24. Lunchtime

An order to get ready for lunch crackles through the squawk box. Not quite loud and clear, mind you, but this is the first time I catch what’s being barked through the ancient intercom system.

Cops and military officials the world over have a penchant for brevity and truncated commands. The American revolutionary Israel Putman’s “Don’t fire until you see the whites of their eyes” has evolved over the years to “Hold fire!” It’s no different in a Japanese jail, where simple requests are honed down to the imperative.

Haishoku yōi! (配食用意! Prepare for meal distribution!)

Gilligan pushes his trolley up to my window, does a one-eighty, and backs it the remainder of the way up the corridor. He returns a minute later with that mother of a tin pot and wheezes, “Cold tea.” I dump the barley tea from this morning into the sink, rinse the pot, and place it on the ledge.

“Thanks,” I say as Gilligan fills it.

One whiff of the tea and I can tell that it’s the same damn barley tea we were served earlier, only cold.

“Dammit.”

What are the odds that they’ve got a tin of Le Mêlange Fauchon tea hidden on the top shelf in the kitchen pantry?

“Well, at least it’s cold,” I tell myself as I pour a cup.

When Gilligan returns, I’ve got my plate waiting for him this time.

“You don’t need that,” he says.

“Huh?”

“The plate. You don’t need it.”

“Oh,” I say, putting the plastic plate back on the shelf.

Gilligan passes a bowl of soup under the bars, then a bowl of rice and a plate of food.

“Thanks,” I say again as he disappears out of sight.

I arrange today’s lunch on my desk: salad with cucumber and onion and a packet of mayonnaise, a potato croquette with a packet of . . .

Ketchup or is it catsup. I never know which. Ah, if only I had a dictionary. If only I weren’t in this fucking jail.

I take a bite of the rice, a sip of the soup, and nibble at the rest, then return the plates to the windowsill.

Next door, Digger is kicking up a disgusting racket, slurping and smacking his fat lips and sucking bits of food out between his teeth and . . .

“Do you hate it?” Gilligan asks when he comes by to pick up the plates.

“Excuse me?”

“The food. Do you hate it?”

“No appetite,” I reply.

“Che’,” he clucks.

As he is removing the dishes, I ask if I might not be able to get another book.

“Book day’s tomorrow,” he says, sullen and tetchy.

“But I’m finished with this,” I say, placing Melancholy Baby on the ledge.

“Already? Che’.

“Yeah. I haven’t got much of an appetite, but up here I’m starving,” I say tapping my forehead.

“Che’,” he clucks again and takes the book away.


The first posting/chapter in this series can be found here.

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

21. Gamelan

Discordant, yet somewhat melodious sounds come from outside my cell’s rear window. Were I at a resort hotel in Bali and not in this stinking jail, I might suspect that a gamelan ensemble was rehearsing in the courtyard. I get up off the zabuton and move toward the back of the cell to get a better look.

Although the “music” continues to grow nearer, I can’t see anything unusual going on outside the window. There is an occasional sparrow flying in and out of the weeds, the tenuous chirps of the summer’s first cicada. The shadow of Cell Block B, which enveloped the courtyard in the morning, has now retreated to the lowest edge of its wall. If the sun burned any brighter the weeds would surely catch fire. Meanwhile, the soft hammering of gongs grows louder.

Just then the powerful urge to take a leak strikes me, the first time since I’ve been locked up. The toilet in back of the cell, which lacks even a hint of privacy, has left me stage fright.

On one side, you’ve got the window open to the courtyard, inviting one and all to have a peek. On the other, there’s a short wall, half a foot high that is next to useless. Any guard passing by in the corridor can get a free show if that is what floats his boat.

And just as I release a steady stream, redolent of the morning’s barley tea, the mystery of the gamelan is solved. Looking to my right, I find a guard standing outside my window, tapping the bars with a rubber mallet.

The guard looks at me and, making an swift and astute observations that the only bar the inmate before him has tampered with is the one in his hand, moves on to the next cell, dissonant chords of the tap, tap, tapping fading.

10. Mugicha

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

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

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

In a reedy voice, he asks for my kettle.

I’ve been wondering what that was for.

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

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

Pouring myself a cup, I take a sip.

“Blech! Mugi cha.”

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