sonality, this didn't seem worrisome to me. 
Sometimes she grew thin in a matter of months but grew strong again just as quickly. But by 
the time I was nine, the bones in her face had begun to protrude, and she never gained 
weight again afterward. I didn't realize the water was draining out of her because of her 
illness. Just as seaweed is naturally soggy, you see, but turns brittle as it dries, my mother 
was giving up more and more of her essence. 

Then one afternoon I was sitting on the pitted floor of our dark front room, singing to a cricket 
I'd found that morning, when a voice called out at the door: 

"Oi! Open up! It's Dr. Miura!" 

Dr. Miura came to our fishing village once a week, and had made a point of walking up the 
hill to check on my mother ever since her illness had begun. My father was at home that day 
because a terrible storm was coming. He sat in his usual spot on the floor, with his two big 
spiderlike hands tangled up in a fishing net. But he took a moment to point his eyes at me 
and raise one of his fingers. This meant he wanted me to answer the door. 

Dr. Miura was a very important man-or so we believed in our village. He had studied in Tokyo 
and reportedly knew more Chinese characters than anyone. He was far too proud to notice a 
creature like me. When I opened the door for him, he slipped out of his shoes and stepped 
right past me into the house. 

"Why, Sakamoto-san," he said to my father, "I wish I had your life, out on the sea fishing all 
day. How glorious! And then on rough days you take a rest. I see your wife is still asleep," he 
went on. "What a pity. I thought I might examine her." 

"Oh?" said my father. 


"I won't be around next week, you know. Perhaps you might wake her for me?" 

My father took a while to untangle his hands from the net, but at last he stood. 

"Chiyo-chan," he said to me, "get the doctor a cup of tea." 

My name back then was Chiyo. I wouldn't be known by my geisha name, Sayuri, until years 
later. 

My father and the doctor went into the other room, where my mother lay sleeping. I tried to 
listen at the door, but I could hear only my mother groaning, and nothing of what they said. I 
occupied myself with making tea, and soon the doctor came back out rubbing his hands 
together and looking very stern. My father came to join him, and they sat together at the table 
in the center of the room. 

"The time has come to say something to you, Sakamoto-san," Dr. Miura began. "You need to 
have a talk with one of the women in the village. Mrs. Sugi, perhaps. Ask her to make a nice 
new robe for your wife." 

"I haven't the money, Doctor," my father said. 

"We've all grown poorer lately. I understand what you're saying. But you owe it to your wife. 
She shouldn't die in that tattered robe she's wearing." 

"So she's going to die soon?" 

"A few more weeks, perhaps. She's in terrible pain. Death will release her." 

After this, I couldn't hear their voices any longer; for in my ears I heard a sound like a bird's 
wings flapping in panic. Perhaps it was my heart, I don't know. But if you've ever seen a bird 
trapped inside the great hall of a temple, looking for some way out, well, that was how my 
mind was reacting. It had never occurred to me that my mother wouldn't simply go on being 
sick. I won't say I'd never wondered what might happen if she should die; I did wonder about 
it, in the same way I wondered what might happen if our house were swallowed up in an 
earthquake. There could hardly be life after such an event. 

"I thought I would die first," my father was saying. 

"You're an old man, Sakamoto-san. But your health is good. You might have four or five 
years. I'll leave you some more of those pills for your wife. You can give them to her two at a 
time, if you need to." 

They talked about the pills a bit longer, and then Dr. Miura left. My father went on sitting for a 
long while in silence, with his back to me. He wore no shirt but only his loose-fitting skin; the 
more I looked at him, the more he began to seem like just a curious collection of shapes and 
textures. His spine was a path of knobs. His head, with its discolored splotches, might have 
been a bruised fruit. His arms were sticks wrapped in old leather, dangling from two bumps. 
If my mother died, how could I go on living in the house with him? I didn't want to be away 
from him; but whether he was there or not, the house would be just as empty when my 
mother had left it. 

At last my father said my name in a whisper. I went and knelt beside him. 

"Something very important," he said. 


His face was so much heavier than usual, with his eyes rolling around almost as though he'd 
lost control of them. I thought he was struggling to tell me my mother would die soon, but all 
he said was: 

"Go down to the village. Bring back some incense for the altar." 

Our tiny Buddhist altar rested on an old crate beside the entrance to the kitchen; it was the 
only thing of value in our tipsy house. In front of a rough carving of Amida, the Buddha of the 
Western Paradise, stood tiny black mortuary tablets bearing the Buddhist names of our dead 
ancestors. 

"But, Father . . . wasn't there anything else?" 

I hoped he would reply, but he only made a gesture with his hand that meant for me to leave. 

The path from our house followed the edge of the sea cliffs before turning inland toward the 
village. Walking it on a day like this was difficult, but I remember feeling grateful that the 
fierce wind drew my mind from the things troubling me. The sea was violent, with waves like 
stones chipped into blades, sharp enough to cut. It seemed to me the world itself was feeling 
just as I felt. Was life nothing more than a storm that constantly washed away what had been 
there only a moment before, and left behind something barren and unrecognizable? I'd never 
had such a thought before. To escape it, I ran down the path until the village came into view 
below me. Yoroido was a tiny town, just at the opening of an inlet. Usually the water was 
spotted with fishermen, but today I could see just a few boats coming back-looking to me, as 
they always did, like water bugs kicking along the surface. The storm was coming in earnest 
now; I could hear its roar. The fishermen on the inlet began to soften as they disappeared 
within the curtain of rain, and then they were gone completely. I could see the storm climbing 
the slope toward me. The first drops hit me like quail eggs, and in a matter of seconds I was 
as wet as if I'd fallen into the sea. 

Yoroido had only one road, leading right to the front door of the Japan Coastal Seafood 
Company; it was lined with a number of houses whose front rooms were used for shops. I 
ran across the street toward the Okada house, where dry goods were sold; but then 
something happened to me-one of those trivial things with huge consequences, like losing 
your step and falling in front of a train. The packed dirt road was slippery in the rain, and my 
feet went out from under me. I fell forward onto one side of my face. I suppose I must have 
knocked myself into a daze, because I remember only a kind of numbness and a feeling of 
something in my mouth I wanted to spit out. I heard voices and felt myself turned onto my 
back; I was lifted and carried. I could tell they were taking me into the Japan Coastal Seafood 
Company, because I smelled the odor of fish wrapping itself around me. I heard a slapping 
sound as they slid a catch of fish from one of the wooden tables onto the floor and laid me on 
its slimy surface. I knew I was wet from the rain, and bloody too, and that I was barefoot and 
dirty, and wearing peasant clothing. What I didn't know was that this was the moment that 
would change everything. For it was in this condition I found myself looking up into the face 
of Mr. Tanaka Ichiro. 

I'd seen Mr. Tanaka in our village many times before. He lived in a much larger town nearby 
but came every day, for his family owned the Japan Coastal Seafood Company. He didn't 
wear peasant clothing like the fishermen, but rather a man's kimono, with kimono trousers 
that made him look to me like the illustrations you may have seen of samurai. His skin was 
smooth and tight as a drum; his cheekbones were shiny hillocks, like the crisp skin of a 
grilled fish. I'd always found him fascinating. When I was in the street throwing a beanbag 
with the other children and Mr. Tanaka happened to stroll out of the seafood company, I 
always stopped what I was doing to watch him. 


I lay there on that slimy table while Mr. Tanaka examined my lip, pulling it down with his 
fingers and tipping my head this way and that. All at once he caught sight of my gray eyes, 
which were fixed on his face with such fascination, I couldn't pretend I hadn't been staring at 
him. He didn't give me a sneer, as if to say that I was an impudent girl, and he didn't look 
away as if it made no difference where I looked or what I thought. We stared at each other 
for a long moment-so long it gave me a chill even there in the muggy air of the seafood 
company. 

"I know you," he said at last. "You're old Sakamoto's little girl." 

Even as a child I could tell that Mr. Tanaka saw the world around him as it really was; he 
never wore the dazed look of my father. To me, he seemed to see the sap bleeding from the 
trunks of the pine trees, and the circle of brightness in the sky where the sun was smothered 
by clouds. He lived in the world that was visible, even if it didn't always please him to be 
there. I knew he noticed the trees, and the mud, and the children in the street, but I had no 
reason to believe he'd ever noticed me. 

Perhaps this is why when he spoke to me, tears came stinging to my eyes. 

Mr. Tanaka raised me into a sitting