is meant to be transparent as a reporter’s to let the fraught scenarios snag the reader.

By contrast Cruz Smith is a poet. He can make the language jive and shimmy in totally unexpected ways. You know the old archive footage where an artist like Picasso draws a couple of lines onto paper and… it is a bull! Same with Cruz Smith. A couple of ordinary words are arranged in a novel combination which opens up an entirely new idea or sensation. He’s magic!

In this way, not only are the novels exciting and informative but they also supply a steady stream of moments when the prose leaps up and performs tricks for you. I’m not saying he’s Shakespeare. Just that he can do in a phrase what other authors need a paragraph to do, and then injects something extra.

For example, here is Tokyo as the loudspeakers at every road corner blare the news that Japan has launched and won the Pacific war.

Each radio report began with the opening bars of the ‘Warship March’, and with every account, Tokyo seemed to rise farther above sea level. (p.407)

When Harry is planning to ditch Michiko in order to be on the last plane out of Tokyo sitting next to his mistress, Lady Beechum, he thinks:

He’d garb his betrayal with small decencies… (p.233)

Lady Beechum is all-too-aware of Harry’s crooked shortcomings, as she sums up in a Wildeish paradox:

‘Harry, it’s a fantasy. You and I were not meant to be with anyone. it’s sheer incompatibility that keeps us together.’ (p.172)

Sometimes it’s more in the zone of American street smarts, descended from a long line of pulp writers, and crafted to reflect Harry’s own rueful self-awareness.

A crow trudged up the road and shared a glance with Harry, one wiseguy to another. (p.330)

It was one of those moments, Harry thought, when your life was put on the scale and the needle didn’t budge. (p.342)

But at others, it’s poetry, moments when you see a new aspect of human behaviour.

The man spoke with such intensity that it took Harry a moment to find the air to answer. (p.191)

Sometimes it’s the poetry of description.

Every few minutes a fighter plane would pass overhead, towing its shadow across the baseball diamond and up over the slope to the airfield across the road. (p.130)

This immediately and vividly made me recall all the times an airplace shadow has passed over or near me. I was there.

Maybe my favourite is the moment when the boy Harry pops over the wall into the garden of the house where he is to discover Ohasu having sex and being sketched by Kato, in a heavy summer downpour of rain, and:

The house was larger than it had appeared from the street, with a side garden not of flowers but of large stones set among raked pebbles. In a brief illumination of lightning, Harry saw the garden as it was meant to be contemplated, as small islands in a sea of perfect waves. The pebbles chattered in the rain. (p.250)

‘The pebbles chattered in the rain.’ Not show-offy, witty or paradoxical. Only six common little words. But which convey the moment perfectly, the garden of Japanese pebbles glistening and minutely jostled by the heavy downpour. You are there. With Harry. At the heart of the story. And Cruz Smith does this again and again with acute details and snappy phrases. His books are not only gripping and thoroughly researched, but deliver a really verbal, literary pleasure.