But the unexpected turn of history whereby Japan achieved the goals of the war by losing the war, was not without its victims. Somewhere in the hectic confusion of democratic expansion the traditional Japanese brothel disappeared, taking with it the Orient's artistic contribution to originality and one of man's rarest creations, the Japanese whore.
No longer was anyone willing to pay money for a woman's educated body, a woman's aristocratic smile, a woman's subtle remarks and incomparable cleverness at match-stick games. The businessmen in the new Japan were preoccupied with their wares and the wares that were soon to be theirs, so when the hour came for relaxation they preferred lying on their backs in a massage parlor staring through the steam at the ceiling, calculating profits, considering new markets, dreaming alone and grandly as a firm, anonymous hand reached out from the mists to masturbate them with swift efficiency.
Or they preferred a pornographic film parlor, where such individual democratic acts could be recalled and anticipated.
As was necessary, Mama adapted to the times. She remembered the films shown in Shanghai before the war by a naked clown and built The Living Room with those films in mind. And the combat veterans she had entertained after the war, before they had learned the ways of the new democracy and become successful, certainly didn't forget the little woman who had provided for them when they were penniless.
They remembered and they returned, gratefully spending large sums of money at Mama's nightclub, the most famous place of entertainment in Asia, a club that was almost as much of a legend as its mysterious owner, a tiny old woman whose compassion and mercy were so great that many wondered if she might not be a reincarnation of the Kannon Buddha.
War, disaster, turmoil. Despite it all Mama had followed the Tao.
And now more recently in her old age she had acquired the kind of retreat she had always wanted, a quiet shrine where she could contemplate the sunrise high above the Imperial moat and the Imperial palace. From there she descended to the world below only in passing to accrue some minor transitory wealth, some award or honor, before returning to her real home far above the city, a spiritual temple carried on the back of the mythical dragon that had guided her through the years of loss and love.
Now we see him stepping into the ring, the master of ceremonies dressed in boots and frock coat, carrying whip and megaphone, a shaman and arbiter of marvels
.
Q
UIN CAME AND WENT
. Big Gobi left the apartment with him once, for the first visit to Father Lamereaux, but he was so confused by the meeting Quin left him behind after that. Quin said something about the names Father Lamereaux had given him. Big Gobi nodded and kept his eyes on the television screen.
Names are fine, he muttered as Quin closed the door.
The Living Room was an underground bar many levels below the street. Quin knew the Japanese custom of referring to all female proprietors of bars as
Mama-san,
so as soon as he came upon a waiter, after having walked down several hundred steps, he asked for Mama-san saying they had a mutual friend, Father Lamereaux.
The suspicious waiter directed him to a corner where there stood a man of some four hundred pounds, a former
sumo
wrestler with a huge mallet resting on his shoulder. The former
sumo
wrestler held the mallet over Quin's head until the waiter returned.
The waiter bowed. He apologized for his family and education, his meanness of spirit, his boorish and crass behavior, his whining voice, his unsavory appearance and total incompetence. Mama would see him presently.
In the meantime Quin was invited to be her guest in the Round Room, reserved for the most honored guests. They left the wrestler in the shadows and started down an interminable spiral staircase. Occasionally the waiter stopped to ask Quin if he liked Japan, and when Quin reassured him that he did the man sucked air noisily through his teeth out of wonder or gratitude, or simply because nothing else seemed appropriate.
After descending another three or four hundred feet they entered a circular room where a dozen men or more sat at a counter facing the wall, or rather small windows recessed in the wall. Their backs were to him and no one turned when he came in. The waiter directed him to an empty stool, sucked air, and disappeared.
A face peered up at him from the bartenders' runway, which was sunken so the heads of the bartenders would not protrude above the counter. Quin ordered a drink and saw a hand come up over the edge with a glass.
On the counter in front of him there was a console of buttons.
Family portrait,
said one.
Small projection lamp,
said another.
Tattoos. Kobe cameras.
Quin arbitrarily pressed the button for
Nose.
The screen that Quin had mistaken for a mirror flickered. The screens were built in such a way that only the man directly in front of one could see which private movie he had selected. To everyone else the screens remained mirrors reflecting a distorted view of the small round room.
The first nose was flat and spreading. It grew in size until the screen could no longer contain it. The pores, rich dark holes, were soon big enough to put a fist in, as big as craters in a desert. The rims of the craters were cracked, deep down inside lay heaps of fertile material. The picture continued to expand until there was only one enormous pore on the screen, a volcanic crater not unlike the one to be found on top of Mt. Fuji, the sides of the pore cut by ancient landslides, the center black with dormant bacterial lava.
The frame faded and another nose appeared, life-size, narrower than the first, quivering, and undeniably sensitive. A chrysanthemum or a cherry blossom presented itself to the nose. The nose hesitated and then inhaled deeply, bringing on a multitude of tender sensations.
The third nose moved rapidly. The hairs in the nostrils flapped as a bowl of custard slipped into view. The nose slammed itself into the custard, emerged, rammed itself into the waxy cartilage of an ear.
The same nose moved down a neck, across an armpit, through the crevice made by two pendulant breasts. It nudged a woman's erect nipples, poked the ridges of her rib cage, shook itself vigorously in her navel, pecked at the mound of her smooth belly. It caressed the thighs and burrowed between the toes, sampling, working swiftly.
Quin's head jerked back. For an instant a totally different image had appeared on the screen, or so it seemed. A scene from what looked like a barnyard, healthy animals being cared for by healthy, smiling peasants wearing starched muslin and embroidered blouses, East Europeans of some kind, Slavs perhaps, cheerfully tending their animals under the benign guidance, the approving fatherly gaze of a dashing man with a moustache and a worker's cap, dressed in a loosely fitted black suit and a high celluloid collar.
Lenin?
The image was gone at once and not so much seen as imagined, an effect that made the tale of the nose curiously disturbing. Somehow the suggestion of an actual historical event added authenticity to a film that might otherwise have been merely obsessive and unreal.
The nose lay on its back as a woman's legs opened at the top of the screen. The legs descended, spread wide, bringing down a curtain of wiry hair that ended the film.
Quin's glass was empty. Even the ice was gone. A legend beside the buttons on the counter noted that all the films were changed every third day. It also invited the guest to indulge himself in combinations by pressing several or all of the buttons at once, thereby creating unique themes previously unwitnessed. Quin was about to order another drink when the waiter reappeared, apologizing as before, and invited him to pay a visit to Madame Mama.
Once more they walked down a spiral staircase, but this one was narrow and plain and neither carpeted nor lit by chandeliers. It wound down between weathered boards that formed a square shaft, reinforced at every level by what appeared to be a roof. In fact, Quin wondered if they were descending through a pagoda that had been built under the ground instead of above, narrowing into the earth instead of the sky.
She sat at the bottom of the well in a bare wooden room, a tiny white-haired woman in black kimono, her only decoration an oval emerald resting on her forehead. She inclined her head as she greeted him, a kindly, aristocratic woman who spoke precise English with a slightly archaic accent.
The sages like to remind us, she said, that the only life we know here is as one underground, that we must pass through many incarnations before we finally see the sun. A pagoda can also have three or five stories, but mine has seven. Is Father Lamereaux still alive?
Yes he is, answered Quin.
How strange. I always thought he died during the war.
No, but it seems he's been pretty much of a recluse since then.
I see. Well he was very kind to me once and we must never forget a kindness. What may I do for you, Mr. Quin?
Father Lamereaux thought you might have known my father in Shanghai. He thought you might have been there when he died.
And when was that?
About 1937 I think.
Mama's face showed no expression.
I was there about then, she said, and I did know many foreigners, many of whom died, most of them in the end. But they were all nameless to me. We didn't use names then. Ever.
And you've never heard of someone called Quin?
Mama frowned. She unfolded her hands, paused, refolded them in a different way.
Yes, I believe I have. But it wasn't in Shanghai, it was in Tokyo. It was in connection with something that had happened in Shanghai eight years before I lived there.
Mama spoke slowly. She talked of Japan before the war, of Shanghai and the desperation she had known there. She said that to recall the events of that lurid era would be to play an uneasy, painful game with the past. She talked for over an hour and asked him to come to see her again. Meanwhile she offered him the use of an interpreter to help him find the other person Father Lamereaux had mentioned.
Quin left feeling oddly close to the ancient little woman even though she had not discussed the circumstances in which she had heard his father's name. Instead she had talked at length about herself. Why had she avoided his questions?
Quin thought he knew the answer. Geraty had said the espionage ring operated for eight years. If his father had died in Shanghai when Mama was there, then the event she had alluded to, the episode that occurred eight years before that time, might be connected with the beginning of the ring. Mama had said it would be an uneasy, painful game of memory to recall that era and Quin believed her, for the uneasy, painful game could have only one name.
Shanghai.
The interpreter, a meek elderly man, suggested they begin their search at once in Tsukiji, the area of Tokyo where Quin had been told to look for the gangster Kikuchi-Lotmann. Since it was the fish market district, Tsukiji had the best sushi restaurants in the city. The interpreter led Quin to one on a main street and indicated a table by the window.
If we sit there, he said, we should be able to get our bearings. Shall we?
The interpreter spoke to the waiter and plates of
sushi
began to appear, those for Quin heavy on the cheaper cuts of octopus and squid, those for the interpreter tending toward expensive sea urchin and expensive salmon roe and an extremely expensive northern whitefish that was so rare it was seldom available at any price.
Quin drank beer. The interpreter drank a premium iced
sake
from a brewery in Hiroshima that bottled the special brand only once a year on the Emperor's birthday.
Quin finished his beer waiting to hear the interpreter's plan for finding Kikuchi-Lotmann. The man said nothing, instead he ordered a second plate of
sushi
and a third. Quin found himself paying the bill, which was exorbitantly high, while the interpreter exchanged pleasantries with the man at the cash register. Once outside, the interpreter walked a few steps to a doorway and stopped.
Careful, he whispered. We must act naturally.
They stood on the sidewalk facing the door. The interpreter rolled his eyes to heaven meaningfully, hiccupped, unzipped his trousers. Quin went over to wait by the curb as a stream of urine splashed between the interpreter's legs and slithered across the crowded sidewalk. The elderly man wiped his hands with a newspaper before joining Quin at the curb.
First piece of information, he whispered. There appears to be a houseboat in the neighborhood that everyone is afraid to talk about.
How do you know? said Quin.
The man at the cash register. We had a short discussion about the stores and shops and houses and inns and shacks and restaurants and hotels in Tsukiji, about the storerooms and warehouses and garages and so forth, and he never hesitated. He chatted right along with me. So that leaves only a houseboat, don't you think? I'm quite sure that's what we're looking for. Shall we?
Quin followed the interpreter into a coffee shop, dark and restful after the hot sun in the street. The interpreter asked for the score to the music, a Mozart symphony, and read the score while they were waiting for their coffee to be brought. The beer and the summer heat had made Quin sleepy. Soon he dozed off. His untouched cup of coffee was sitting in front of him when the interpreter tugged his sleeve and woke him up.
The sun's just going down, he whispered, always a good time to gather information. Besides, that's Haydn and they don't have the score. Shall we?
Shall we what? growled Quin.
The interpreter laughed lightly.
Very good, we shall. This is the moment we've been waiting for.
Quin expected the taxi to take them along a canal where a houseboat would be moored, but instead they drove across a wide stretch of reclaimed land to a breakwater. The interpreter strolled leisurely out toward the end of the breakwater while the taxi waited. Quin ran after him. The man stood at the end gazing across Tokyo Bay.