LEAVING ON A JET PLANE
Leaving
Stuffing our enormous bags into the little rental car (nearly every piece would prove to be overweight) we scooted to
I know that travelers delight in tales of woe, in much the same way that sailors prefer to discuss bad weather and fisher folk the big’un that got away, but our flights went off pretty much without hitch. Indeed, the connection in
Interestingly, it cost 20 bucks to have those enormous bags brought from the curb in
The first delivery service we used (the one from the airport) had a logo which, to me, oddly, seemed to be a cat with two heads. Of course one does not really question a new culture too closely initially and, if a two headed cat signified cartage for the Japanese, who am I to doubt it? I mean, I’ve eaten a Tombstone Pizza for Christ sake—what’s the symbolism there? Then, on the road to a mountain holiday, I caught another gander of the banana yellow logo on a long-haul truck filling its fuel tanks slung under the long chassis: the image is really a mama cat with a kitten in its mouth—not a two-headed beast. For a delivery company, that seems to make more sense!
But back to the flight. Once we made the connection in Dallas, it was about a 13 or so hour flight toward Japan, and I suppose they fly an “arc,” or “rhomb,” line in what must be the straightest way accommodating the prevailing winds and yaddayadda, but in any event in several hours we were, with a low sun and few clouds, over the gypsum whites, vivid roses, and metallic sunny edges of the mountainous Alaskan landscape at 30,000 feet. I’m guessing that this view is often obscured by mist, but for a long time we could see the dramatic, broken fields of mountains, ice, and snow and perhaps, in what looked like sooty valleys, glaciers. I’ll risk a charge of cliché to say the relatively horizontal snow really did bring to mind vast heaps of the whitest sugar, while the sunward sides of the crazily rough places were hosed down with bronze, silver, and canary yellow. The sun-lee-side of the mountain surfaces were pale lead, pewter, lavender—purple, just like the song says—blue, and even black (although art teachers always say shadows are never black). Every now and then a movie comes out about people stranded in that kind of “outback,” and the plot always seems a little tortured. Now, seeing the scale of the landscape roll on and on until, finally, it was covered over by thick layers of mist, has made me more of a believer.
The flawless transit continued into Tokyo, with our paperwork all in place (“tourist visas” are more colloquially called “landing permits” now, it seems) and helpful folks from Tokai University picked us up in the grey, cold, rainy afternoon. Our back-door exit from
Hadano is not much like Tokyo, of course not much at all like Old Japan (raked pea gravel around a single well-situated boulder, sliding paper doors into Zen-bare spaces), but if anything is redolent of the architectural glamour of chock-a-block row houses in Baltimore or a bedroom community in New Jersey. It’s just a contemporary town with lots of commuters who train into
Newly arrived, and having read what we could about
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