Mobile Fashion


Xavel is the company behind the Tokyo Girls Collection fashion show and mobile/PC sites for electronic shopping that showcase some of Japan’s biggest brands _ fashion houses puzzling to anyone other than young Japanese women with names like Deicy, Titty, Cecil McBee, Spiral Girl.
The shows, which attract thousands of people, work more like catalog shopping.
The people can order clothes right then and there as the models prance on the runway before their eyes.
It’s a great business idea.
And these women are certainly having fun.
Whether their energy and goodwill can be channeled into something other than just-looking-good remains to be seen.

Little Yellow Slut "live" version

Poetry reading at What the Dickens in Tokyo Sunday April 6.
Little Yellow Slut (previous studio version)

Poetry by Yuri Kageyama.
Music composition/arrangement, djembe, percussions by Teruyuki Kawabata (Cigarette She Was).
Kplango by Haruna Shimizu.
Didgeridoo by Keiji Kubo.

Little YELLOW Slut

You know her:
That Little YELLOW Slut, proudly gleefully
YELLOW-ly hanging on Big Master’s arm,
War bride, geisha,
GI’s home away from home,
Whore for last samurai,
Hula dancer with seaweed hair,
Yoko Ohno,
Akihabara cafe maid,
Hi-Hi Puffy Ami/Yumi,
Kawaiiii like keitai,
Back-up dancer for Gwen Stefani,
Your real-life Second Life avatar
Eager to deliver your freakiest fetish fantasies,
Disco queen, skirt up the crotch,
Fish-net stockings, bow-legged, anorexic, raisin nipples, tip-
Toeing Roppongi on
Stiletto heels.

Yessu, i spikku ingrishhu, i raikku gaijeeen, they kiss you,
hold your hand, open doors for me,
open legs for you, giggling pidgin, covering mouth,
so happy to be
Little YELLOW Slut.

Everybody’s seen her:
That Little YELLOW Slut, waiting at
Home, cooking rice, the Japanese
Condoleezza Rice,
Smelling of sushi,
Breath and vagina,
Fish and vinegar,
Fermented rice,
Honored to be
Cleaning lady,
Flight attendant for Singapore Airlines,
Nurse maid, gardener,
Japan-expert’s wife,
Mochi manga face,
Yodeling minyo,
Growling enka,
Sex toy, slant-eyes closed, licking, tasting, swallowing STD semen,
Every drop.

Yessu, i wanna baby who looohkuh gaijeen, double-fold eye, translucent skin, international school PTA,
maybe grow up to be fashion model, even joshi-ana,
not-not-not happy to be
Little YELLOW Slut.

I recognize her:
That Little YELLOW Slut, rejecting
Japanese, rejected by Japanese,
Ashamed,
Empty inside,
They all look alike,
Faceless, hoping to forget, escape
To America,
Slant-eyed clitoris,
Adopted orphan,
Dream come true for pedophiles,
Serving sake, pouring tea, spilling honey,
Naturalized citizen,
Buying Gucci,
Docile doll,
Rag-doll, Miss Universe, manic harakiri depressive, rape victim, she is
You, she is me.

Hai, hai, eigo wakarimasen, worship Big Master for mind, matter, muscle, money, body size correlates to penis size,
waiting to be sexually harassed, so sorry, so many,
so sad to be
Little YELLOW Slut.

Ikiru

Poetry 2 entry reworked:

When you cut your finger against the end of a piece of paper, and it hurts and the blood spurts out, you remember blood, lots of it, curdling red ink with a sweaty smell, is rushing around your body, all of it, brain, eyeballs, cell tissue, spine, toes, your heart is pumping like quivering red rubber and your lungs are going in and out, in and out.
When you stop to think about it, you want to scream and you almost forget how to breathe.
People who believe in Reincarnation say it would be a waste of lives to have so many people alive and then die and so god must recycle all those lives.
It is nothing short of a miracle we continue to live everyday despite all the deaths everyday. And each one of us is dying gradually everyday.
But for the most part, we don’t get shot, we don’t get run over, we don’t crash, we don’t get a deadly disease, we don’t get stabbed, beaten to death, crushed in an earthquake, commit suicide, and we live live live live.
And each day adds to the next day and pretty soon we are old but still we live and we don’t think about the blood circulating or the each and every breath we take or the fact that we have averted death for the moment.
We are alive.
But we could at any moment take a long silver needle and poke it in our eye, blinding ourselves in blinding rage.
We could jump into the wind from the station platform as the train glides in with a rattle, although the mirror is there to remind us how ghostly we look and make us think again how foolish this act is that we are contemplating to die this moment instead of the next moment when we do get shot or get cancer or our hearts stop or our lungs fail.
My mother is dying of pancreas cancer, and I can finally smell death, that unmistakable stench that sticks inside your nostrils for hours, maybe even a day, trailing you from the hospice room.
She has lost so much weight she looks like a bird, her nose pointed like a beak in a mummified face.
She lies curled up in the bed, her arms clasped into herself, a scrawny embryonic chick in a nest, and her beady eyes are expressionless, unmoving, staring into your eyes, and she won’t close them because she knows you are her daughter and these may be the last moments, and she needs to look, but you just want her to close her eyes so you can leave and forget.
She couldn’t even speak then.
When she could still move, when she was at the hospital, not the hospice, where patients are getting treatment to live, she was just a burden on the nurses and they want her to move to a hospice, she would grow delirious on pain-killers and start walking around the hallways naked, announcing: She must leave now because Otoosama _ her husband, my father _ has arrived to get her.
My father is dead.
Before that, when she was still undergoing tests, and she had always instructed us she never wanted to know it, if she ever got cancer, and so we couldn’t tell her, she says to me: “I wasn’t a very good mother, was I?”
This is a very important conversation.
But I brush it off. I don’t want to talk about this, do I? because then wouldn’t we be talking about her death?
“I watch you and your sister, how the both of you think about and interact with your children,” she says. “And I realize I wasn’t a good parent. I know this watching the both of you as parents.”
She goes on, matter of fact, her father, was a big believer in education and sent all his children, even the daughters, unusual for those times in Japan, to urban schools.
My mother was second from the youngest so she was barely in elementary school when she was sent to live away from home with her sisters and brothers to go to good schools.
And so she grew up never knowing the intimacy of a relationship between a mother and child.
She doesn’t have to apologize. And I should reach out and hug her, but all I remember is how she never stopped him, her husband, my father, when he beat me, how I had to cower, never apologizing, and all she did was sit quietly and pray and be patient and believe the anger will pass like a typhoon, leaving behind just tiny purple bruise marks on sallow skin, as sanity returns to the Ph. D. in engineering, professor, salaryman, head of the household, and all would be well.
He needs a break from work, it is stressful, he needs to go the family beach villa.
She has already made arrangement, and I must go with him, the ever faithful daughter, because he can’t go alone.
“It can’t be me. It must be you,” she says, as though this is decided, ironing the white shirts and folding them on top of each other on the tatami mat.
She doesn’t tell me until years later. She worried about me every day, praying he wasn’t beating me.
He didn’t beat me. We took turns rowing a wooden boat. We went fishing til our fingers smelled like worms. We lowered cages into the water with fish heads, and drew them up to find crabs entangled with each other.
But I can’t forgive, not just yet, though no one has to apologize.
I call my sister on the train back from the hospital.
“She is going to die,” I say, breathless, more from excitement than from sadness. She is dying but she is realizing and she is changing.
What she is saying is so profound she had to be dying. Really dying.
It should have been like the movies.
I should have forgiven her, a moment of reconciliation before the moment of death.
You are a good mother.
Remember all the Ryunosuke Akutagawa stories you read to me in the kitchen, but you told me the stories I wrote, secretly, in big block letters in a worn out notebook were petty and would never amount to anything?
Remember how you wanted to go back to school for your Master’s degree, but you had to cook and clean and you gave up?
Remember how you won awards with those elaborate sumi calligraphy on rice paper, painting ancient words no one could read?
Remember how you sat naked in the bath tub, thinking your solitary thoughts, and you hated your husband, my father, because he bought you the wrong-size ring in an overseas business trip?
Today, you taught me how people keep evolving til the last moment of life.
No, you are not a bad mother at all.
This is the best gift you have given me.
I have learned the lesson of death although I still can’t understand how we manage to keep living day by day, lungs breathing and heart beating and you feel so faraway and I can’t remember barely anything else about you.

Poetry at What the Dickens

The first Sunday of every month is poetry night at What the Dickens in Ebisu 4 p.m. – 7 p.m.
We plan to read “Little Yellow Slut,” a reworked/improved version Sunday April 6.

Mieko Kawakami

Akutagawa Award winning writer Mieko Kawakami wrote about my interviewing her in her blog March 20.
And so I am writing about interviewing her in my blog.
My article about her talks about how her blog got her discovered as a writer.
Her work is cleverly crafted, and her Osaka dialect gives her a distinct voice that is poetic and dense.
Her next book is going to take a male character, quite a break from her “The Breast and the Egg,” which focuses on the relationships and internal dilemmas of women.
The young man is cockeyed, defining the sometimes dubious relationship he has with the world around him.
People he encounters are never sure where he is looking, no matter that, to him, he is looking them right in the eye.
Kawakami used to be cockeyed as a child and had that surgically corrected.
Kawakami got married recently with a music producer.
But she isn’t much interested in and probably won’t be having children because birth control is so fool-proof lately.
She even questions the meaning of sex when reproduction isn’t even a practical possibility.
She may write about eroticism and sexual relations in the future, but not now, she said.

Poetry 2

When you cut your finger against the end of a piece of paper, and it hurts and the blood spurts out, you remember blood, lots of it, curdling red ink with a sweaty smell, is rushing around your body, all of it, brain, eyeballs, cell tissue, spine, toes, your heart is pumping like quivering red rubber and your lungs are going in and out, in and out.
When you stop to think about it, you want to scream and you almost forget how to breathe.
People who believe in Reincarnation say it would be a waste of lives to have so many people alive and then die and so god must recycle all those lives.
It is nothing short of a miracle we continue to live everyday despite all the deaths everyday. And each one of us is dying gradually everyday.
But for the most part, we don’t get shot, we don’t get run over, we don’t crash, we don’t get a deadly disease, we don’t get stabbed, beaten to death, crushed in an earthquake, commit suicide, and we live live live live.
And each day adds to the next day and pretty soon we are old but still we live and we don’t think about the blood circulating or the each and every breath we take or the fact that we have averted death for the moment.
We are alive.
But we could at any moment take a long silver needle and poke it in our eye, blinding ourselves in blinding rage.
We could jump into the wind from the station platform as the train glides in with a rattle, although the mirror is there to remind us how ghostly we look and make us think again how foolish this act is that we are contemplating to die this moment instead of the next moment when we do get shot or get cancer or our hearts stop or our lungs fail.
When my mother was dying of pancreas cancer, I finally could smell death, that unmistakable smell that stays inside your nostrils for hours, maybe even a day, after you left her hospice room.
She lost so much weight she looked like a bird, her nose pointed like a beak in a mummified face.
She was curled up in the bed, her arms clasped into herself like a scrawny embryonic bird, and her beady eyes were expressionless, unmoving, staring into your eyes, and she wouldn’t close them as though she seemed to know you were her daughter and these were the final moments, and you just wanted her to close them so you could leave that room and forget.
She couldn’t even speak then.
When she could still move, when she was at the hospital, where other patients were getting treatment but she was just a burden on the nurses and they wanted her to move to the hospice, she would grow delirious on pain-killers and start walking around the hallways naked, announcing she had to leave now because Otoosama _ her husband, my father _ had come to get her.
He was dead.
Before that, when she was still undergoing tests, and she had always instructed us that she never wanted to know it, if she ever got cancer, and so we couldn’t tell her, she said to me: “I wasn’t a very good mother, was I?”
This was a very important conversation. But I brush it off. I didn’t want to talk about this, did I? because then wouldn’t we be talking about her death?
“I watch you and June, how you think about and interact with your children,” she said. June is my sister. “And I realize I wasn’t a good parent. I know this watching how the both of you are as parents.”
She went on matter of fact to explain that it was because of her childhood. My grandfather, her father, was a big believer in education and sent all his children, even the daughters, unusual for those times in Japan, to urban schools. My mother was second from the youngest so she was barely in elementary school when she got sent to live away from home with her older sisters and brothers to go to good schools. She grew up not knowing the intimacy of a relationship between a mother and her children, she said.
She didn’t have to apologize, but she showed she changed and came to a realization, although maybe a sad one, in the last few days of her life.
I called my sister up on the train back from the hospital. “June, she is going to die,” I said, breathless more from excitement than from sadness. She is dying but she is evolving. This was a fantastic discovery for me. But what she was saying was so profound she had to be dying. Really dying. I wish I could be more like the characters in the movies and have responded appropriately to what should have been a cathartic moment. I should have hugged her, a moment of reconciliation before the moment of death. You are so wonderful for teaching me how people keep evolving til the last moment of life.
No, you are not a bad parent at all. This is the best gift you have given me as a parent. I have learned the lesson of death although I still can’t understand how we manage to keep living day by day, lungs breathing and heart beating and you feel so faraway and I can’t remember barely anything else about you.

Loving Younger Men

Loving Younger Men

Only the bodies of young men aroused her;
the pure innocence in their wide dark eyes,
the wild still animal strength in their muscles,
the smoothness of their skin, so shiny, stretched
out over their boy-like shoulders, flat stomachs,
abdominals rippling gently, their thick thighs
that could thrust forever into the night, their
soft moist lips, where their tonges, so delicious,
dwelt, which darted against, into her vagina,
making her moan with joy, forgetting everything,
which felt so strong against her own tongue at one
moment, yet another, seemed to melt like caramel
in the back of her throat,
their dry fingers, that touched her in the most
unexpected and expecting spots,
their penises, half-covered by their black curls,
seemed smaller, less developed, less threatening,
yet as their shoulders strangely widened
when they held her, their penises filled her,
pointed against her deepest uterine insides,
hurting her with a pleasurable pain, as though
she could sense with her hand, their movements
from outside her belly. Her father beat her as a girl.
She ran from him, crying, please don’t hit me! please
don’t hit me! No, rather she stood defiant, silent,
silent tears drunk down her chest, till he, in anger
or fear,
slapped her again and again, once so hard she was
swung across the room, once on her left ear so
that she could not hear for three weeks. She
frequented bars, searching for young men who desired
her. She sat alone drinking. She preferred
the pretty effeminate types _ perfectly featured,
a Michelangelo creation, island faces with coral eyes,
faces of unknown tribal child-princes. To escape
her family, she eloped at sixteen, with an alchoholic.
who tortured her every night, binding her with ropes,
sticking his penis into her mouth until she choked,
hitting her face into bruises, kicking her in
the stomach, aborting her child, his child.
The young boys’ heads, she would hold, after orgasm,
rocking them in her arms. She would kiss the side of their
tanned necks, breathe in the ocean scent of their hair,
lick their ear lobes and inside their ears. When they
fell asleep, sprawled like a puppy upon her sheets,
their mouths open, she would lie awake watching,
watching, watching, admiring their bodies, how so
aesthetically formed, balanced, textured. What
she enjoyed the most was their fondling her breasts,
suckling, massaging the flesh, flicking the tongue
against the nipple, biting, sucking till her nipples
were red-hot for days. She could come just by this,
without penetration.
When she is alone, she cries. In the dark, she reaches
upwards, into the air, grabbing nothing.

Little Yellow Slut (with music)

Yuri Kageyama (poetry)
Teruyuki Kawabata (bongo, djembe, percussion)
Haruna Shimizu (kpanlogo drums, percussion)
Keiji Kubo (didgeridoo)

Recorded in Tokyo Feb. 16, 2008

A performance of poetry and music by the Tokyo Flower Children.

Little YELLOW Slut

You know her:
That Little YELLOW Slut, proudly gleefully
YELLOW-ly hanging on Big Master’s arm,
War bride, geisha,
GI’s home away from home,
Whore for last samurai,
Hula dancer with seaweed hair,
Yoko Ohno,
Akihabara cafe maid,
Hi-Hi Puffy Ami/Yumi,
Kawaiiii like keitai,
Back-up dancer for Gwen Stefani,
Your real-life Second Life avatar
Eager to deliver your freakiest fetish fantasies,
Disco queen, skirt up the crotch,
Fish-net stockings, bow-legged, anorexic, raisin nipples, tip-
Toeing Roppongi on
Stiletto heels.

Yessu, i spikku ingrishhu, i raikku gaijeeen, they kiss you,
hold your hand, open doors for me,
open legs for you, giggling pidgin, covering mouth,
so happy to be
Little YELLOW Slut.

Everybody’s seen her:
That Little YELLOW Slut, waiting at
Home, cooking rice, the Japanese
Condoleezza Rice,
Smelling of sushi,
Breath and vagina,
Fish and vinegar,
Fermented rice,
Honored to be
Cleaning lady,
Flight attendant for Singapore Airlines,
Nurse maid, gardener,
Japan-expert’s wife,
Mochi manga face,
Yodeling minyo,
Growling enka,
Sex toy, slant-eyes closed, licking, tasting, swallowing STD semen,
Every drop.

Yessu, i wanna baby who looohkuh gaijeen, double-fold eye, translucent skin, international school PTA,
maybe grow up to be fashion model, even joshi-ana,
not-not-not happy to be
Little YELLOW Slut.

I recognize her:
That Little YELLOW Slut, rejecting
Japanese, rejected by Japanese,
Ashamed,
Empty inside,
They all look alike,
Faceless, hoping to forget, escape
To America,
Slant-eyed clitoris,
Adopted orphan,
Dream come true for pedophiles,
Serving sake, pouring tea, spilling honey,
Naturalized citizen,
Buying Gucci,
Docile doll,
Rag-doll, Miss Universe, manic harakiri depressive, rape victim, she is
You, she is me.

Hai, hai, eigo wakarimasen, worship Big Master for mind, matter, muscle, money, body size correlates to penis size,
waiting to be sexually harassed, so sorry, so many,
so sad to be
Little YELLOW Slut.

Remembering Sachiko Yoshihara

As a poet, I have always been lucky although I was too young back then to know it.
Sachiko Yoshihara, a pioneer Japanese feminist poet who founded La Mer magazine, came to one of my readings, which was at a small dark pub.
She sat so beautiful and proud at the bar.
And she shouted: “Get her a bourbon,” as soon as I finished reading one of my poems which had “Jack Daniels” in it.
“Your poetry is strong,” she told me, looking straight into my eyes. “You are strong.”
I was one of her kind, and I should never forget it or doubt it because Sachiko Yoshihara, who knows such things, having been there and done it first, is telling me that this is true.
She drank and drank at the bar, and later that night collapsed forward on to the counter, and fell asleep, all alone.
It’s too late now, but how I wish I had talked to her more, hugged her and told her how strong and beautiful she and her poetry were, and how lucky I was to be bestowed that praise from a poet like her.

Hiromi Ito in English

Mikiro Sasaki once told me that as a poet I was “Hiromi Ito in English.”
He meant it as a compliment, the way he always has, so much like a poet, to-the-point short-on-words observations.
He probably doesn’t remember having said this any more than he remembers me or my poems.
Some years back, when Ito was far less famous than she is today, though she was already a star, I translated some of her poems in English while I was still living in San Francisco.
She loved my translations and she asked for more although I ran out of time and never followed through with what could have been a very interesting collaboration.
My poem is in one poetry anthology Ito is in:
“other side river,” California: Stone Bridge Press, 1995.
I also had an opportunity to chat with Ito at a cofee shop when I came to live in Japan.
She told me that her menstrual periods would begin right before or during her poetry readings even though she wasn’t due for that cycle.
Then she said, “Yuri-san you’re the first person I’ve told this to who didn’t act surprised.”
Well, I just thought it made perfect sense.
Poetry is so erotic, hormones, lightning nerve shots, thought/speech going haywire, your uterus would want to bleed out of cycle, naturally.
She also told me she was afraid of Shuntaro Tanikawa’s eyes _ they have that flicker from inside of someone who is trying to take, she said, visibly shivering.
Like all artists, Tanikawa is the kind of person who never stops being curious, and perhaps that energetic ego-centric desire was what repulsed Ito.
Ito also talked about how she couldn’t eat properly when she loved a man.
Food/sex/womanhood/reproduction/desire/ are all wrapped in one.
It is true, when you stop to think about it, eating, having sex, living day by day make utterly no sense and are rather grotesque and terrible.
When you stop too long to think about it, like after you come off an illness, it takes such an extra conscious effort to carry out the act of eating _ lift the fork, stab the mush, cut, carry to mouth, open mouth, close, open/close, open/close, swallow.
And imagining what’s happening to the food once it hits your blood-curdling feces-filled organs is nothing but a childhood nightmare.