I had seen many typhoons, however, in my Asian childhood and I had the wish, that day, to see one more. A typhoon is very much like a hurricane but the hurricanes I had seen in New England and Pennsylvania were not typhoons. The tropics or near tropics provide a volcanic power for wind and rain. We lived in a sub-tropical climate two hundred miles from the Pacific Ocean, and yet to this day I can remember my father’s stern command and my mother’s anxious face.
“There’s a typhoon coming! Get the shutters barred and the doors locked!”
While the sky darkened and the first low growl of the winds rose into a sullen roar, we sat waiting and listening. Trees would break and walls would crumble and the house itself would quiver when the attack came, but we could do nothing except wait and listen. When it was over and silence fell at last, we opened the doors and windows. What we saw was always the same — destruction everywhere.
“Stupid,” my mother would say. “So stupid!”
It was the memory of her invariable comment that had given me the idea of the typhoon for a story, and had sent me to the mountainside that morning long ago on a previous visit to Japan. The radio had announced a typhoon.
It had come just after one o’clock, preceded by a strange distant sound over the lifting horizon. I had taken shelter under the rock of what was a sort of cave, having made sure that this rock was part of the spine of the mountain and not some treacherous boulder to crash down upon me in the storm. I had made sure, too, that I was high enough on the mountain so that the sea could not reach me. And I had to take heed that there were no trees near by to fall upon me. All in all, I was as safe as a person could be who had decided upon risk.
There I sat, then waiting but this time alone and without family or house to shelter me. It was a profound experience, terrifying and rewarding, and it provided the scene I wanted for the beginning of the story. Let me describe it as best I can. The typhoon came out of the sea first as a deep hollow roar. Then it appeared as a monstrous black cloud. The cloud seemed a thing alive, shaping itself this way and that, torn by contending winds. However it might stretch to right or left, it continued to spread upward and reach toward east and west. The day darkened to twilight and the dreaded roar of sound came rushing toward me from out of the depths. I crouched behind my rock and waited.
At first, I remember, there was no rain, only the wild winds and the tossing sea. An hour earlier the sea had been calm and blue. Now it was black and streaked with crests of white foam. When the rain came it was all of a sudden, as though the clouds had opened and spilled. A curtain of rain fell between mountain and sea, a solid sheet of water three feet away from me. The grass and brush on the mountainside flattened under the wind and the rain. I was surrounded by the madness, the unreason, of uncontrolled, undisciplined energy. None of this made any sense. It was worse than useless — it was nature destroying its own creation — its own self. To create by the long process of growth and then to destroy by a fit of wild emotion — was this not madness, was this not unreason? I had the beginning of my story.
The storm spent itself at last. The winds dispersed, the rain slackened to a drizzle and a mist, the cloud fell apart and the sun shone through. I came out from my shelter and surveyed the ruin left behind. Trees had fallen on the lower levels, gullies were dug into the earth between the rocks, the very grass and underbrush lay flat and exhausted. I could only guess what havoc had been wreaked upon the villages along the coast, the fishing boats broken and tossed out to sea, houses smashed, breakwaters wrenched apart, sea walls crumbled. It was, as my mother had said, all very stupid. It was useless.
I have seen this same waste take place in human life, in human beings, in terms of human emotions.
I lay there in my Japanese bed, years later, and mused on the similarity of typhoon energy and energy of human emotion. Uncontrolled, it destroys. But must emotion be destructive? And if not, when is it valuable and why? How can we use emotion as helpful energy, necessary energy for living? What are the uses of emotion and what are the disciplines necessary for its helpful use? These were the questions I longed to answer, first for myself and then for others. I put myself first for I am the lens through which I view others.
And as always, when I cannot answer my own questions, I send my mind, my heart, in search of him. He could not answer, not always, but he had a talent for directing the search by questions of his own, skillful and enlarging. His was not a profound mind. I cannot pretend that he could always follow me in the search to the conclusions that come one by one, through which one proceeds not as absolutes but as steps toward truth. Truth itself is, of course, no absolute. Perhaps, indeed, it pervades the process, existing in everything and everywhere as eternally as time itself, a wholeness of which at any stage we see only part. He did not possess the conceptual mind nor had he the scholar’s disciplines, in which I have been trained. It was understood that there was much that we could not share. Our natures were essentially different. Our enjoyments even in music and literature were unlike. We both loved music, for example, but I am happiest when I am working on a Beethoven sonata or with Chopin. He enjoyed lighter music, which I also enjoy, but only as caviar. On the other hand I am deeply interested in jazz, not so much musically as psychologically, and he had no interest in jazz on any terms. He had no interest, either, in science, although he did have an academic interest in technology. Since he was a determined atheist, he could accept but not share my unending involvement with theoretician physicists, and the tremendous significance of their recent discoveries.
What he did have was a brilliant intuitive mind, and what was more rare, the ability to appreciate what he could not comprehend. He stimulated by skillful questions, he seemed never to lead although he did not follow, he uncovered without shaping. He provided an atmosphere in which I could think more clearly, create more spontaneously than I might otherwise have been able to do. He could listen to me think aloud around and above and under a subject that interested me, allowing me to range freely as though I were alone, his questions never guideposts but invitations to pathways I might not have noticed for myself.
I realize that now, alas, I have no one with whom to talk. Be still, my soul!
The schedule called for outdoor work, a picnic scene with little Setsu and a harvest scene, then field and plowing but it was raining again. We proceeded nevertheless to within walking distance of the site, a charming place on a terraced hillside, and in the background a gray old Japanese cemetery. It was upon one of these stone graves that Setsu was to wait with food for Father and Yukio, with what disastrous and naughty results I must not here tell. The contrast of the mossy old tombstones and our pretty little girl was the contrast of life against death and I had looked forward to the scene. We waited in the cars while the rain poured down. A kind farm family invited us to shelter in their comfortable house, and we went in, gratefully. The farm wife prepared tea for us, and we discussed what to do. Mountains and sea here combined to make weather a mystery even more uncertain than in most parts of the world. The sky looked as though it would continue to empty itself for forty days. We decided to go to the farmhouse and shoot a rain scene, appropriately, and a kitchen interior. The assistant director was to go to Kitsu, our fishing village, and get boats ready for the scene when the boats put out for the shark beach in the rain.
The morning was a disappointment, nevertheless. The rain continued into deluge. The farmyard became a lake of mud and the thatched eaves dripped dismally. Inside the farmhouse the crew worked without enthusiasm. The cameraman put off evil moments of beginning work, the director grew impatient and I grew bored. Again and again the first scene was set and again and again the camera made some monstrous mistake. It was twelve o’clock by the time we were ready to shoot the rain scene, and then the sun came out, weakly but enough to make it necessary to fake rain. So on a rainy day the men climbed on the farmhouse roof and rigged up the best rainmaking machine in the world, namely, a hollow bamboo pierced with holes, with a rubber hose attached to one end and the other end stopped. A beautiful flow of fake rain dripped over the eaves and down into the lake of mud made by the real rain. Finally we got a take, and lunch hour arrived. The day was so dismal it was not even a good lunch.