Dance Dance Dance

4

I booked a taxi for two days, and the photographer and I raced around Hakodate in the snow checking out eateries in the city.

I'm good at researching, very systematic, very efficient. The most important thing about this sort of job is to do your homework and set up a schedule. That's the key. When it comes to gathering materials beforehand, you can't beat organizations that compile information for people in the field. Become a member and pay your dues; they'll look up almost anything for you. So if by chance you're researching eating places in Hakodate, they can dig up quite a bit. They use mainframe computer retrieval, arrange the facts in file format, print out hard copy, even deliver to your doorstep. Granted, it's not cheap, but plenty worth the time it buys.

In addition to that, I do a little walking for information myself. There are reading rooms specializing in travel mate­rials, libraries that collect local newspapers and regional publications. From all of these sources, I pick out the prom­ising spots, then call them up to check their business hours. This much done, I've saved a lot of trouble on site. Then I draw lines in a notebook and plan out each day's itinerary. I look at maps and mark in the routes we'll travel. Trying to reduce uncertainties to a minimum.

Once we arrive in Hakodate, the photographer and I go around to the restaurants in order. There are about thirty. We take a couple of bites—just enough to get the taste—then casually leave the rest of the meal uneaten. Refinements in consumption. We're still undercover at this stage, so no pic­ture taking. Only after leaving the premises do the photogra­pher and I discuss the food and evaluate it on a scale of one to ten. If it passes, it stays on the list; if not, it's out. We gen­erally figure on dropping at least half. Taking a parallel tack, we also check the local papers for listings of places we've missed, selecting maybe five. We go to these too, and weed out the not-so-good. Then we've got our finalists. I call them up, give the name of the magazine, tell them we'd like to do a feature on them—text with photos. All that in two days. Nights, I stay in my hotel room, laying down the basic copy.

The next day, while the photographer does quick shots of the food and table settings, I talk to the restaurant owners. Saves on time. So we can call it a wrap in three days. True, there are those in our league who take even less time. But they don't do any research. They do a handful of the more well-known spots, cruise through without eating a thing, write brief comments. It's their business, not mine. If I may be perfectly frank, I doubt that many writers take as many pains as I do at this level of reportage. It's the kind of work that can break you if you're too serious about it, or you can kick back and do almost nothing. The worst of it is, whether you're earnest or you loaf, the difference will hardly show in the finished piece. On the surface. Only in the finer points can you find any hint of the distinction.

I'm not explaining this out of pride or anything.

I just wanted you to have a rough idea of the job, the sort of expendables I deal with.

On the third night, I finish writing.

The fourth day is left free, just in case.

But since the work has been completed and we don't have anything else in the tube, we rent a car and head off for a day of cross-country skiing. That evening, the two of us set­tle down to drinks over a nice, simmering hot pot. One day's relaxation. I turn over my manuscript to the photographer, and that's it. My job's done, the work's in someone else's hands.

But before turning in that evening, I rang up Sapporo directory assistance for the number of the Dolphin Hotel. I didn't have to wait long. I sat up in bed and sighed. Well, at least the Dolphin Hotel hadn't gone under. Relief, I guess. Because I wouldn't have been surprised if it had, a mysteri­ous place like that. I took a deep breath, dialed the number —and someone answered immediately. As if they'd been just waiting for it to ring. So immediately, in fact, I was taken aback.

«Hello, Dolphin Hotel!» went a cheerful voice.

It was a young woman. A woman? What's going on? I don't remember a woman being there.

It didn't figure, so I checked if the address was the same. Yes, it was exactly where the Dolphin Hotel I knew used to be. Maybe the hotel had hired someone new, the owner's niece or something. Nothing so odd about that. I told her I wanted to make a reservation.

«Thank you very much, sir,» she chirped. «Please wait a moment while I transfer you to our reservations desk.»

Our reservations desk? Now I was really confused. I couldn't begin to digest that one. What the hell happened to the old joint?

«Sorry to keep you waiting. This is the reservations desk. How may I help you?» This time, a young man's voice. The brisk, friendly pitch of the professional hotel man. Curiouser and curiouser.

I asked for a single room for three nights. I gave him my name and my Tokyo phone number.

«Very well, sir. That's three nights, starting from tomor­row. Your single room will be waiting for you.»

I couldn't think of anything to say to that, so I thanked him and hung up, completely disoriented. Shouldn't I have asked for an explanation? Oh well, it'd all become clear once I got there. And anyway, I couldn't not go. I didn't have an alternative.

I asked the concierge to check the schedule for trains to Sapporo. After that, I got room service to send up a bottle of whiskey and some ice, and I stayed up watching a late-night movie on TV. A Clint Eastwood western. Clint didn't smile once, didn't sneer. I tried laughing at him, but he never broke his deadpan. The movie ended and I'd had my fill of whiskey, so I turned out the light and slept straight through the night. If I dreamed, I don't remember.

All I could see outside the window of the early morning express train was snow. It was a bright, clear day, so the glare soon got to be too much. I didn't see another passenger look­ing out the windows. They all knew what snow looks like.

I'd skipped breakfast, so a little before noon I made my way to the dining car. Beer and an omelet. Across from me sat a fiftyish man in a suit and tie, having beer with a ham sandwich. He looked like a mechanical engineer, and that's just what he was. He spoke to me first, telling me he serviced jets for the Self-Defense Forces. Then he filled me in on how Soviet fighters and bombers invaded our airspace, though he didn't seem particularly upset about it. He was more con­cerned about the economics of F4 Phantoms. How much fuel they guzzled in one scramble, a terrible waste. «If the Japanese had made them, you can bet they'd be more effi­cient. And at no loss to performance either! There's no reason why we couldn't build a low-cost fighter if we wanted to.»

That's when I proffered my words of wisdom, that waste is the highest virtue one can achieve in advanced capitalist society. The fact that Japan bought Phantom jets from Amer­ica and wasted vast quantities of fuel on scrambles put an extra spin in the global economy, and that extra spin lifted capitalism to yet greater heights. If you put an end to all the waste, mass panic would ensue and the global economy would go haywire. Waste is the fuel of contradiction, and contradiction activates the economy, and an active economy creates more waste.

Well, maybe so, the engineer admitted, but having been a wartime child who had to live under deprived conditions, he couldn't grasp what this new social structure meant. «Our generation, we're not like you young folks,» he said, strain­ing a smile. «We don't understand these complex workings of yours.»

I couldn't say I exactly understood things either, but as I wasn't eager for the conversation to drag on, I kept quiet. No, I'm not used to things; I just recognize them for what they are. There's a decisive difference between those two propositions. Which is just as well, I supposed, as I finished my omelet and excused myself.

I slept for thirty minutes, and the rest of the trip I read a biography of Jack London I'd bought near the Hakodate sta­tion. Compared to the grand sweep and romance of Jack London's life, my existence seemed like a squirrel with its head against a walnut, dozing until spring. For the time being, that is. But that's how biographies are. I mean, who's going to read about the peaceful life and times of a nobody employed at the Kawasaki Municipal Library? In other words, what we seek is some kind of compensation for what we put up with.

Arriving at Sapporo, I decided to take a leisurely stroll to the hotel. It was a pleasant enough afternoon, and I was car­rying only a shoulder bag.

The streets were covered in a thin layer of slush, and peo­ple trained their eyes carefully at their feet. The air was exhilarating. High school girls came bustling along, their rosy red cheeks puffing white breaths you could have written cartoon captions in. I continued my amble, taking in the sights of the town. It had been four and a half years since I was in Sapporo. It seemed like much longer.

Along the way I stopped into a coffee shop. All around me normal, everyday city types were going about their nor­mal, everyday affairs. Lovers were whispering to each other, businessmen were poring over spread sheets, college kids were planning their next ski trip and discussing the new Police album. We could have been in any city in Japan. Transplant this coffee shop scene to Yokohama or Fukuoka and nothing would seem out of place. In spite of which—or, rather, all the more because—here I was, sitting in this coffee shop, drinking my coffee, feeling a desperate loneliness. I alone was the outsider. I had no place here.

Of course, by the same token, I couldn't really say I belonged to Tokyo and its coffee shops. But I had never felt this loneliness there. I could drink my coffee, read my book, pass the time of day without any special thought, all because I was part of the regular scenery. Here I had no ties to any­one. Fact is, I'd come to reclaim myself.

I paid the check and left. Then, without further thought, I headed for the hotel.

I didn't know the way exactly and part of me worried that I might miss the place. I didn't. How could anyone have? It had been transformed into a gleaming twenty-six-story Bauhaus Modern-Art Deco symphony of glass and steel, with flags of various nations waving along the drive­way, smartly uniformed doormen hailing taxis, a glass eleva­tor shooting up to a penthouse restaurant. A bas-relief of a dolphin was set into one of the marble columns by the entrance, beneath which the inscription read:

l'Hotel Dauphin

I stood there a good twenty seconds, mouth agape, star­ing up at it. Then I let out a long, deep breath that might as easily have been beamed straight to the moon. Surprise was not the word.