
NUMBER ONE
Some of the many places I wish I had taken photos and didn’t.
- The Garden Terrace Cafe just off Istaklal Caddesi in Istanbul where we had an entirely memorable meal. (Just didn’t. Too engaged with trying to make myself understood.)
- The jewellers in Kusadasi where we bought the fake Zultanite ring which changes colours according to the light source. A photo would have been so appropriate … and threatening. (Too busy doing the deal. The room was very artfully poorly lit.)
- A first night in Thessaloniki. (Grumpy.)
- The National Theatre in Belgrade where we saw the opera ‘Nabucco’. It was so photogenic. (Didn’t take my pack. Would have had to carry my camera. Not quite cool …)
- The forecourt of Hampton Court Palace with Jules Holland and his big band. A knockout concert but the lighting effects made the visuals simply extraordinary. (See Nabucco above.)
- The Almeida Theatre in Islington where we saw the ‘Oresteia’, a sharply defined curate’s egg: reflecting the plays themselves as it happens — 2/3 scintillatingly good; 1/3 lingeringly bad. I wanted to get pics of the crowd. (Not cool.)
I regret these absences, however excusable. They leave big holes in my visual memory. (Some people have phones …)
But their equal, equal worst, and worse in some important ways — I could have, it would have made sense, I would have been joining in, I could have put my camera in my pocket — was the failure to take my camera to Zeichen, Erscheinungen, Deutungen [Drawings, Appearances, Meanings] upstairs in the Galerie Konzett in Vienna.
I wasn’t that keen to go. The day had begun in Zagreb at 5.30am which for some people is not early. For me, coupled with departure from one of the cosiest hotels in the Balkans, it was challenging. This was followed by an 8-hour train ride which had left us on the outskirts of Vienna where taxis did not roam freely. To get to our meeting point we walked past the Staatsoper which was offering tickets to Romeo and Juliet for 50 Euros a throw. Very tempting. But we tottered off down Spiegelgasse to dive into a lucky dip where we found Jo. She was playing. She introduced us to her friends as ‘her brother’s parents’. Near enough. Just missed the ‘in-law’ part. She thought we’d like it.
The gallery upstairs was filled with extras from The Third Man. The craggy aged and the bright young things full of well-modulated certainty. Self-containment could have been a keynote. The expressive gestures had been reserved for appearance. Big scarves, greatcoats. Big and great carvings of hair. Hats: a fedora, a fez, several berets, yarmulkas, a beanie, several beanies and beanie derivatives in fact. Belts as a feature. As for myself, I was wearing Australian neat casual (think low end Henry Buck’s) which sort of set me apart from the crowd. Not unpleasantly. I felt that my unusual choice of dress was appreciated. Lots of leather, some silk, and a young woman who looked a lot like Marilyn Monroe at the divine zenith of her career. She may have been making a formal contribution to the event, or it might just have turned out that way. Later she was revealed as the girlfriend of one of the singers. I was gradually edged off my bit of bench by someone amiably drunk who could have been a Romanian countess, hair dyed an assertive pink.

So. We have three rooms full of paintings curated by our host Mr Konzett with a strong mittel-European flavour. Dark. Complex. Confronting.
We have a string quartet (Jo second violin), a recorder, a theorbo (see pic), and a harpsichord played by the conceptualist/ concert master, Michael Mautner. We have three singers.
We have a man intermittently reading selections from Goethe. We have a woman recording it all carefully on video.
Myrna’s fuzzy phone pic captures some of this. There were several dozen other people you can’t see.
I’m not sure if the paintings lining the walls of the gallery had been chosen for the event. Well … of course they were.

Dieter Roth’s ‘When signs are painted on the bed cover of words’ was the conceptual axis. (This is my sorry photo of a folded postcard collected on the night.) My translation of the notes for the occasion says:
Like flames, red letters appear on a patterned fabric. Words and word fragments lose themselves in signs and symbols. “If on a bed cover … of words, characters … painted …”. (sic) What captures us in Dieter Roth’s painting are the insights, the intertextual symbolic references, the puzzles. Roth’s drawing and typeface send us on a search for interpretation. The work dates from the 1990s and is one of the central works of the event concept and the exhibition.

Among the others was a portrait of Josef Beuys, one of my favourite artists, covered in gold leaf. As explained elsewhere on the net, ‘This image shows Beuys during his famous 1965 action How to Explain Pictures to a Dead Hare (Galerie Schmela, Düsseldorf). For three hours Beuys, his head covered in gold leaf and honey, held a dead hare against his chest and murmured into its ear. The action, which was only visible from outside, through the art gallery windows, was meant as a reflection on the limits of language and human intuition.’

The dominant display though is photographic records of Otto Meuhl’s Materialaktionen, of which this is a more cheery example. They provide ‘motifs that seem to illustrate these moments, “ghosting – trance”, especially the prophecy itself, according to which Saul falls with his son in battle.’
From memory the event began with the spoken word which was followed immediately by Henry Purcell’s ‘Fantasia on one note’. More Goethe which of course I couldn’t follow at all. Then Terry Riley’s ‘In C.’

This is the score. Except that I looked over the shoulder of one of the string players and she was working off what looked like a page of simplified guitar chord charts and a stop watch. But it was somehow utterly captivating. The person playing C gets a good go.
This was followed by John Cage’s ‘Five’ (for any five instruments or voices, and lasting five minutes), similarly atonal, similarly challenging.
For the crowd these two pieces were the highlight of the night. They broke into delighted applause at the end of each, as though they had just broken into the heart of a Faschingskrapfen filled with perfect custard.
More Goethe extracts and finally Purcell’s ‘In Guilty Nights’, and this my friends was a show-stopper. (Listen to Julita Mirosławska and friends perform it here.) It was also the case that several members of the audience had fallen asleep and the bloke in front of me was checking the price of white goods on his phone. But there we were, just in this room — standing up, tired, hungry, people packed around the musicians, pictures of cadavers and tortured bodies peering over our shoulders — this collection of eccentric bits and pieces … an aural wunderkammer.
What do you make of all that then? Pretentious bullshit? High brow rubbish? A waste of two hours?
The notes conclude: ‘Whoever thinks of these pictures when listening to [this?] music, whoever thinks of this music when looking at these pictures, will discover something new: this is one of the main options [characteristics? aspirations? products?] of our concept concerts.’ Maybe not. I couldn’t make the connections that Michael Mautner wanted me to make. I won’t think of Deiter Roth when I hear some Purcell. For me Otto Meuhl’s horrorscapes are unlikely to generate a productive interaction with Terry Reilly’s insistent insistence.
If you came to the occasion with an open mind and hadn’t already decided the whole thing was a Euro-existentialist wank, the real threat would be boredom. That didn’t happen. I was highly engaged by it all. The features of the context — the exotic crowd, the foreign setting, the unusual ambience — helped no doubt. The musicians, drawn from the very rich cream of the Viennese music world, were several rungs above excellent. I don’t listen to Cage or Reilly for pleasure but that night I could. Some at least of any experience of art is peering into the contents of someone else’s head, and I could understand Mautner’s intentions and respect his ambition. One could never doubt and, that night, share the seriousness of his purpose. I was entertained. Two years later it remains utterly memorable.
NUMBER TWO

Same city a few days later. (Fans. Aussie fans.)
It was a considered decision to go. It’s not the sort of thing where you’re sitting at home on a Friday night noodling away looking through the Green Guide and thinking, hmm tonight: Bris v. Melb. Bloody hell. She’s not that into you. Urk. A really old Midsomer Murders that you’ve seen a couple of times. … How about we go out? That Eurovision-y thing, that’s on tonight isn’t it? How about that? Where’s it on? Vienna. Uh huh. … Where did you say?
There was some planning involved.
These are sordid confessions, but after searching for a source that would get me two guaranteed tickets and failing, I registered as a potential buyer (a prerequisite) six months before the tickets went on sale. On the morning at the requisite time I sat with my finger on the mouse and slammed it down at one second after the ‘go’ moment arrived and slowly proceeded through the digital labyrinth before stalling absolutely. What’s happened? Has the computer frozen? Has the ISP gone down? Has the copper line got wet again? Panic!! Back quick and start again — and thus lost my place in the queue — and after 80,000 tickets (there’s lots of bits of Eurovision, semis, shows for kids, shows of kids, etc etc) were sold in 12 minutes, I found nothing left that was of interest. In the sort of frenzy that grips one in such circumstances I dug digital holes in the internet and found a broker who in exchange for the deed to our house would provide two suitable tickets. Oh, and they had to be delivered to an address in Europe where I could physically pick them up and they wouldn’t be available until after we had started travelling, and so on and so on.
For years we’ve been big fans of the Eurovision Song Contest, an event when far far too much is not enough. Hear me sing: ‘We believe, we believe, we believe in the dream. We can shine. Shiiiiiiiiiiine. Woo-oooh woo-ooooh. Loove loove loooooooove. People if you can feel the love raise your hands up in the air. A million voices join in. Join innnn!!!’ Sam Peng and Julia Zamiro make it fun but we needed to see for ourselves, and on the 22nd May we found ourselves walking up Josefstadter Strasse to a station which would take us to the Stadhalle with two tickets to hand.


The city was hardly overwhelmed but knew what was happening.
The main interest was still Conchita Wurst (‘sausage’? Yes) who had won with ‘Rise like a Phoenix’ the year before. Austrian President Heinz Fischer declared her victory ‘not just a victory for Austria but for all diversity and tolerance in Europe’. Conchita may now be dead with Tom Neuwirth instead being the phoenix rising from the ashes, but at the time she wasn’t just promoting diversity and tolerance, but banking as well. [‘Austria won with Conchita. You’ll win with CashBack.’]

We got there in time to enjoy the crowd, to be thoroughly body searched and to surrender our umbrellas.

Our seats overlooked the ‘green room’ where the artists and their teams were preparing.

Conchita descended from on high singing as she came.
And it was on.

Woooooooooooooooooohh …
The candidates: Albania, Armenia, Austria, Azerbaijan, Belarus, Belgium, Cyprus, Czech Republic, Denmark, Estonia, Finland, France, FYR Macedonia, Georgia, Germany, Greece, Hungary, Iceland, Ireland, Israel, Italy, Latvia, Lithuania, Malta, Moldova, Montenegro, The Netherlands, Norway, Poland, Portugal, Romania, Russia, San Marino, Serbia, Slovenia, Spain, Sweden, Switzerland, United Kingdom — 20 percent of the countries in the world.
The ‘Big Five’ (France, Germany, Italy, Spain and the UK) automatically get in the final in this case with 21 others, along with that well known European country, on debut — Australia. This is explained thus: In honour of the 60th anniversary of Eurovision, the governing body had invited Australia to participate in the finals of the contest, represented by SBS. SBS has been a long-time broadcaster of the event which has a large following in Australia.
Now it is important to say here that we were at the Grand Final Jury Rehearsal. With the rest of the sellout crowd we saw what the jury cast its votes on, a carbon copy of the Grand Grand Final with full country voting and announcement of the winners the next night. Albania, Hungary and Poland were obviously affected by nerves, but the performances were if anything slightly better than the Grand Grand which we watched from the safety of our hotel room.
It stood up to its billing. Fast, furious, enthralling. Paced by big, no huge ballads (Greece, oh yes, ‘One last breath…’ wind machine turned up to 11, Germany ‘You said you’d never go’, comparatively feeble, Italy, three tenors belting out ‘grande amore’). And oddities. A tree trunk of a Serbian in 40 metres of evening gown howling at the camera, Spain with a half-naked man over-enthusiastically wrestling the barely dressed singer. The Makemakes (Austria) set their piano on fire, the best part of their act really. Guy Sebastian (nice hat) came on and bopped his way through a surprisingly engaging song ‘Tonight again’. Australians will be glad to know he was terrific. It didn’t matter that he sang in Australian because most other people do as well.
Monika Kuszynska (Poland) sang from a wheelchair.
It was all decorated with scarcely believable light shows and underpinned by a superb orchestra. Staging staging staging. Simply astonishing. The eventual winner Mans Zelmerlow (Sweden, ‘We are the heroes of our time, but we are dancing with the demons in our minds’) was partnered with animation. Watch it. It’s worth it. Like everything else at Eurovision, except the voting, it only goes for three minutes.


Sometime around here we paid a visit to the Leopold Art Museum and among the displays was one by Tex Rubinowitz. Tex ‘has followed the Eurovision Song Contest for decades with great enthusiasm, has experienced it live many times and has often been able to predict the winners. His main interest however lies with the losers of the world’s largest music contest.’ And Tex had given us drawings with stories of all those who had received ‘nul points’, no points, no votes at all, not from anyone, zero. One can usually assume that Austria and Germany will pump up each other’s tyres, but this night: Germany (pictured, just below us): Nul Points; and for the host nation, Austria, and its pyromaniacs, a well-deserved: Nul Points.
It’s political. That’s one of its attractions. The Scandinavian countries will probably vote en bloc. Azerbaijan, Serbia, Georgia, Moldova and Belarus will vote for Russia. Latvia and Estonia won’t. Turkey and Bulgaria might come or they might decide they are not really in Europe. Could go either way. Israel? Why not Palestine; even Lebanon? No one will vote for the UK or France, often because they’re rubbish. (Bucks Fizz anyone?) It’s a bit like living out the current geopolitical disposition of Europe. That makes it interesting.
But you don’t watch the Eurovision for substance or enlightenment. For a tutorial on how to win you could check this out. Everyone knows. It’s crazy. It’s spectacle. It’s kitsch*, high kitsch but nonetheless kitsch. The basis of the jury’s judgement is utterly mysterious. To explain the vicissitudes of the popular vote see above — but only partly. Partly, who knows? You can’t take it seriously, and yet, and yet, it’s peace and love, we’re all together (but not really), woooo ooh. And the winner is, well, the winner and at some atavistic level it seems to matter. Entertainment? Oh yes, and in so many ways.
A side note, during the 2015 results loud boos erupted whenever Russia was mentioned. Russian entrant Polina Gagarina was seen crying in the highly exposed green room. The organisers had anticipated such reactions from the crowd, and had prepared and installed ‘anti-booing technology’ cutting out these sounds from transmission. That night this gear was used for the first time in Eurovision broadcast history.
Somewhat undercutting the 60th anniversary explanation, in 2017 Australia will be represented again. (Guy came fifth, last year Dami Im came second. Will the final ever be held in Canberra I wonder.) The contest will be staged in the capital of Ukraine, Kiev. There is every chance that the anti-booing technology may be required again. 13th May. Save the date.
NUMBER THREE

A backyard in Warrnambool which is in fact a stage. The show: ‘Hairy black spider looking at the moon’. It is occurring as we look. This is one of the striding sections. It lasts about six minutes and it has a number of stanzas, variations perhaps. The aural component is a melange of words collected from favourite songs ‘… sexy, yes the spider is sexy, and are you going to love me, love me now, forever, I’m looking at the moon ….’ Visually we have a range of moves collected from dance class, from videos, from practice at home, from ideas provided by her parents. The artist is fully engaged, totally immersed without necessarily knowing what might come next. Extempore. Ad libitum. But a mind bubbling over with ideas which substitute for Olympic-grade lighting, an 80-piece orchestra or a theorbo and which fill and transform this unlovely bit of western Victoria.
It does go on a bit, but it’s a show, and we love it because we love her. That is also entertainment.
What you’re hearing is something we can call organicism. A vision of culture not as a loose assemblage of disparate fragments but as an organic unity, each component, like the organs in a body, carefully adapted to occupy a particular place, each part essential to the functioning of the whole. The Eurovision song contest, the cutouts of Matisse, the dialogues of Plato are all parts of a larger whole. As such, each is a holding in your cultural library, so to speak, even if you have never personally checked it out. Even if it isn’t your jam, it is still your heritage and possession. Organicism explains how our everyday selves can be dusted with gold.
— Kwame Anthony Appiah (read it all here) British-born, Ghanaian-American philosopher and cultural theorist
* Kitsch (loanword from German) is art, objects, or design considered to be in poor taste because of excessive garishness or sentimentality, but sometimes appreciated in an ironic or knowing way. [Exactly.]

Ruptured anterior cruciate ligament in the same knee he’d wrecked in the same way in 2006. Surgery, then out for the season.

I grew up in the bush barracking for Fitzroy. I liked their colours, maroon, royal blue and gold; plus it cut you out from the herd. Especially seeing they never won and hadn’t won a Premiership since 1922. That may be what drew me to them. Underdoggedness.
own the house of someone who’d bothered him. He was captain for four years (1990-93) and was club games record holder for 12 years till Chris Grant ran him down in 2006. He also ran for the Senate as a member of the Palmer United Party in 2013. 




This is yours Murph. You deserve it more than anyone else.’

My Japanese expert, thank you Shelley, translated the sign for me. ‘CAUTION. From here on there are many curves.’ And so indeed there were. A long haul up and over a pass, but by the time we got to the bus change the mist had dissolved into a beautiful day.
The first temple was about 800 metres from the bus stop and about 400 metres vertically, a heart starter. Iwaya-ji, The Cavern-housed Temple, Number 45, is set into the side of what is really a cliff face and was an intriguing affair. Internet information: 
n the way up you pass remarkable sets of J
bove the temple is one of many caves nearby where monks have meditated for centuries. I climbed up to look at walls covered with coins and other offerings, but mostly coins.

e were sitting up in the air maundering our way through lunch complemented by some new discoveries from the Matsuyama shopping arcade, when I got the white book out again and realised it was going to be another rush to get to our bus. If we missed the one we’d set ourselves for the next one would get us home around 8.00, too late. So down through the paddies at pace and through the town of Fusuwara. We got two lots of additional advice about where the track restarted. Both were correct in their own way but incomplete costing us about 20 minutes. 2.3 the sign said when we got back on track, then 1.4 after that and, with a very steep and slippery climb included, 50 minutes to do it in. This colours the experience.
As things stood, after climbing very hard for about 20 minutes we topped out and had a steepish descent: steps, cobbles, following a concreted creek, in mud — all that. We saw the day’s second temple, Daiho-ji, Great Treasure Temple, Number 44, but didn’t stay. We had a bus to catch. We arrived a bit sweaty but deeply content at 15.38 for 15.42, four minutes, just time to breach the vending machine. This had been a fabulous (half) day’s walking. I would like to do it again, more slowly.






Fudo Myo-o at top with Kongara and Seitaka.
We were down in the town of Komatsucho by this stage with not much more than kilometre to go. Distracted by the boggled interest of some school kids, we weren’t quite sure how many right angle turns we’d made and asked a passing motorist for directions to the last temple, 

The next morning we found ourselves on a train heading further west along the northern coast of Shikoku. It was a late-ish departure and we’d spent part of the wait in Kotohira at the Palanquin, a tiny establishment devoted to coffee and sandwiches, thick with smoke and rarely I think patronised by non-Japanese. We were treated with glee and lavish assistance.
We did get the right bus — however short the trip that is a prerequisite — and got off at the right stop somewhere in the middle of the countryside and walked back the way we had come to Taisan-ji, Tall Mountain Temple, Number 56. The temple itself was not of great interest, but its siting was. It felt just a bit like being in another world, a possible product of too many trains and buses.
I liked this rock with its colourful striations. The small pine next to it is believed to cure all lower back ailments. 

A mini version perhaps of the famous guardians of Senso-ji in Asakusa (eastern Tokyo). If so, they are Fujin the god of wind and Raijin the god of thunder. The road looked the easier option, but I had eaten the cakes and needed to perform some act of contrition. We made our peace with these chaps and headed through. Our progress was interrupted by some people in a car desperate to provide ossetai who, poor things, had to chase us 80 or so metres up some of the steepest and slipperiest steps going round. What was it? Bottles of drink, some crisps and lolly bars.
We continued on 200 more metres making extensive use of the handrail, where there was one. That’s the ascent, the final 280 metres. What an entry. And we landed head first into thick fog.
We were staying here at the shukubo
I woke at 5.00,
Except for these guys — the number of Japanese, in Ehime at least, it takes to dig a hole on a Sunday morning.
It was only couple of k.s to the station and they took us along a concreted canal which probably once would have been a creek, past tennis training where the Nishikoris of the future were playing very capably, four or even six to a court, past a school where band practice was in full swing and soccer and dance practice were vying for space in the yard. One of the complaints of foreign teachers working in Japan is that they work a seven-day week, 50 or more weeks a year, including summer camp supervision. To do less is to display lack of commitment. 
and just as close to a shopping arcade with black sesame softu crema, I was thinking about where we were and what had been happening — no bird’s eye, no shape, bobbing up out the ground hither and thither. I was finding its intricacy understandable but slightly wearing. Yesterday, we had been negotiating our way round a mountaintop temple. Today, in the heart of a tourist destination, choosing between a Lawson and Willie Winkie for coffee, eating an astonishing variety of food, encountering major variations in landscape … But then I thought maybe the medium is the message. This is how it is. This is what we were up for. If in some moments, and they were only moments, it was overwhelming, it was also unforgettable.
We had passed the Scrivener Department of the Ehime Prefecture Canal System and The Gright, billed in English as: ‘
We were welcomed by another champion of the hospitality industry.
Sunday afternoon, and it was seething with o-henro and other tourists, a busload of Spaniards amongst them, who were behaving more egregiously than us at our worst. We were in town. The city gardens were on top of a hill which provided excellent views of the city and I had my bird’s eye view. We had passed the Dogo Onsen complex and stumbled over the Botchan Karakuri Clock, Botchan being a popular novel written by local Natsume Soseki and widely read by Japanese school children. On the hour the characters emerge and do their clockwork thing, delightfully, and then it all folds away till next time.
At its base is a trough fed by a mineral spring for walkers to salve their weary feet, before heading off to the very fine onsen and
Day 4. I didn’t really feel like I look. Just caught the moment. It had been a great day’s walking and I was actually ready for more, but we were shortly about to get off the mountain via cable car, ropeway in the vernacular. It was another nansho temple, Tairyu-ji, Grand Dragon Temple, Number 21.
bus driver had dropped us off with 450m to climb in a bit over 3km, 1 in 6. That’s about what it felt like, but we were up for it that day. It was a lovely path winding through forest and we began with a preliminary reward.


After a short look round on this peak there was a long but straightforward descent which just kept unfolding in its loveliness. Near this point we walked through a serious and extensive collection of bonsai and met the gentleman who enquired about the health of Murray Rose. His group of o-henro were having a congenial but lively squabble about directions. Newly seasoned and knowledgable etc etc, we were able to point them in the direction from where we had just come.
The Nakagawa River, famed for the clarity of its water but on this day an opaque icey aqua, was at the foot of this descent. Across this bridge the next climb began. For half of the way, this one stayed on a tarred road, very narrow — just trafficable if you were driving a Japanese little car or van — following a creek valley up the hill. Uphill but only vehicle grade.
Easy walking even meeting this friend on the way. The road led to a disused farm where this oddity appeared.
As customary, just to keep you honest and remind you of a few salient things, the big climb is supplemented by several sets of steps. Tairyu-ji was being repaired but that didn’t interfere with its complexity and beauty. It is suggested that Kobo Daishi sat on a rock peak near here to practice Kokuzo Gumonji-ho, a short mantra. To pray for improved memory this mantra must be repeated a million times over the course of 100 days. You’d probably remember that at least even if nothing else.
At the ropeway station we were offered and gratefully accepted a cup of mushroom soup and paid startlingly reduced fares: a version of ossetai for overseas visitors perhaps. All sorts of things were promised of the view on the 15 minute journey down but in thick cloud we saw nothing till the Nakagawa suddenly came into focus just below us. We found a Lawson (ubiquitous convenience store chain) which provided coffee and a snack and we found the bus which would take us back to Tokushima. It was full of school kids, about 30 of them, whose hot breath and damp clothes fogged up the windows instantly which is how those windows remained for the hour and a quarter of the trip. We got on at Wajiki East which sounds as downtown as it was. The terminus of the ropeway was the only real built feature and yet here come all these kids. From where? And going past how many schools in 75 minutes on the bus towards Tokushima? And anyway, doesn’t Tokushima itself have schools? Thirteen train stations, no schools?
Half slept; this was a standard journey. The groovy girls in the back seat did their phones. We got back to Subaruyado Yoshino (the ‘Pleiades Ryokan’: subaru=constellation) to be accosted again by very good food in vast quantities, and a long and exhausting conversation in a combination of those well known languages Google translation and charade.
Shiromine-ji, White Peak Temple, Number 81, was a fascinating place with at least three major layers of buildings in the middle of very highly developed gardens. At the entry we were welcomed by this collection of maneki-neko, and then there were goats and chooks and sheep and birds and monkeys. And this chap. No idea who or what he is, but there will be a story. There always is.
This is also where my camera lens decided to stick on the limits of its digital zoom. This is the last picture it took — from about 40m away. 
Those instructions claimed that our accommodation was six minutes walk from the station. It might have taken us nine. Maybe 15. No disaster. We were the only customers at Kotobuki (Congratulations! or Long life!), sank into its bath and ate one of the really great Japanese meals ever. This wasn’t perfect classical cooking. We had some of that at Matsuyama and applauded it roundly. This was a meal cooked by people who have a deep-seated understanding coming from the very marrow of their bones for what would be interesting and tasty. They proved themselves to be wonderful hosts in any number of ways. 
We went to see the Sheath Bridge. This is the information I have about it: ‘Year is a bridge that God is in you over only once. Since a little away from the approach you can see people even less slowly. It can not be over, but I recommend enjoy the view.’ Challenging, but I think — God is in the bridge. You can only cross it once (a year?). It’s locked up the rest of the time. But it’s good to look at. I’ve also found a story about a demigod who had all his toes cut off and therefore made sheaths for his feet which came off while fleeing from an army of monkeys. Take your pick really.
Konpira-san is the largest Shinto shrine on Shikoku and that’s the main reason for visiting the town of Kotohira. Its population is officially about 10,000, although I don’t know where you would put the city limits. On the flat side of the main drag it’s heavily populated semi-agricultural land which covers a considerable plain.




I’ve seen bigger wisteria plants but this one was enormous and, in flower, has five colours. We had a look around and like anything built into the forest wall this temple had its charms. I rang the bell and murmured a request for good fortune, found the track opening and off went. Up up up.
Note the fall off to the left. We quite often found ourselves walking next to a sheer but quite heavily forested drop. The pad would be running round the lip of small plateaux. Splendid walking. We got to Choudoan Temple, not one of the 88, but the peak of the first climb and ate one of our volley ball-sized apples and some rice crackers, discovering that the packet was a quarter full of dried whitebait. Japan. It was hot, round 30C and fairly sticky. My clothes were wringing wet.
In 


The last big climb was an effort. I remember we passed a group of six middle-aged women o-henro, and flopping at a rest area with some chocolate and resisting the temptation to finish off our water — not much else. There is no photographic evidence of anything till we get to Shosan-ji which itself provides 20 minutes worth of false dawns. You hit the
made road and think you’re there. Then the distance signage goes a bit weird. Another kilometre just drops in from thin air. It looks domestic when you get to the wonderful entree of a fenced path with scores of stone lanterns and start being entertained by a dozen or so huge bosatsu, but there’s still quite bit to go.
T

It looked easy. We found bits of the road and were supposed to find short tracks to cut across the huge hairpins. Some we found and some we didn’t, ending up in a sort of shadow game with a young pilgrim both of us assuming the other knew where they were going. I was holding our map ostentatiously, but like all maps at this time of day we were about a kilometre behind where I thought we were. We stopped the shadow game, had a yarn, told him where we wanted to go and he zipped off at speed. (He hadn’t done the climb from Number 11.) In a few minutes he was waving and pointing. He’d found our minshuku (big b&b, small guest house). Arigato, my friend wherever you are. Arigato.
I would do none of those things usually, and our hosts were extremely gracious and forgiving, cooking us a terrific meal. However two middle-aged, gimlet-eyed female guests were monitoring our every move to see what infamy we (Myrna was in this too. She washed her clothes in a hand basin and wanted to leave them to drip on the tatami!) would commit next, and the intake of breath when I staggered off the verandah in my indoor shoes was like the hissing of a snake.
I watched the kids going to school and examined a remarkable sport-proof fence 15m high that surrounded the playing field with an ingenious system of stiffening by cables with zig-zag buttressing. And with the gracious assistance of a stonemason’s products, I studied up the day.
We got off at Number 13 Dainichi-ji, The Temple of the Supreme Buddha Dainichi. It had lots to interest us and lots of 0-henro action for mid morning. Its accessibility on a main road may have been a factor, but it also has this rather striking statue of the bosatsu Kannon, the goddess of mercy, enclosed in prayerful hands. Several pilgrims took our photo; it must have been a slow day shutter-wise.
Over the road was the Ichinomiya Jinja, a major Shinto shrine with big horses and a large stone construction which suggested Shinto’s animist roots. In addition in this photo you can almost see the entrance to the Ichinomiya Castle ruins, to the path up to them anyway.
The track would take us through the those paddies, across the bridge, through the intersection of the two green hills in the mid ground and eventually to Tokushima in the far distance. Several temples were bedded in the back of the hill on the left. It all looks so easy.


is on or near archaeological remains of the original and just as the guide book says, it exudes age and atmosphere.
A great deal of the imagery and statuary we saw was concerned with the protection of the health and welfare of children. Placing a bib on the infant is a worshipful act reflecting a specific or general request for care or intervention. 




I thought about it. Even as souvenirs, but of what? Wouldn’t it just be a version of fancy dress? Most unsuitable for what the vast majority of pilgrims treat as a most serious undertaking. As it happens I was so discombobulated I didn’t even buy a guide book which, despite having our inch-thick wad of paper from Oku to protect us, would have been a good idea. One dominant thought was that anything we didn’t eat we’d have to carry.

which connect Honshu, an intermediate island called Awaji, and Shikoku, and got off where we were told to, Naruto Nishi bus stop, and sort of looked around. That first moment … I don’t care who you are, you’re just not with it.
We found the stone steps as required and shot up them, well past the metal gate (as specified) which would take us through the German Forest, a war memorial that you mightn’t have imagined being there. A couple of turns to find a main road and walk along it for 420m. (
noticing the little red and white pilgrims which so helpfully marked the way. Motion; and this track of course was easy. If you couldn’t get from Temple One to Temples Two and Three you simply wouldn’t be trying.
As so often, the temple complex was embedded in a very pleasant garden full of enticing mysteries. I never unravelled most of these, but you could begin developing your own constructions of it all.
For example, at left are bussokuseki, forms of very ancient Buddhist icons from a period when icons of the Buddha were forbidden. (‘Thou shalt have no graven images.’ There is obviously an urge to make the ineffable visible and concrete which has a huge impact on the practice of any religion. Humans are easily distractible.) 
Born in 774AD a kilometre from the temple where we stayed on this first night, he is the founder of Shingon (True Word) Buddhism. His own enlightenment seems to have been derived, initially at least, from long periods spent in isolated mountain retreats chanting sutras. An exceptional student, he gained the trust of his Emperor and was included in a state mission to China, Xi’an in fact which is a long way from Tokushima City. The story goes that he completed a prodigious feat of learning there, memorising in 3 months what usually took 30 years, and came back to Japan to spread Esoteric Buddhism. Esoteric: abstruse, obscure, arcane, rarefied, recondite, abstract, difficult, perplexing, enigmatic, inscrutable. Why would you be spreading this? What sort of rod have you made for your own back? Other perspectives suggest that Shingon introduced or enhanced ritual (especially the use of mantras) in a religion that had focused on good works and personal action.


But where exactly? You are in the middle of a series of paddy fields after a long day and there appears little option but to place your fate in the hands of the almighty. However, the only other guy on the bus got off with us and while he hadn’t gone the full 
Q. on the internet: ‘Do Buddhists Worship Idols? A. Buddhists sometimes pay respect to images of the Buddha, not in worship, nor to ask for favours. A statue of the Buddha with hands rested gently in its lap and a compassionate smile reminds us to strive to develop peace and love within ourselves. Bowing to the statue is an expression of gratitude for the teaching.’


This is Goro. His background is misty but he certainly spent some time in America with a group of Navaho. Native American is the defining influence of his product. Social media thinks he may be dead and may not really be producing the silverware being sold. His story is embellished in print. 





But the art. That’s what we were there for.
I listened to the girl, one of the several, underground, tell us that and thought she’s had to say that three hundred times today and that’s her only job. That suggests I didn’t have my mind on the job. I also thought how did they get that rock in here? They must have built around it. And that’s when I thought the art here is embalmed in concrete 40cms thick. You can’t change it. Lee Ufan Museum is only going to be changed by a calamity of immense proportions.















remarkable encounter on the top of Mt Daimonji. She arrived with a flourish and began by offering us honey lollies to keep us going after our big climb. Then told us she had walked from Inari, about 30 km away with some big hills between here and there, among other things picking up rubbish that people had left behind. ‘There hasn’t been much.’ She was on her way to Ginkaku-ji (the ‘Silver Temple’) still a few km away down a very steep hill. Then she revealed she had been in Brisbane the day before and that she was an air hostess. Then she told us a lot of other things about living a healthy and somewhat forceful life. Then we spent quite lot of time trying to take good photos of each other and failing. She wanted Kyoto in the background but the position of the sun rendered this unlikely. 









Local fans of Yanaka would probably prefer this photo, with an emphasis on narrow windy lanes, bikes, flowerpots — and street art.


the suburbs (Ogibashi, eastern Tokyo)…
or
Vertical accents, signage running amok, power lines: they’re not beautiful.
Kyoto renowned for its elegance and beauty has streets everywhere much like this off its grand boulevards. (Nishikikoji Dori, 30 metres off Karasuma.) But in this case Myrna is about to head into the Tiger Gyoza Hall, to enjoy one of the great feeds Japan has to offer and these are two of the geniuses responsible.

You’re as likely to find rice paddies in the middle of a country town as on the outskirts. In fact it might be very hard to define the outskirts. (Newly planted rice in a wind, eastern Shikoku.) Incidentally, note the banks of solar power panels. In the east of the island they were on every spare metre of land. More than 35 percent of the power supply on Shikoku comes from renewable sources.
This is a generalisation. The mountain areas have their very small towns, but for such a densely populated country, not so many of them. Roppongi is not the only place there are hills in Tokyo. There is some outlying development in other urban areas, and as we will see there are temples on top of mountains. But from here — the top of Mt Daimonji, including Kyoto to the right, Inari and Nara over to the left, Osaka ahead and, pace the photo, it was a hot but clear day and we could see almost to the coast, perhaps 90km — nothing but houses all the way except where there was a hill or a ridge or an outcrop. In other countries such elevated locations would be much sought after. Film stars don’t live in the San Fernando Valley; they live in the Hollywood Hills. And it was from Okochi Sanso, a former film star’s house and garden that we viewed the same phenomenon from the other side of the Kyoto basin. He was up the hill, but no one else was.






