Tokyo Year Zero Part 1

Tokyo Year Zero.

by David Peace.

For my children

For an explanation of j.a.panese words and phrases used in the text, please refer to the Glossary.

51. DefeatThe hand taking up the pen had started to tremble.

He drooled.

Only after a 0.8 dose of Veronal did his head have any clarity.

But even then, only for half an hour or an hour.

Day by day he lived in this half-light.

The blade nicked, a slim sword for a stick.A Fool's Life, Akutagawa Rynosuke, 1927

I lie among the corpses. One Calmotin, two One Calmotin, two. Hundreds of them, thousands of them. Dead leaves, floating in the autumn breeze. I try to raise my head but I cannot. Flies and mosquitoes swarm over me. I want to brush them away but I cannot. Low dark clouds shift across the sky. It is time to reveal the true essence of the nation It is time to reveal the true essence of the nation. Last night, sometime between midnight and dawn, between retreat and defeat, rain drenched this place and, though the storm has now pa.s.sed, fresh torrents of rain still fall upon the corpses and onto my face. My head is numb, my thoughts the fleeting shadows of delirium. Images of my wife and my children float before my eyes, among the corpses. Ten Calmotin, eleven Ten Calmotin, eleven. Beneath the eaves of the Black Gate of Zjji Temple. Oh so bravely, off to Victory Oh so bravely, off to Victory. My son has a little flag in his hand. My daughter has a little flag in hers. Insofar as we have vowed and left our land behind Insofar as we have vowed and left our land behind. My parents are here. Friends from school, teammates from my high school baseball club, colleagues with whom I graduated. Who can die without first having shown his true mettle? Who can die without first having shown his true mettle? Each holds aloft a big banner, each banner bearing my name, each before the Black Gate. Each holds aloft a big banner, each banner bearing my name, each before the Black Gate. Each time I hear the bugles of our advancing army, I close my eyes and see wave upon wave of flags cheering us into battle Each time I hear the bugles of our advancing army, I close my eyes and see wave upon wave of flags cheering us into battle. There are sight-seeing buses full of girls on school excursions. The earth and its flora burn in flames, as we endlessly part the plains The earth and its flora burn in flames, as we endlessly part the plains. The clock strikes noon as my truck approaches the Black Gate. Helmets emblazoned with the Rising Sun Helmets emblazoned with the Rising Sun. The truck stops in front of the gate and I jump down from the Nissan. And, stroking the mane of our horses, who knows what tomorrow will bring life? And, stroking the mane of our horses, who knows what tomorrow will bring life? I stare into the crowd, up at the banners and the flags, and I salute. Now the departure signal sounds. I stare into the crowd, up at the banners and the flags, and I salute. Now the departure signal sounds. Or death in battle? Or death in battle? Twenty Calmotin, twenty-one Twenty Calmotin, twenty-one. The print of dear faces floating in a sea of flags as the mountains fade, the rivers retreat, waving our flags until our hands are numb, floating and waving. We are bound for Siberia We are bound for Siberia. Down the Shimonoseki Channel, the waters choked with transports and cargo boats. We are bound for Dairen We are bound for Dairen. I lie among the corpses, the damp bodies and the fetid air. We are bound for Shanghai We are bound for Shanghai. The two tiers of cheap bunks on the decks below. We are bound for Canton We are bound for Canton. The men shout, the men applaud, as Yamazaki begins to recite 'The b.l.o.o.d.y Handkerchief of Kioi Hill'. More shouts, more applause, as Shimizu tells of 'Konya, the Harlot'. I love you, I love you, I love you, says Konya to her customer. The bell rings for the evening meal. The war horses stabled in the hatch below scream, their ribs exposed. The steam winch hoists their corpses into waiting boats. In their bunks, men hold their sennin-bari sennin-bari tighter, their belts of one thousand st.i.tches, touching the charms and talismans sewn into the silk. The Eight Myriads of Deities and a Buddha from Three Thousand Worlds. I lie among the corpses, a three-inch image of the Buddha in my hands. No bullet ever touched the man who carried it, said my father. Through the Shino War, the Boxer Rebellion and the Russo War, without a scratch. Bags of five-sen or ten-sen pieces, vests of dried cuttlefish, every man has his charm. tighter, their belts of one thousand st.i.tches, touching the charms and talismans sewn into the silk. The Eight Myriads of Deities and a Buddha from Three Thousand Worlds. I lie among the corpses, a three-inch image of the Buddha in my hands. No bullet ever touched the man who carried it, said my father. Through the Shino War, the Boxer Rebellion and the Russo War, without a scratch. Bags of five-sen or ten-sen pieces, vests of dried cuttlefish, every man has his charm. How far we have come from the homeland How far we have come from the homeland. The transport ploughs on through the black ocean. 'Tis the land of Manchuria, far, far from home. I lie among the corpses and I listen

The fifteenth day of the eighth month of the twentieth year of ShwaTokyo, 90, fine'Detective Minami! Detective Minami! Detective Minami!'I open my eyes. From dreams that are not my own From dreams that are not my own. I sit up in my chair at my desk. Dreams I do not want Dreams I do not want. My collar is wet and my whole suit damp. My hair itches. My skin itches 'Detective Minami! Detective Minami!'Detective Nishi is taking down the blackout curtains, bright warm shafts of dawn and dust filling the office as the sun rises up beyond the tape-crossed windows 'Detective Minami!''Did you just say something?' I ask Nishi Nishi shakes his head. Nishi says, 'No.'I stare up at the ceiling. Nothing moves in the bright light. The fans have stopped. No electricity. The telephones silent. No lines. The toilets blocked. No water. Nothing 'k.u.magaya was. .h.i.t during the night,' says Nishi. 'There are reports of gunfire from the Palace...''I didn't dream it, then?'I take out my handkerchief. It is old and it is dirty. I wipe my neck again. Then I wipe my face. Now I check my pockets They are handing out pota.s.sium cyanide to the women, the children and the aged, saying this latest cabinet reshuffle foretells the end of the war, the end of j.a.pan, the end of the world ... ...Nishi holds up a small box and asks, 'You looking for these?'I s.n.a.t.c.h the box of Muronal out of his hands. I check the contents. Enough Enough. I stuff the box back into my jacket pocket The sirens and the warnings all through the night; Tokyo hot and dark, hidden and cowed; night and day, rumours of new weapons, fears of new bombs; first Hiroshima, then Nagasaki, next is Tokyo ... ...Bombs that mean the end of j.a.pan, the end of the world ... ...No sleep. Only dreams. No sleep. Only dreams ... ...Night and day, this is why I take these pills ... ...This is what I tell myself, night and day ... ...'They were on the floor,' says Nishi I nod. I ask, 'You got a cigarette?'Nishi shakes his head. I curse him I curse him. There are five more days until the next special ration. Five more days Five more days ... ...The office door swings open Detective Fujita storms into the room. Detective Fujita has a Police Bulletin Police Bulletin in his hand. Fujita says, 'Sorry, more bad news...' in his hand. Fujita says, 'Sorry, more bad news...'He tosses the bulletin onto my desk. Nishi picks it up Nishi is young. Nishi is keen. Too young ... ...'It's from the Shinagawa police station,' he says, and reads: 'Body discovered in suspicious circ.u.mstances at the Women's Dormitory Building of the Dai-Ichi Naval Clothing Department ''Just a moment,' I tell him. 'Surely anything to do with the Naval Clothing Department falls under the jurisdiction of the Kempeitai? This is a case for the military police, not civilian...''I know,' says Fujita. 'But Shinagawa are requesting Murder Squad detectives. Like I say, I'm really sorry I pulled it...'No one wants a case. Not today. Not now ... ...I get up from my desk. I grab my hat 'Come on,' I tell Fujita and Nishi. 'We'll find someone else. We'll dump the case. Just watch me...'I go out of our room and down the main hallway of the First Investigative Division of the Tokyo Metropolitan Police Department; down Police Arcade, room to room, office to office, door to door Door to door. No one No one. Office to office. No one No one. Room to room. No one No one. Everyone evacuated or absent No one wants a case. Not today ... ...Just Fujita, Nishi and me now I curse. I curse. I curse ... ...I stand in the corridor. I ask Nishi, 'Where's Chief Kita?''All chiefs were summoned to a meeting at 7 a.m....'I take out my pocket watch. It's already past eight '7 a.m.?' I repeat. 'Maybe today is the day then?''Didn't you hear the nine o'clock news last night?' he asks. 'There's to be an Imperial broadcast at noon today...'I eat acorns. I eat leaves. I eat weeds ... ...'A broadcast about what?' I ask 'I don't know, but the entire nation has been instructed to find a radio so that they can listen to it...''Today is is the day then,' I say. 'People return to your homes! Kill your children! Kill your wives! Then kill yourself!' the day then,' I say. 'People return to your homes! Kill your children! Kill your wives! Then kill yourself!''No, no, no,' says Nishi Too young. Too keen ... ...'If we're going to go,' interrupts Fujita, 'let's at least go via Shimbashi and get some cigarettes...''That's a very good idea,' I say. 'No cars for us, anyway...''Let's take the Yamate Line round to Shinagawa,' he says. 'Take our time, walk slowly and hope we're too late...''If the Yamate Line is even running,' I remind him 'Like I say,' says Fujita again. 'Take our time.'Detective Fujita, Nishi and I walk down the stairs, through the doors, and leave Headquarters by the back way, on the side of the building that faces away from the grounds of the Imperial Palace That looks out on the ruins of the Ministry of Justice.The shortest route to Shimbashi from Sakuradamon is through the Hibiya Park, through this park that is now no park Black winter trees in the white summer heat ... ...'Even if we are routed in battle,' Nishi is saying, 'the mountains and the rivers remain. The people remain...'Plinths without statues, posts with no gates ... ...'The hero Kusunoki pledged to live and die seven times in order to save j.a.pan,' he states. 'We can do no less...'No foliage. No bushes. No gra.s.s now ... ...'We must fight on,' he urges. 'Even if we have to chew the gra.s.s, eat the earth and live in the fields...'Just stark black winter trees ... ...'With our broken swords and our exhausted arrows,' I say. 'Our hearts burnt by fire, eaten by tears...'In the white summer heat ... ...Nishi smiling, 'Exactly...'The white heat ... ...Nishi in one ear and now the harsh noise of martial music from a sound-truck in the other as we leave the park that is no park, down streets that are no streets, past buildings that are no buildings 'Oh so bravely, off to Victory/Insofar as we have vowed and left our land behind so bravely, off to Victory/Insofar as we have vowed and left our land behind ...' ...'Buildings of which nothing remains but their front walls; now only sky where their windows and their ceilings should be 'Who can die without first having shown his true mettle/Each time I hear the bugles of our advancing army can die without first having shown his true mettle/Each time I hear the bugles of our advancing armyThe dates on which these buildings ceased to be buildings witnessed in the height of the weeds that sprout here and there among the black mountains of shattered brick 'I close my eyes and see wave upon wave of flags cheering us into battle close my eyes and see wave upon wave of flags cheering us into battle ...' ...'The shattered brick, the lone chimneys and the metal safes that crashed down through the floors as these buildings went up in flames, night after night 'The earth and its flora burn in flames/As we endlessly part the plains earth and its flora burn in flames/As we endlessly part the plains ...' ...'Night after night, from the eleventh month of last year, siren after siren, bomb after bomb 'Helmets emblazoned with the Rising Sun/And, stroking the mane of our horses ...' ...'Bomb after bomb, fire after fire, building after building, neighbourhood after neighbourhood until there are no buildings, there are no neighbourhoods and there is no city, no Tokyo 'Who knows what tomorrow will bring life?' knows what tomorrow will bring life?'Only the survivors now 'Or death in battle?'Hiding under the rubble, living among the ruins, three or four families to a shack of rusted iron and salvaged wood, or in the railway or the subway stations The lucky ones ... ...'We must fight on,' repeats Detective Nishi. 'For if we do not fight on, the Emperor himself will be executed and the women of j.a.pan will be subjected to methodical rape so that the next j.a.panese will not be j.a.panese...'I curse him...Beneath telegraph poles that stand as grave markers, down these streets that are no streets, we walk as Nishi rants on 'In the mountains of Nagano, we shall make our final stand; on Maizuruyama, on Minakamiyama, on Zzan!'There are people on these streets that are no streets now, people that are no people; exhausted ghosts in early morning queues, bitter-enders waiting for lunches outside hodge-podge dining halls in old movie theatres, their posters replaced by slogans 'We Are All Soldiers on the Home Front ...' ...'The sound-truck has gone and with it that song we have heard every day for the last seven years, 'Roei no Uta' Just the noise of Nishi's voice now 'Every man under sixty-five, every woman under forty-five will take up a bamboo spear and march off...'To defend our beloved j.a.pan...'I stop in the middle of this street that is no street and I grab Nishi by the collar of his civil defence uniform and I push him up against a scorched wall, a scorched wall on which is written 'Let Us All Help One Another with Smiling Faces ...' ...''Go back to Headquarters, detective,' I tell him He blinks, open mouthed, and now he nods I pull him back from the black wall 'I want to make sure one of us, at least, is able to hear this Imperial broadcast,' I tell him. 'You can then report what was said, if Fujita and I are unable to hear it...'I let go of his collar Nishi nods again.'Dismissed,' I shout now and Nishi stands to attention, salutes and then he bows And he leaves.'Thank you very much,' laughs Detective Fujita.'Nishi is very young,' I tell him.'Young and very keen...''Yes,' I say. 'But I don't think he'd be too keen on our old friend Matsuda Giichi...''Very true,' laughs Fujita again as we walk on, on down these streets that are no streets, past buildings that are no buildings In this city that is no city To Shimbashi, Tokyo.There are lines of soldiers unloading wooden crates from two Imperial Army trucks outside the temporary offices of Matsuda Giichi and his affiliates in an open lot near the back of the Shimbashi railway station; Matsuda Giichi himself giving the orders 'Sellers and Buyers Are All Comrades in Arms ...' ...'Matsuda Giichi in a new silk suit, stood on a crate with a Panama hat in one hand and a foreign cigar in the other The brand new Emperor of Tokyo ... ...Matsuda smiles when he sees Fujita and me The only man smiling in Tokyo ... ...'I thought you lot had all run off to the mountains,' he laughs. 'The last stand of the j.a.panese race and all that...''What's in the crates?' I ask him 'Ever the detective, aren't you?' says Matsuda. 'But you two might want to start thinking of changing your line of work...''What's in the crates?' I ask again 'Army helmets,' he says 'Not thinking of joining the war effort, are you?''Little late for that,' he says. 'Anyway, I did my bit on the continent not that anyone ever thanked me for my trouble. But, past is past; now I'm going to help this country get back on its feet...''Very patriotic of you,' I say. 'But we've not lost yet.'Matsuda looks at his watch, his new foreign watch, and nods. 'Not yet, you're quite right, detective. But have you seen all those columns of smoke rising from all those government buildings...?'Both Detective Fujita and I shake our heads 'Well, that means they're burning all their doc.u.ments and their records. That's the smoke of surrender...'The smoke of defeat.'Two more army trucks pull up. Horns sound. Matsuda says, 'Now I am very sorry to be rude but, as you gentlemen can see, today is a very busy day. So was there anything you specifically wanted? Like a new job? A new name? A new life? A new past...?''Just cigarettes,' Fujita and I say simultaneously.'Go see Senju,' says Matsuda Giichi.Both Fujita and I thank him 'Senju's round the back.'Fujita and I bow to him And curse him.Detective Fujita and I walk round the back of Matsuda's temporary office to his makeshift warehouse and his lieutenant Senju Akira stripped to his waist, a sheathed short sword in his right hand, as he supervises the unloading of another truck Its boxes of Imperial Chrysanthemum cigarettes I ask, 'Where did you get hold of all these?''Never ask a policeman,' laughs Senju. 'Look, those in the know, know, and those who don't, don't...''So what's with your boss and all those helmets?' I ask him.'What goes around, comes around,' smiles Senju again. 'We sold the army saucepans to make helmets, now they're selling us helmets to make saucepans...''Well then, you can sell us on some of those Chrysanthemum cigarettes,' says Fujita.'Don't tell me you've actually got hard cash,' says Senju.Detective Fujita and I both shake our heads again 'f.u.c.king cops,' sighs Senju Akira as he hands us each five packs of Imperial cigarettes. 'Worse than thieves...'We thank him and then we bow to him And we curse him and curse him ... ...We share a match in the shade In the shade that is no shade ... ...We smoke and walk on There are uniformed police officers on duty at Shimbashi railway station, checking packages and bundles for contraband Knapsacks and pockets for black-market cigarettes Detective Fujita and I take out our keisatsu tech keisatsu tech, our police notebooks, to identify ourselves at the gate The station and the platform are almost deserted, the Yamate Line train almost empty The sun is climbing, the temperature rising. I wipe my neck and I wipe my face I itch I itch as I stare out of the windows; the elevated tracks of the Yamate Line now the highest points left in most of Tokyo, a sea of rubble in all directions except to the east The docks and the other, real sea.The uniforms behind the desk at Shinagawa police station are expecting us, two waiting to lead us down to the docks One called Uchida, the other Murota To the scene of the crime ... ...'They think it might be a woman called Miyazaki Mitsuko,' they tell us as we walk, panting and sweating like dogs in the sun. 'This Miyazaki girl was originally from Nagasaki and had been brought up to Tokyo just to work in the Naval Clothing Department and so she was living in the workers' dormitory...'The sun beating down on our hats ... ...'Back in May, she was given leave to go back home to visit her family in Nagasaki. However, she never arrived there and she never returned to work or the dormitory...'The neighbourhood stinks ... ...'Most of the workers have actually moved out of the dormitory now as the factory of the Naval Clothing Department is no longer in operation. However, there have been a number of thefts from the buildings and so the caretaker and his a.s.sistant were searching and then securing premises...'It stinks of oil and s.h.i.t ... ...'They went down into one of the air-raid shelters, one that has not been used in a while, and that was when they...'It stinks of retreat ... ...'Found the naked body of a woman...'Surrender ... ...This neighbourhood of factories and their dormitories, factories geared to the war effort, dormitories occupied by volunteer workers; the factories bombed and the dormitories evacuated, any buildings still standing now stained black and stripped empty This is the scene of the crime ... ...The Women's Dormitory Building of the Dai-Ichi Naval Clothing Department still standing, next to a factory where only the broken columns and the gateposts remain No equipment and no parts The workers have fled This is the scene ... ...Two men sit motionless before the abandoned dormitory, sheltering from the sun in the shadow of a cabin-c.u.m-office 'I really can't understand it,' the older man is saying. 'I really can't understand it. I really can't understand it at all...'The older man is the caretaker of the dormitory. The other, younger man is the boiler-man. It was the boiler-man who found the body and it is the boiler-man who now points at the two corrugated metal doors to an air-raid shelter and says, 'She's down there...'In a cupboard at the back of the shelter...'The sun beating down on our hats ... ...I pull back the two corrugated tin doors and then immediately I step back again. The smell of human waste is overwhelming Human p.i.s.s. Human s.h.i.t. Human p.i.s.s. Human s.h.i.t ... ...Three steps down, the floor of the shelter is water Not rain or sea water, the shelter has flooded with sewage from broken pipes; a black sunken pool of p.i.s.s and s.h.i.t 'We could do with Nishi now,' says Fujita.I turn back to the caretaker in his shade 'When did this happen?' I ask him 'In the May air raids,' he says.'How did you find the body, then?' I ask the boiler-man 'With this,' he replies, and holds up an electric torch. 'Pa.s.s it over here,' I tell the boiler-man The boiler-man gets to his feet, mumbling about batteries, and brings the torch over to Fujita and me I s.n.a.t.c.h it from him.I take out my handkerchief. I put it over my nose and my mouth. I peer back down the steps I switch on the torch I shine the light across the black pool of sewage water, the water about a metre deep, furniture sticking up here and there out of the pool. Against the furthest wall a wardrobe door hangs open She is down here. She is down here. Down here ... ...I switch off the torch. I turn back from the hole. I take off my boots. I take off my socks. I start to unb.u.t.ton my shirt 'You're never going in there, are you?' asks the caretaker.'That was my question too,' laughs Fujita I unb.u.t.ton my trousers. I take them off 'There are rats down there,' says the caretaker. 'And that water's poisonous. A bite or a cut and you'll be...'I say, 'But she's not going to walk out of there, is she?'Fujita starts to unb.u.t.ton his shirt now, cursing 'Just another corpse,' he says 'You two as well,' I say to the two uniforms from Shinagawa. 'One of you inside, one of you holding these doors open...'I tie my dirty handkerchief tight around my face I put my boots back on. I pick up the torch Now one, two, three steps down I go Fujita behind me, still cursing 'Nishi back in the office...'I can feel the floor of the shelter beneath the water, the water up to my knees. I can hear the mosquitoes and I can sense the rats The water up to my waist, I wade towards the wardrobe My boots slip beneath the water, my legs stumble My knee bangs into the corner of a table I pray for a bruise, a bruise not a cut I reach the far side of the shelter I reach the wardrobe doors She is in here. In here ... ...I glimpse her as I pull at the doors, but the doors are stuck, submerged furniture trapping her within, closing the doors Detective Fujita holds the torch as the uniformed officer and I clear the chairs and the tables away, piece by piece Piece by piece until the doors swing open The doors swing open and, she is here she is here ... ...The body bloated in places, punctured in others Pieces of flesh here, but only bones there Her hair hangs down across her skull Teeth parted as though to speak To whisper, I am here I am here ... ...Now the uniform holds the torch as Fujita and I take the body between us, cold here cold here, as we carry and then hoist it out of the black water, warm there warm there, up the dank steps, hard here hard here, out Out into the air, soft there soft there, out into the sun Panting and sweating like dogs ... ...Fujita, the uniform and I flat on our backs in the dirt, the badly decomposed and naked body of a young woman between us Bloated, punctured, flesh and bones, hair and teeth ... ...I use my jacket to wipe myself, to dry myself I smoke a Chrysanthemum cigarette Now I turn to the two men sat in the shade, the caretaker and the boiler-man, and I say, 'You told these officers that you think this might be the body of a Miyazaki Mitsuko...'Flesh and bones, hair and teeth ... ...The caretaker nods his head.'Why did you say that?' I ask him. 'Why do you think that?''Well, it was always a bit strange,' he says. 'The way she left and never came back. Never went home and never back here...''But thousands of people have gone missing,' says Fujita. 'Who knows how many people have been killed in the raids?''Yes,' says the caretaker. 'But she left after the first raids on this place and she never arrived back in Nagasaki...''Who says so?' I ask him. 'Her parents?''They might have been lying,' says Fujita. 'To keep their daughter from coming back to Tokyo...'The caretaker shrugs. The caretaker says, 'Well, if she did get back to Nagasaki, she's as good as dead anyway...'I finish my cigarette. I nod at the body in the dirt and I ask, 'Is there any way you could identify this as her?'The caretaker looks at the remains of the corpse on the ground. He looks away again. He shakes his head 'Not like that,' he says. 'All I remember is that she had a watch with her name engraved on its back. It was a present from her father when she moved to Tokyo. Very proud of it, she was...'Fujita puts his handkerchief back over his mouth He crouches down again. He shakes his head There's no watch on the wrist of this corpse I nod back towards the air-raid shelter and say to Detective Fujita, 'It might still be down there somewhere...''Yes,' he says. 'And it might not be.''How about you?' I ask the boiler-man. 'Did you know her?'The boiler-man shakes his head. He says, 'Before my time.''He only started here this June,' says the caretaker. 'And Miyazaki was last seen around here at the end of May.'I ask, 'Can you remember the exact dates?'He tilts his head to one side. He closes his eyes. He screws them up tight. Then he opens his eyes again and shakes his head 'I'm sorry,' he says. 'But I lose track of the time...'I can hear an engine now. I can hear a jeep ... ...I turn round as the vehicle approaches It is a military police vehicle It is the Kempeitai.The jeep stops and two Kempei officers get out of the front, both wearing side-arms and swords. They are accompanied by two older men sporting the armbands of the Neighbourhood a.s.sociation I want to applaud them. The Kempeitai. I want to cheer No one wants a case. Not today. Not now ... ...This body was found on military property; this is their dominion, this is their body, this is their case.Detective Fujita and I step forward. Fujita and I bow deeply These two Kempei officers look very much like Fujita and I; the older man is in his late forties, the other in his late thirties ... ...Detective Fujita and I introduce ourselves to the men I am looking in a mirror. I am looking at myself...We apologize for being on military property But they are soldiers, we're just police ... ...There are briefer reciprocal bows This is their city, their year ... ...The younger officer introduces the older man as Captain Muto and himself as Corporal Katayama I am looking in a mirror ... ...I bow again and now I make my report to the two Kempei officers, the two men from the Neighbourhood a.s.sociation still standing close enough to hear what I am telling them The times and dates. Places and names ... ...I finish my report and I bow again They glance at their watches.Now Captain Muto, the older of the two Kempei officers, walks over to the corpse stretched out in the dust. He stands and he stares at the body for a while before turning back to Fujita and me 'We will need an ambulance from the Kei University Hospital to transport this body to the hospital. We will need Dr. Nakadate of Kei to perform the autopsy on the body...'Detective Fujita and I both nod This is their body, their case ... ...But Captain Muto turns to the two uniforms now and says, 'You two men return to Shinagawa and request that the Kei University Hospital send an ambulance immediately and that Dr. Nakadate is made available to perform the autopsy.'Uchida and Murota, the two uniforms, both nod, salute and then bow deeply to the Kempei man Fujita and I both curse No escape now ... ...Now Captain Muto gestures at the caretaker and then the boiler-man and asks us, 'Which of these men work here?' 'They both do,' I reply.Captain Muto points to the boiler-man and shouts, 'Boiler-man, you go get a blanket or something similar and as many old newspapers as you can find. And do it quickly as well!'The boiler-man runs off inside the building.The older Kempei officer glances at his watch again and now he asks the caretaker, 'Do you have a radio here?''Yes,' he nods. 'In our cabin.''There is to be an Imperial broadcast shortly and every citizen of j.a.pan has been ordered to listen to this broadcast. Go now and check that your radio is tuned correctly and in full working order.'The caretaker nods. The caretaker bows. The caretaker goes off to his cabin, pa.s.sing the boiler-man as he returns with a coa.r.s.e grey blanket and a bundle of old newspapers The younger Kempei man now turns to Fujita and me and tells us, 'Lay that body out on these newspapers and then cover it with this blanket ready for the ambulance...'Fujita and I tie our handkerchiefs back over our mouths and our noses and set to work, laying the newspapers and then the body out, partially covering it with the blanket This is not our case any more ... ...But now the boiler-man nervously approaches the younger of the Kempei officers. The boiler-man's head is bent low in apology, first mumbling and then nodding, pointing here and there in answer to the questions the officer is asking The conversation ends.Now Corporal Katayama strides over to his senior colleague and says, 'This man says there have been a number of thefts from our property and that he suspects these robberies to have been committed by the Korean labourers billeted in that building over there...'The younger Kempei man is pointing to a scorched three-storey building on the opposite side of the dormitory 'Are these workers under any kind of supervision?' asks the older man. 'Or are they just free to come and go?''I heard that they were under guard until the end of May,' says the boiler-man. 'Then the younger and stronger ones were taken to work in the north but the older, weaker ones were left here.''And do they do any kind of work?''They are meant to help us with the repairs to the buildings but they are either too sick or there are not enough materials available, so usually they just stay in there...'Captain Muto, the older Kempei officer, who still keeps looking at his watch, now abruptly waves at all of the surrounding buildings and shouts, 'I want all these buildings searched!'Fujita and I have finished laying out the body on the newspapers. Now I glance at Fujita. I am not sure if Captain Muto means for us to search or not. Fujita doesn't move But now the Kempei captain barks 'You two take this dormitory!'Not our case any more ... ...Fujita and I both salute him. Fujita and I both bow to him. Then we march off towards the building I am cursing. Fujita cursing ... 'Nishi back in the office...' ... 'Nishi back in the office...'Detective Fujita takes the top floor. I take the second floor. The knotted wooden floorboards of the corridor squeak. Knock-knock. Door to door. Room to room. Every room exactly the same The tatami mats, frayed and well worn. The single window and the blackout curtain. The thin green walls and the chrysanthemum wallpaper, limp and peeling Every room empty, abandoned.The very end of the corridor. The very last room. The very last door. Knock-knock Knock-knock. I turn the handle. I open the door The same old mats. The single window. The same blackout curtain. The thin walls. The same peeling paper In another empty room.I walk across the mats. I pull back the curtain. The sunlight illuminates a partially burnt mosquito coil on a low table The stench of p.i.s.s. The stench of s.h.i.t Human p.i.s.s and human s.h.i.t ... ...I open the closet built into the wall and there, among a heap of bedding, crouches an old man, his face buried in a futon I crouch down. I say, 'Don't be afraid...'Now he turns his head from the bedding and looks up at me; the old man's face is flat and his lips are chapped and parted, showing broken yellow dirt-flecked teeth He stinks of p.i.s.s and of s.h.i.t The old man is a Korean I curse and I curse ... ...He is a Yobo Yobo 'Congratulations!'I look round; Corporal Katayama, the younger Kempei officer, is stood in the doorway, Fujita behind him, shaking his head 'Bring him downstairs!' orders the Kempei man I stare at this Corporal Katayama I am looking into a mirror ... 'Quickly!' he barks. ... 'Quickly!' he barks.The old man buries his head back in the bedding, his shoulders shaking, mumbling and moaning 'I didn't do anything! Please...' His breath foul and rotten I take him by his shoulders and start to pull him from the bedding, from the closet, the old man wriggling and struggling 'I didn't do anything! Please, I want to live!' 'Help him!' the corporal orders Fujita Fujita and I drag the old man from the closet, from the room, by his shoulders, by his arms, then out into the corridor, back along the floorboards; we have an arm each now The man's trunk and legs aslant His feet are trailing The Kempei officer marching behind with his sword in one hand, kicking at the soles of the old man's feet, striking him with his sword to hurry him along Down the stairs Into the light ... ...'That's him!' cries the boiler-man now. 'That's him!''Get me two spades now!' shouts the older Kempei officer and the caretaker runs back inside his cabin-c.u.m-office 'You two, bring the suspect over here.'Fujita and I march the old Korean man over to Captain Muto in the shade of the other dormitory Into the shadows ... ...The caretaker comes back with the two spades. Captain Muto takes one of the spades from the caretaker and hands it to the boiler-man. He nods at a patch of ground that might once have been a flowerbed, then perhaps a vegetable patch, but now is nothing but hard, packed soil stained black 'Dig a hole,' he says.The caretaker and the boiler-man begin to dig up the ground, the caretaker already sweating and saying, 'He made a peephole to spy on the women workers as they bathed...'The boiler-man wiping his skull, then his neck and agreeing, 'We caught him and we beat him but...''But he kept coming back...''He couldn't keep away...'Captain Muto points at a spot just in front of where the two men are digging. The captain orders Fujita and me to stand the old Korean man in front of the deepening hole The old man just blinking His mouth hanging open.Fujita and I push the Korean towards the spot, his body weaving back and forth like rice-jelly. I tell him, 'There's nothing to worry about. Just stand over here while we sort this out...'But the old Korean man looks at each of us now The two Kempei officers, the Neighbourhood a.s.sociation officials, the caretaker, the boiler-man Detective Fujita and me The dead body lain on the newspapers, the dead body partially covered by the blanket 'I am here ...' ...'Then the Korean glances back at the freshly dug ground, at the hole that the caretaker and the boiler-man are digging, and now he tries to run but Fujita and I grab him and hold him, his body shaking, his face contorted as he cries out, 'I don't want to be killed!'I didn't do anything! Please, I want to live!''Shut up, Yobo!' Yobo!' says someone says someone 'But I didn't do anything...''So why did you just try to escape, Yobo?' Yobo?' asks Captain Muto. 'In j.a.pan, innocent men don't run away.' 'Please don't kill me! asks Captain Muto. 'In j.a.pan, innocent men don't run away.' 'Please don't kill me!Please!''You lying Yobo Yobo b.a.s.t.a.r.d!' b.a.s.t.a.r.d!''Shut up!' shouts the younger Kempei officer now and he points over to the body beneath the blanket, the body lain out in the dirt and the sun by the corrugated metal doors to the air-raid shelter, and he asks the old Korean man, 'Did you rape that woman?'And the old Korean man glances again at the body on the newspapers, the body beneath the blanket Bloated and punctured ... ...'Did you kill that woman?'He shakes his head Flesh and bone ... ...Captain Muto steps forward. The older Kempei officer slaps the Korean's face. 'Answer him, Yobo!' Yobo!'The Korean says nothing.'This Yobo Yobo is obviously a criminal,' says Captain Muto. 'This is obviously a criminal,' says Captain Muto. 'This Yobo Yobo is obviously guilty. There's nothing more to say...' is obviously guilty. There's nothing more to say...'The old man looks up at us all again; the two Kempei officers, the Neighbourhood a.s.sociation officials, the caretaker, the boiler-man, Detective Fujita and me; the old man shakes his head again But now all our eyes are fixed on Captain Muto's sword, the Kempei man's bright and shining military sword The sword unsheathed and drawn The blade raised high All our gazes slowly falling to one single spot above the old Korean man's back One spot ... ...'It's time!' shouts the younger Kempei officer suddenly The caretaker rushing back into his cabin-c.u.m-office, shouting, 'The Imperial broadcast! The Imperial broadcast!'Everyone turns to stare at the office, then back again to Captain Muto. The Kempei man lowers his sword 'Bring the Yobo Yobo over to the radio,' he shouts and marches off towards the caretaker's cabin himself over to the radio,' he shouts and marches off towards the caretaker's cabin himself And everyone follows him To stand in a semi-circle before the open window of the caretaker's cabin-c.u.m-office To listen to a radio Listen to a voice His voice ... ...A voice hollow, sorrowful and trembling 'To Our good and loyal subjects ...' ...'The voice of a G.o.d on the radio 'Oh so bravely, off to Victory/Insofar as we have vowed and left our land behind so bravely, off to Victory/Insofar as we have vowed and left our land behind ...' ...'I can hear the strains of that song from a sound-truck again, the strains of 'Roei no Uta' and the voice of a G.o.d on the radio 'After pondering deeply the general trends of the world and the actual conditions in Our Empire today, We have decided to effect a settlement of the present situation by resorting to an extraordinary measure the actual conditions in Our Empire today, We have decided to effect a settlement of the present situation by resorting to an extraordinary measure ...' ...''Who can die without first having shown his true mettle/Each time I hear the bugles of our advancing army can die without first having shown his true mettle/Each time I hear the bugles of our advancing armyThe strains of the song, the voice of a G.o.d, and the heat of the sun beating down on all our hats and all our heads 'We have ordered Our government to communicate to the governments of the United States, Great Britain, China, and the Soviet Union that Our Empire accepts the provisions of their Joint Declaration ...' ...''I close my eyes and see wave upon wave of flags cheering us into battle close my eyes and see wave upon wave of flags cheering us into battle ...' ...'The strains of the song, the voice of a G.o.d, the heat of the sun, and the men from the Neighbourhood a.s.sociation on their knees, heads in their hands, already sobbing 'To strive for the common prosperity and happiness of all nations as well as the security and well-being of Our subjects is the solemn obligation handed down by Our Imperial Ancestors, and which We hold close to heart. Indeed, We declared war on America and Britain out of Our sincere desire to ensure j.a.pan's self-preservation and the stabilization of East Asia, it being far from Our thought either to infringe upon the sovereignty of other nations or to embark on territorial aggrandizement. But now the war has lasted for nearly four years. Despite the best that has been done by everyone the gallant fighting of military and naval forces, the diligence and a.s.siduity of Our servants of the State, and the devoted service of Our one hundred million people, the war situation has developed not necessarily to j.a.pan's advantage, while the general trends of the world have all turned against her interests. Moreover, the enemy has begun to employ a new and most cruel bomb, the power of which to do damage is indeed incalculable, taking the toll of many innocent lives. Should We continue to fight, it would not only result in the ultimate collapse and obliteration of the j.a.panese nation, but also it would lead to the total extinction of human civilization. Such being the case, how are We to save the millions of Our subjects, or to atone Ourselves before the hallowed spirits of Our Imperial Ancestors? This is the reason We have ordered the acceptance of the provisions of the Joint Declaration of the Powers ...' ...''The earth and its flora burn in flames/As we endlessly part the plains earth and its flora burn in flames/As we endlessly part the plains ...' ...'The song, the voice, and the heat; men on their knees, heads in hands, sobbing and now howling 'We cannot but express the deepest sense of regret to Our allied nations of East Asia, who have consistently cooperated with the Empire towards the emanc.i.p.ation of East Asia. The thought of those officers and men as well as others who have fallen in the fields of battle, those who died at their post of duty, or those who met an untimely death and all their bereaved families, pains Our heart night and day. The welfare of the wounded and the war sufferers, and of those who have lost their home and livelihood, are the objects of Our profound solicitude. The hardships and sufferings to which Our nation is to be subjected hereafter will be certainly great. We are keenly aware of the inmost feelings of all ye, Our subjects. However, it is according to the dictates of time and fate that We have resolved to pave the way for a grand peace for all generations to come by enduring the unendurable and suffering what is insufferable ...' ...''Helmets emblazoned with the Rising Sun/And, stroking the mane of our horses ...' ...'The endless song, the endless voice, and the endless heat; men on their knees, howling, now prostrate upon the floor in lamentation, weeping in the dust 'Having been able to safeguard and maintain the structure of the Imperial State, We are always with ye, Our good and loyal subjects, relying upon your sincerity and integrity. Beware most strictly of any outburst of emotion which may engender needless complications, or any fraternal contention and strife which may create confusion, lead ye astray, and cause ye to lose the confidence of the world ...' ...''Who knows what tomorrow will bring life?'The song is ending, the voice ending, the sky darkening now; the sound of one hundred million weeping, howling, wounded people borne on a wind across a nation ending 'Let the entire nation continue as one family from generation to generation, ever firm in its faith of the imperishableness of its divine land, and mindful of its heavy burden of responsibilities, and the long road before it. Unite your total strength to be devoted to the construction for the future. Cultivate the ways of rect.i.tude; foster n.o.bility of spirit; and work with resolution so as ye may enhance the innate glory of the Imperial State and keep pace with the progress of the world.' n.o.bility of spirit; and work with resolution so as ye may enhance the innate glory of the Imperial State and keep pace with the progress of the world.''Or death in battle?'It is over and now there is silence, only silence, silence until the boiler-man asks, 'Who was that on the radio?''The Emperor himself,' says Fujita.'Really? What was he saying?''He was reading an Imperial Rescript,' says Fujita.'But what was he talking about?' asks the boiler-man and this time no one answers him, no one until I say 'It was to end the war...''So we won...?'Only silence ... ...'We won...''Shut up!' shouts Captain Muto, the older Kempei officer I turn to look at him, to bow and to apologize His lips still moving but no words are forming, tears rolling down his cheeks as he brings the blade of his sword up close to his face, the thick blade catching the last sunlight His eyes, red spots on white ... ...He stares into the blade Bewitched.Now he turns from the blade and looks into each of our faces, then down at the old Korean man still in our midst 'Move!' he shouts at the Korean 'Back over there, Yobo!' Yobo!'But the old Korean man stands shaking his head 'Move! Move!' shouts the Kempei man again and begins to shove the old Korean back over towards the hole Kicking, prodding him with the sword 'Face the hole, Yobo! Yobo! Face the hole!' Face the hole!'The Korean with his back to us The sword raised high again Eyes, red spots on white ... ...The man begging now The last sunlight ... ...Begging then falling, falling forward with a shudder as a cold chill courses through my own arms and legs The sword has come down Blood on the blade ... ...Now a desperate, piercing lament whines up from out of the mouth of the old Korean My blood cold ... ...'What are you doing?' the man cries. 'Why? Why?'The Kempei officer curses the Korean. He kicks the back of his legs and the Korean stumbles forward into the hole There is a foot-long gash on the man's right shoulder where he has been cut by the Kempei's sword, the blood from the wound soaking through his brown civilian work clothes 'Help me! Please help me! Help me!'Now he claws wildly at the earth, screaming over and over, again and again, 'I don't want to die!''Help me! Help me!'But Captain Muto has lowered his b.l.o.o.d.y military sword now. He is staring down at the old Korean in the hole Each time the Korean comes crawling back up from the hole, the officer kicks him back down into the dirt The blood draining from his body Into the dirt and into the hole ... ...'Help me!' gasps the man The Kempei captain now turns to the caretaker and the boiler-man and commands, 'Bury him!'The caretaker and the boiler-man pick up their spades again and begin to heap the dirt back into the hole, over the man, faster and faster, as they bury his cries Down in the hole ... ...Until it is over Silence now ... ...My right hand trembles, my right arm, now both of my legs 'Detective Minami! Detective Minami! Detective Minami!'I close my eyes. Eyes that are not my own Eyes that are not my own. There are scalding tears streaming from these eyes. Eyes I do not want Eyes I do not want ... ...I wipe the tears away, again and again 'Detective Minami! Detective Minami!'Finally I open these eyes 'Detective Minami!'There are flags falling to the ground, but these flags are no flags, these buildings no buildings, these streets no streets For this city is no city, this country no country I eat acorns. I eat leaves. I eat weeds ... ...The voice of a G.o.d on the radio Hollow and sorrowful ... ...Everything distorted Heaven an abyss ... ...Time disjointed h.e.l.l our home ... ...Here, now Ten minutes past noon on the fifteenth day of the eighth month of the twentieth year of the reign of the Emperor Shwa But this hour has no father, this year has no son No mother, no daughter, no wife nor lover For the hour is zero; the Year Zero Tokyo Year Zero.

to them weep. Thirty Calmotin, thirty-one Thirty Calmotin, thirty-one. To my father: I hope you have been well. We land tomorrow. I shall do my best, as you would wish. To my wife: the great moment has come. To me, there is no tomorrow. I know well what you are thinking about, my dear wife. But be calm and serene. Take care of our children. To my son: Masaki, dear, your daddy is going to fight with the Chinese soldiers soon. Do you remember the big sword that your grandfather gave me? With it, I shall cut and stab and knock down enemy soldiers, like your hero, Iwami Jutaro. Daddy is going to bring home a sword and a steel Chinese helmet as a souvenir for you. But Masaki, dear, I want you to be a good boy always. Be nice to your mummy and Grandmother and all your teachers. Love your sister, and study so that you may become a great man. I see your little figure, waving a little flag in your little fist. Daddy cherishes that picture forever in his mind. Masaki, Banzai! Daddy, Banzai! Masaki, Banzai! Daddy, Banzai! Forty Calmotin, forty-one Forty Calmotin, forty-one. Heavy fog hides everything but the railway station. Hints of Chinese houses, echoes of Chinese voices. Everything is yellow Everything is yellow. Now we can smell acacia flowers, now we see Rising Sun flags. Everything khaki Everything khaki. Lookout patrols are dispatched, sentries posted. This unit to the noodle factory, that unit to the match factory. The c.h.i.n.ks rob the j.a.panese The c.h.i.n.ks rob the j.a.panese. The soldiers cook and clean. The c.h.i.n.ks rape the j.a.panese The c.h.i.n.ks rape the j.a.panese. The soldiers guard and patrol. The c.h.i.n.ks murder the j.a.panese The c.h.i.n.ks murder the j.a.panese. The soldiers build defence zones. The c.h.i.n.ks rob the j.a.panese The c.h.i.n.ks rob the j.a.panese. Barbed wire and barricades throughout the city. The c.h.i.n.ks rape the j.a.panese The c.h.i.n.ks rape the j.a.panese. Every Chinese is challenged at every intersection. The c.h.i.n.ks murder the j.a.panese The c.h.i.n.ks murder the j.a.panese. There are sandbags and there are roadblocks. More units arrive. There is always sand, there is never water. More units arrive. Always dust and always dirt. More units arrive. I itch and I scratch. Gari-gari Gari-gari. Daytime duty is followed by nighttime duty. I itch and I scratch. Gari-gari Gari-gari. Nighttime duty followed by daytime duty. I itch and I scratch. Gari-gari Gari-gari. The mattresses are torn, the bedbugs hungry. I itch and I scratch. Gari-gari Gari-gari. There among the corpses, I cannot sleep. Bayonets fixed Bayonets fixed. I can hear their screams. Rifles loaded Rifles loaded. I can hear their pleas. The c.h.i.n.ks rob the j.a.panese The c.h.i.n.ks rob the j.a.panese. The j.a.panese bosses don't pay their Chinese workers. The c.h.i.n.ks rape the j.a.panese The c.h.i.n.ks rape the j.a.panese. The Chinese workers complain to their j.a.panese bosses. The c.h.i.n.ks murder the j.a.panese The c.h.i.n.ks murder the j.a.panese. The bosses insert cotton-thread needles into the gaps between the flesh and the nails of their workers' fingers. I can hear their screams I can hear their screams. The bosses thrust the needles into their ring fingers, their middle fingers and their index fingers. I can hear their pleas I can hear their pleas. The j.a.panese bosses do what they want now. I was impertinent, lazy and bad I was impertinent, lazy and bad. Workers are lashed with wet leather whips. This is a warning This is a warning. Workers are hung from the branches of trees. I was impertinent I was impertinent. Fifty Calmotin, fifty-one Fifty Calmotin, fifty-one. A child s.h.i.ts behind a sorghum straw fence. Single-wheeled carts rush down the street. In this city of robbery In this city of robbery. A woman with bound feet hurries past. The solitary wheels groan beneath the weight of huge gunnysacks. In this city of rape In this city of rape. Coolies the colour of dust sift through peanut sh.e.l.ls and watermelon rinds. The rhombus-shaped sails of the carts inflate and disappear. In this city of murder In this city of murder. Long-eared donkeys lead a lengthy funeral

1.

August 15, 1946Tokyo, 91, overcastTon-ton. Ton-ton. Ton-ton. Ton-ton. Ton-ton. Ton-ton ... ...The sound of hammering and hammering Ton-ton. Ton-ton. Ton-ton. Ton-ton ... ...I open my eyes and I remember Ton-ton. Ton-ton. Ton-ton ... I am one of the survivors ... I am one of the survivors One of the lucky ones ... ...I take out my handkerchief. I wipe my face. I wipe my neck. I push my hair back out of my eyes. I look at my watch Chiku-taku. Chiku-taku. Chiku-taku ... ...It is 10 a.m.; it is only 10 a.m. Just four hours gone, eight still to go, then down to Shinagawa, down to Yuki. Three, four hours there and then out to Mitaka, to my wife and my children. Try to take them some food, bring them something to eat, anything. Eat and then sleep, try to sleep. Then back here again for 6 a.m. tomorrow ... ...Chiku-taku. Chiku-taku. Chiku-taku ... ...Another twelve hours in this oven ... ...I wipe the sweat from my shirt collar. I wipe the sweat from my eyelids. I look down the length of the table. Three men on my left, two men on my right and the three empty chairs No Fujita. No Ishida. No Kimura ... ...Five men wiping their necks and wiping their faces, scratching after lice and swiping away mosquitoes, ignoring their work and turning their newspapers; newspapers full of the First Anniversary of the Surrender, the progress of reform and the gains of democracy; newspapers full of the International Military Tribunal, the judgment of the Victors and the punishment of the Losers Day in, day out. Day in, day out. Day in, day out ... ...Turning our newspapers, thinking about food Day in, day out. Day in, day out ... ...And waiting and waiting Day in, day out ... ...The telephones that can't ring, the electric fans that can't turn. The heat and the sweat. The flies and the mosquitoes. The dirt, the dust and the noise; the constant sound of hammering and hammering, hammering and hammering, hammering and hammering Ton-ton. Ton-ton. Ton-ton. Ton-ton. Ton-ton ... ...I get up from my chair. I go to the window. I raise the blind Ton-ton. Ton-ton. Ton-ton. Ton-ton ... ...Three floors above Sakuradamon, I look out over Tokyo Ton-ton. Ton-ton. Ton-ton ... ...The Palace to my left, GHQ to my right Ton-ton. Ton-ton ... ...Under a low typhoid sky Ton-ton ... ...The Capital City of the Shwa Dead, the Losers on their hands and knees, the Victors in their trucks and jeeps No resistance here.I hear the door open. I turn round; Kimura is stood there Early twenties. Repatriated from the south. Only three months here and no longer the most junior member of our room, Room #2 ... ...Kimura is staring down the length of table at me; half in contempt, half in deference, a piece of paper in his hands Idiot. Idiot. Idiot. Idiot. Idiot. Idiot. Idiot ... ...My stomach knots, my head pounds Idiot. Idiot. Idiot. Idiot. Idiot. Idiot ... ...Kimura holds out the paper marked Police Bulletin Police Bulletin and says, 'Maybe this one's a murder, Detective Inspector Minami, sir.' and says, 'Maybe this one's a murder, Detective Inspector Minami, sir.'*There is only one working car for the whole division. It is not available. So we walk again, like we walk everywhere. They promise us cars, like they promise us telephones and guns and pens and paper and better pay and health care and holidays but every day we tear apart old bicycle tires to cut out new soles to hammer onto the bottom of our boots so we can walk and walk and walk and walk and walk Hattori, Takeda, Sanada, Shimoda, Nishi, Kimura and me Ton-ton. Ton-ton. Ton-ton. Ton-ton. Ton-ton Ton-ton. Ton-ton. Ton-ton. Ton-ton. Ton-ton ... ...Through the heat, through the flies and the mosquitoes Ton-ton. Ton-ton. Ton-ton. Ton-ton ... ...From Metropolitan Police Headquarters to Shiba Park Ton-ton. Ton-ton. Ton-ton ... ...Jackets off, hats on. Handkerchiefs out, fans out Ton-ton. Ton-ton ... ...Down Sakurada-dri and up the hill to Atago Ton-ton ... ...Detective Nishi has the Police Bulletin Police Bulletin in his hand. Nishi reads it aloud as we walk: 'Naked body of unidentified female found at 9:30 a.m. this morning, August 15, 1946, at Nishi-Mukai Kannon Zan, 2 Shiba Park, Shiba Ward. Body reported to Shiba Park police box at 9:45 a.m. Body reported to Atago police station at 10:15 a.m. Body reported to Metropolitan Police Headquarters at 11:00 a.m..... in his hand. Nishi reads it aloud as we walk: 'Naked body of unidentified female found at 9:30 a.m. this morning, August 15, 1946, at Nishi-Mukai Kannon Zan, 2 Shiba Park, Shiba Ward. Body reported to Shiba Park police box at 9:45 a.m. Body reported to Atago police station at 10:15 a.m. Body reported to Metropolitan Police Headquarters at 11:00 a.m.....'They took their time,' he says now. 'It'll be two hours by the time we see the body. What were they doing at Atago...?''She ain't going nowhere,' laughs Detective Hattori.'Tell that to the maggots and the flies,' says Nishi.'No cars. No bicycles. No telephones. No telegraphs,' replies Hattori. 'What do you expect the Atago boys to do about it?'Nishi shakes his head. Nishi doesn't answer him.I wipe my neck. I glance at my watch again Chiku-taku. Chiku-taku. Chiku-taku ... ...It is almost 11:30 a.m.; only 11:30 a.m. Five and a half hours gone, six and a half to go. Then down to Shinagawa, down to Yuki. Three, four hours there and then out to Mitaka. The wife and the children. Eat and then sleep, try to sleep. Back here again for 6 a.m. and another twelve hours Chiku-taku. Chiku-taku. Chiku-taku ... ...If this body isn't a murder ... ...'This way is quicker,' says Nishi and we pick our way over the hills of rubble and through the craters of dust until we come out on to Hibiya-dri near Onarimon Ton-ton. Ton-ton.*Two very young men from the Atago police station are waiting for us in their ill-fitting, dirt-stained uniforms. They bow and they salute, they greet us and they apologize but I can't hear a word they say Ton-ton. Ton-ton. Ton-ton. Ton-ton. Ton-ton ... ...The uniformed policemen lead us off the road, away from the sound of the hammering, and into the temple grounds Huge scorched trees, their roots to the sky ... ...There is nothing much left of Zjji Temple since it was burnt to the ground in the May air raids of last year Branches charred and leaves lost ... ...The two uniforms lead us through the ashes and up the hill, out of the sunlight and into the shadow; the graves forgotten here, this place is overgrown and its paths lost, the bamboo gra.s.s taller than a man and as thick as the insects that cloud the air; this place of foxes and badgers, of rats and crows, of abandoned dogs that run in packs with a new-found taste for human flesh In this place of a.s.signation Of prost.i.tutes, of suicides This place of silence This place of death She is here ... ...In this sudden clearing where the tall gra.s.s has been flattened and the sun has found her, she is here; she is here; lying naked on her back, her head slightly to the left, her right arm outstretched, her left at her side, lying naked on her back, her head slightly to the left, her right arm outstretched, her left at her side, she is here; she is here; her legs parted, raised and bent at the knee, her legs parted, raised and bent at the knee, she is here she is here ... ...Possibly twenty-one years old and probably ten days dead Namu-amida-butsu. Namu-amida-butsu. Namu-amida ... ...There is a piece of red material round her neck Namu-amida-butsu. Namu-amida-butsu ... ...This is not a suicide. This is murder Namu-amida-butsu ... ...This case ours I curse her...I look at my watch. Chiku-taku Chiku-taku. It is almost noon Chiku-taku. It is August 15, 1946 The defeat and the capitulation. The surrender and the occupation. The ghosts all here today I curse her. I curse myself...It has been one year.*In among the tall weeds, an old man is on his knees, bowing and mumbling his prayers with an axe on the ground before him 'Namu-amida-butsu,' the old man chants. the old man chants. 'Namu-amida 'Namu-amida ...' ...''This man discovered the body,' says one of the uniforms.I squat down beside the old man. I swat at a mosquito with my hat. I miss. I wipe my neck. I say, 'It's hot today, isn't it?'The old man stops his chanting. The old man nods.'This man is a lumberjack,' says the uniform.'And you found the body?' I ask the man.The old man nods his head again.'Found her just like this?'He nods his head again.'Are you sure you didn't find any of her clothes, a bag or a purse or anything else near her?'He shakes his head.'You haven't stashed away her things to sell later, have you? Not put away some of her things to come back for?' Again, he shakes his head. 'Not her ration card?'The old man looks up at me now. The old man says, 'No.' I nod and I pat him on his back. I apologize to him and I thank him. I put my hat back on and I stand up again I see her out of the corner of my eye ... ...Detectives Hattori, Takeda, Sanada and Shimoda are sat down in the shade of the trees with their Panama hats in their hands, fanning and wiping themselves, swatting at flies and mosquitoes In the shade with the Shwa Dead ... ...The two uniformed policemen from Atago shifting from foot to foot, foot to foot; Detectives Nishi and Kimura still stood over the body, still staring at her, waiting for me In this City of the Dead ... ...I walk over to the body She is here ... ...'I knew it,' Kimura is saying. 'Knew it'd be murder.''And she'll have been a wh.o.r.e,' agrees Nishi.'I doubt that,' I tell him, tell them both.'But this place is notorious for prost.i.tutes,' says Nishi. 'We know the ones from Shimbashi bring their men up here...'I stare down at the body, the pale grey and decaying body, the legs parted, raised and bent at the knee 'This woman was raped,' I tell them both. 'Why would you rape and then murder a prost.i.tute?''If you had no money,' says Kimura. 'There are a lot of dest.i.tute and desperate men...''So just rape her and leave her, beat her if you must, but she's not going to tell anyone.''Unless she knew him,' says Nishi. 'Knew his name...''We need to find her her name,' I tell them now, tell them all, my men and the two men from Atago. 'And we need to find her clothes and any other belongings she might have had with her.' name,' I tell them now, tell them all, my men and the two men from Atago. 'And we need to find her clothes and any other belongings she might have had with her.''Just a moment!' barks out a voice from behind me, and everyone jumps to attention, to bow and to salute I turn round. I know this voice I know this voice. I bow and I salute. I know this face well I know this face well. I greet Chief Inspector Adachi Adachi or Anjo or Ando or whatever he calls himself this week; he has changed his name and he has changed his job, his uniform and his rank, his life and his past; he is not the only one ... ...Now no one is who they say they are ... ...No one is who they seem to be ... ...Behind him stand Suzuki, the First Investigative Division photographer, and two men in white coats from the Kei University Hospital with a light, wooden coffin They are all sweating.Adachi points at Suzuki and tells everyone, 'Move out of the way and let this man get on with his work, then these other two can get this body out of here.'Everybody steps back into the taller gra.s.ses, among the taller trees, to watch Suzuki load his film and start his work Click-click-click. Click-click-click ... ...I look at my watch Chiku-taku ... ...12:30 p.m. Everything is lost; there will be a meeting of all the section heads of the First Investigative Division; there will be verbal and written reports; there will be the a.s.signment of command, the delegation of responsibility, the division of labour, of investigation and of evaluation; more lost hours in more hot rooms ... ...'Bad luck, your room pulling this one,' laughs Adachi. 'Twenty-one days straight. No time off. You all stuck down here in Atago, knowing you'll never solve the case, never close it, knowing no one cares but knowing it's yet another failure on your record...''It'll be just like the Matsuda Giichi case then,' I say.Inspector Adachi leans closer into my face now No one is who they say they are ... ...'That case is closed, corporal,' he spits.No one who they seem to be ... ...I take a step back. I bow my head. I apologize.'You're two men short,' says Adachi I bow again. I apologize again.'Where's Detective Fujita?'Another bow, another apology.'That's not an answer,' says Adachi. 'Just an admission.'*The photographer has finished his work. The ground beneath her is crushed and darker The ground beneath her is crushed and darker. The two men from Kei Hospital have lifted up the body. The ground is infested with insects The ground is infested with insects. The men from Kei have lifted the body into the wooden coffin. She is stiff and refuses to bend She is stiff and refuses to bend. The two uniforms from Atago were called to help and the arms were folded, the lid fitted and secured with ropes and knots, bound. She is resisting the box She is resisting the box. The two men from Kei Hospital have taken her back down the hill. She is no longer here She is no longer here ... ...Now I take out my watch again Chiku-taku. Chiku-taku ... ...It is almost 3 p.m. I am stood on the top of a wall behind the ruined Tokugawa tombs, looking up the hill and out over a sea of bamboo g