Author: Kitsune

  • The Timing of Truth: On Books That Wait for Us

    りかい =てきすと + きず

    understanding = text + scars


    It is raining in Basel today. A cold, January rain that taps against the window with the persistence of a memory you can’t quite place. I am listening to a Bill Evans record, the piano notes sounding like water dropping into a deep well.

    There is a quiet list that keeps rearranging itself in the back of my head.

    Some books sit there patiently. They are not gathering dust; they are gathering time. I am not avoiding them. I am simply waiting. I know they are timing sensitive.

    You do not just read these books. You arrive at them.

    They sit on the shelf, watching you, waiting until your life has accumulated enough raw material—enough failure, enough grief, enough sudden joy—to recognize what they are actually saying.

    The Patterns Underneath

    Next on the list is Shakespeare.

    When we are young, we read him for the plot. We memorize the couplets because a teacher tells us they are cultural currency. We treat the plays like crossword puzzles to be solved for a grade.

    But I am not going back for the plot. I am going back for the patterns.

    I realized recently that the plays are not stories. They are blueprints of the human nervous system.

    Macbeth is not about witches or Scotland. It is about the specific, corrosive texture of Ambition—how you can get everything you want and still feel like you are starving.

    Othello is not about a lost handkerchief. It is about the terrifying geometry of Jealousy—how the mind can construct a complete, logical nightmare out of absolutely nothing.

    King Lear is not about a map. It is about the humiliation of Aging and the desperate need to be loved when you no longer have power.

    These things sound academic when you are twenty. They feel painfully specific once you have lived a little.

    The Reader is the Variable

    There are books I have technically read before but did not really meet. I passed through their pages without friction because I had not yet earned the questions they answer.

    It is a strange phenomenon. The text on the page has not changed. The ink is the same. The order of the words is identical to how it was in high school.

    But the reader has changed.

    To read the classics properly, you need to bring your own Data. You need to bring your own regrets, your own 3:00 a.m. anxieties, your own unfinished business. The book is just a developer solution; your life is the exposed film. You need both to see the picture.

    Recognition, Not Information

    The books I want to read now are not about adding information. I am drowning in information. My phone is a firehose of new data.

    I want to read for Recognition.

    I want to read a line and stop, putting the book down on my lap, and think: Oh. That is what that feeling was.

    When that happens, the loneliness of the feeling evaporates. You realize that someone else, four hundred years ago, writing by the light of a tallow candle, felt the exact same vibration in their chest.

    So, I will return to the plays. Not to be smart. Not to write an essay.

    I will read them slowly, letting the rain hit the window, letting the jazz play. I will read them less eager to extract meaning, and more willing to let it emerge.

    I am finally ready to listen, because I finally have something to say back.

  • The Department of Lost Clarity: A Job Description for the Invisible

    しごと} =しんじつ/そうおん

    work = truth / noise


    It was 4:15 p.m. on a rainy Tuesday. The light in the room was beginning to thin out, turning that peculiar shade of violet that signals the end of the working day but not yet the beginning of the night.

    Outside, the city was rushing. Commuters were checking watches. Slack notifications were pinging like frantic birds trapped in glass jars. The air was thick with the electricity of “urgent” things that would not matter in a week.

    I was sitting in silence, looking at a blank sheet of paper, and I realized that my dream job—the true shape of the work I want to do—would look terrible on a CV.

    If you wrote it down, it would seem vague. Unambitious. Perhaps even lazy to the untrained eye. It would not have a title like “Director of Strategic Growth” or “VP of Optimization.” It would not come with a corner office or a plaque.

    But in the quiet of the room, listening to the rain hit the window, I knew exactly what the job description was.

    1. The Pattern Hunter (Scope of Work)

    In this role, there is no roadmap handed down from headquarters. There is no quarterly target to hit. There is only a compass, and the needle of that compass is Curiosity.

    My responsibility would not be to produce. It would be to notice.

    I would spend my days as a “Pattern Hunter,” walking through the dense forest of information that surrounds us.

    • The Observation: Seeing the small things that others ignore because they are too busy sprinting.
    • The Connection: Taking two ideas that do not obviously belong together—like biology and architecture, or 1950s jazz and software code—and finding the invisible thread that binds them.
    • The Translation: Taking the complex, the noisy, and the overwhelming, and distilling it into something calm.

    The goal isn’t to add more noise to the world. We have enough noise. The goal is to act as a human filter. To be a signal-processor in a world of static.

    2. The Currency of Trust (Compensation Package)

    In the corporate world, the currency is Visibility. You trade your time for the appearance of being busy. You answer emails instantly to prove you exist.

    But in this quiet role, the real currency is Trust.

    • Autonomy: The freedom to follow a hunch that feels meaningful, even if I can’t explain why yet.
    • Responsibility: The weight of knowing that the work matters, not because it drives revenue, but because it helps someone else see.
    • Deep Time: The luxury of thinking a thought all the way to the end without being interrupted by a “sync.”

    There are no artificial deadlines here. Urgency is a drug that we have all become addicted to, but urgency kills depth. In this work, there are long stretches of silence, broken up only by honest conversation. Not “meetings.” Not “alignments.” But conversations where truth is the only agenda item.

    3. The Metric of Lightness (Performance Review)

    How do you measure success in a job that doesn’t exist on paper?

    You cannot measure it in KPIs (Key Performance Indicators). You measure it in Entropy Reduction.

    In physics, entropy is the tendency for systems to move toward disorder and chaos. My job is to fight entropy.

    • Did I make a complex problem solvable?
    • Did I take a heavy concept and make it light?
    • Did I hand the world back to someone in a slightly better condition than I found it?

    In this role, I am not trying to “win.” The world is full of people playing zero-sum games, trying to dominate a market or a debate.

    I would be trying to be precise.

    To clean the window so that others can see the view. To untie the knot so the rope can be used again. To leave the room quieter than I found it.

    4. The Invisible Technician

    The violet light faded into grey. The room was almost dark now.

    I realized that this is the job I would keep showing up for, even if no one was watching. Even if there was no paycheck. Even if there was no applause.

    It is the job of the Invisible Technician. The one who oils the gears of human understanding.

    We are taught to chase careers that scream for attention. We want the legacy. We want the statue in the park. But there is a profound, quiet dignity in being the person who simply makes things make sense.

    To live a life where usefulness is the byproduct of curiosity.

    To work in a way where your nervous system is not at war with your calendar.

    To be trusted enough to just… think.

    That is not just a job. That is a way of being. And perhaps, if we are quiet enough, we can hire ourselves.

  • The Unedited Hour: On the Luxury of Idling

    くつろぎ = ありのまま

    relaxation = as you are


    It happened on a stretch of time that did not announce itself as important.

    There was no dramatic music swelling. No cinematic lighting changes. It was 3:15 p.m. on a Tuesday, a day that was unfolding the way days do when they are not trying to impress you. The sky was the color of a faded denim shirt, and the air held a stillness that felt suspended, like a breath held underwater.

    I was moving slow. Maybe I was a little tired, maybe a little lost. But it was the good kind of lost—the kind where you aren’t panicking about the map, but simply watching the scenery change. The world felt wide but quiet, like a highway early in the morning before the heavy trucks wake up.

    I was sitting in a chair that had seen better days, my hands wrapped around a cup of coffee that had gone slightly lukewarm. I wasn’t thinking about the future. I wasn’t trying to fix the past. No mental spreadsheets were running in the background. No inner committee was arguing about my five-year plan.

    For once, the mind had simply clocked out early.

    And that is when the realization hit me. It didn’t hit me like a lightning bolt; it hit me like a change in temperature.

    1. The Absence of the Negotiator

    No one was trying to improve me.

    In that specific moment, in that specific room, no one needed me to be sharper, faster, or more interesting. There was no subtle negotiation hanging in the air. I wasn’t being evaluated. I wasn’t being “tolerated” until a better, more successful, more charismatic version of myself arrived to take over the shift.

    I was already enough. I was already welcome.

    We spend so much of our lives in Performance Mode. We are constantly editing our thoughts before we speak, optimizing our posture, curating our personalities to be “high value.” We treat our own souls like software that constantly needs patching.

    But this felt different. It felt like being allowed to idle.

    2. The Mechanics of the Sigh

    There is a kind of love—whether it comes from a partner, an old friend, or just the benevolent indifference of the universe—that does not grab you by the shoulders and declare itself. It just stays. It sits in the corner and reads a book while you exist.

    It lets you unfold at your own speed. It is like a long road where the car stops rattling because you finally hit the exact right harmonic frequency. Not slow. Not fast. Just smooth.

    I noticed the shift in my body before I noticed it in my mind.

    • The Shoulders: They dropped two inches, as if invisible weights had been cut loose.
    • The Breath: It deepened, moving from the shallow anxiety of the chest down into the belly.
    • The Sprint: The thoughts stopped running.

    The nervous system is an old, overworked middle manager. It is always looking for threats. But in this silence, the manager finally looked around, saw the empty room, and decided to take a nap.

    3. The Architecture of Accidents

    Looking back, it is funny how unplanned it all was.

    If you tried to design this moment, you would have failed. If you tried to “optimize” this connection, you would have killed it.

    It was a mosaic of small accidents. A wrong turn. A cancelled meeting. A silence that lasted too long but didn’t feel awkward. It was a series of low-probability failures that somehow stacked into a high-probability peace.

    The Insight: You think you are chasing connection, or success, or excitement. But what you are really chasing is permission to be unedited.

    You are looking for a space where you don’t have to delete the typo. Where you don’t have to filter the thought. Where you can just be the raw data of a human being.

    4. The Quiet Lane

    When that permission finally shows up, it doesn’t feel like a dopamine rush. It doesn’t feel loud or intoxicating.

    It feels steady. It feels like serotonin. It feels almost obvious, like walking into your childhood home and realizing you know exactly where the light switch is in the dark.

    Ideas started to line up without being forced. Silence stopped feeling empty and started feeling generous. I realized that the best conversations are not always spoken, and that being understood does not require a PowerPoint presentation.

    A quiet smile crept onto my face. Not because everything was perfect—my life was still a mess in three different ways—but because nothing needed fixing right now.

    I was in the right lane, cruising. No sudden moves. The road kept unfolding, and for once, I trusted it would.

    That is how I knew I was safe.

    Not because I was told.

    Not because it was promised.

    But because for a moment, the world stopped asking me to earn my place in it.

  • The Mosaic of Lost Miles: A Treatise on the impossibility of the “Best”

    たび + ふらぐめんと = わたし

    travel + fragments = me


    Part 1: The Question in the Dark

    It was 2:14 a.m. on a Tuesday. The city outside was asleep, breathing deeply in the dark like a giant, dormant animal. I was sitting at my kitchen table, peeling an orange. The smell of citrus was sharp and bright, a sudden burst of yellow in a room filled with blue shadows.

    A friend had asked me earlier that day, over a cup of lukewarm coffee: “What was your best road trip?”

    I hadn’t answered him then. I just nodded and watched the steam rise from my cup. But the question had followed me home. It sat in the corner of the room, waiting.

    As I peeled the orange, watching the skin curl away in a long, continuous ribbon, I realized why I couldn’t answer. To pick one trip would be a lie. It would be like trying to describe the ocean by holding up a cup of water.

    There is no “perfect” trip. There are only fragments.

    I closed my eyes. The kitchen dissolved. In the theater of my mind, I saw three ghosts sitting in the backseat of a car that doesn’t exist anymore. They weren’t people I knew, but archetypes—voices that represented the three fundamental truths of the road.

    They began to speak, one by one.

    Part 2: The Mechanic in the Rain (The Process)

    The first ghost speaks to me from a memory of a coastal highway in November. The sky is the color of bruised iron. It is raining so hard that the world has been reduced to a gray blur. The windshield wipers are keeping time to a Coltrane track—A Love Supreme—slapping back and forth, a hypnotic metronome.

    This ghost is the Mechanic. He wears grease-stained coveralls and smells of wet asphalt. He tells me that the destination is a myth.

    “You think you are driving to get somewhere,” he says, looking out at the storm. “But that is a delusion. The road is not a line connecting two points. It is a machine that rewires you.”

    He explains that true travel is about Micro-Adaptation.

    • The Constant Shift: The road is never straight. The wind pushes the car. The surface changes from smooth tarmac to gravel. Your hands on the wheel are making thousands of tiny adjustments every minute.
    • The Rewiring: This physical act bleeds into the mental. The coffee at the diner is burnt. The motel walls are too thin. The map is wrong. You have to adjust. You have to bend.

    “Travel works best,” the Mechanic whispers, “when you allow it to dismantle your expectations rather than confirm them. You are not a tourist; you are a subject in an experiment.”

    The memory of this trip isn’t about the ocean town we eventually reached. I don’t even remember the name of the town. I remember the trance of the drive. I remember the feeling of my mind changing shape, becoming fluid, matching the rhythm of the rain.

    Part 3: The Monk in the Desert (The Silence)

    The scene shifts. The rain stops. The air becomes dry and thin, smelling of sagebrush and ancient dust. We are in the high desert now, somewhere between Utah and Nevada.

    The second ghost appears. He is dressed in simple robes. He is the Monk.

    There is no radio playing here. There is no conversation. There is only the hum of tires on asphalt—a constant, low-frequency om.

    “You are looking for excitement,” the Monk says softly. “But that is a mistake. The best road trip is the one where you disappear.”

    He teaches me the philosophy of Leverage and Subtraction.

    • The Great Removal: True luxury is not a five-star hotel. It is having maximum leverage over your own time and attention. Fewer plans. Fewer people. Fewer obligations.
    • The Compound Interest of Silence: When you remove the noise, your thoughts have room to stretch out. A single idea can last for a hundred miles. It starts small, but by the time you cross the state line, it has compounded into a life-changing insight.

    “The memory persists,” he says, “not because it was ‘fun,’ but because you finally had enough space to think a thought all the way to the end.”

    In this fragment, I am not doing anything. I am just driving. My mind is empty of the internet, empty of status, empty of the future. The road trip wasn’t an event; it was a meditation at 70 miles per hour. I was alone, but I wasn’t lonely. I was complete.

    Part 4: The Jester with the Flat Tire (The Chaos)

    Suddenly, there is a loud bang. The car swerves. We are on the side of a dirt road, miles from nowhere, under a scorching sun. Steam is rising from the engine like a white flag of surrender.

    The third ghost is laughing. He is sitting on the guardrail, eating a terrible, plastic-wrapped sandwich from a gas station. He is the Jester.

    “You take yourself so seriously,” he says, wiping crumbs from his shirt. “You think you want a perfect plan. But you don’t. You want a good story.”

    He represents the truth of Chaos and Resilience.

    • The Stack of Failure: The flat tire. The wrong turn that added four hours to the trip. The diner that gave you food poisoning. These are low-probability failures.
    • The Alchemy: But when you stack them together, they become a high-probability memory. Reality rewards flexible goals, not rigid plans.

    “Humor,” the Jester says, kicking the flat tire, “is not just a reaction. It is a survival skill. If you can’t laugh when the radiator blows up in the middle of Death Valley, you are already dead.”

    This part of the mosaic is jagged and sharp. It hurts to touch. At the time, I was furious. I was scared. But looking back, it reflects the light the brightest. It was the moment the plot twisted.

    Part 5: The Stained Glass Window

    I finished peeling the orange. I separated the segments and ate one. It was sweet, with a distinct hint of bitterness—the taste of reality.

    I realized that asking for a “favorite trip” is like asking a stained-glass window which shard of glass is the most important.

    • You need the Rain (The Process) to wash away your rigidity.
    • You need the Desert (The Silence) to hear your own voice.
    • You need the Breakdown (The Chaos) to learn how to laugh at the absurdity of existence.

    We are the mosaic.

    We are not the people who left the driveway. We are the containers for every mile, every mistake, and every silence we collected along the way.

    The road never really ends. It just folds itself up, like a map, and waits inside us.

    I stood up and walked to the window. The city was still sleeping. Somewhere out there, a car was moving down a wet street, its wipers slapping back and forth, carrying someone toward a destination that didn’t matter, through a process that meant everything.

  • The Man Who Sold Time

    えいえん = いま x とも

    eternity = now \times friend


    It was raining again. It was that specific kind of October rain that feels less like weather and more like a moral judgment—cold, persistent, and indifferent to your lack of an umbrella.

    I was sitting in a small jazz bar in the backstreets of the city. The place was called The Blue Monk. It smelled of old wood, lemon polish, and cigarette smoke from a decade ago. A Stan Getz record was spinning on the turntable, the saxophone sounding like a cat stretching in the sunlight.

    I was thirty-five, or maybe forty. I had stopped counting. Lately, I felt heavy. Not physically—my weight hadn’t changed since college—but existentially. My memories felt like wet wool clothes I couldn’t take off.

    The door opened, and a man walked in. He looked seventy, but he moved like he was twenty. He didn’t shuffle; he glided. He sat on the stool next to me and ordered a whiskey, neat. He sat in silence for a long time, watching the ice melt in his glass, before he finally spoke.

    “You look like a man who is carrying too much furniture,” he said, not looking at me.

    “I’m sorry?” I asked, startled.

    “Your mind,” he tapped his temple lightly. “It is full of old sofas. Heavy cabinets of opinions. Dusty rugs of status. You are trying to live a long life, but you are already running out of room.”

    He told me his name was Dr. K. He wasn’t a medical doctor. He claimed to be an “Architect of Time.”

    “Everyone wants to live to be a hundred,” Dr. K said, taking a sip. “But they think of longevity as addition. They want to add years to the pile. But that is wrong. Biology doesn’t work by addition. It works by renewal.”

    He spun the glass. The amber liquid caught the low light.

    “If technology extends your life, it must also extend your beginnerhood. The danger of a long life is not that your knees fail. It is that your mind calcifies. When you stop learning, the years turn into weight. You become a statue of your former self.”

    He looked at me then, his eyes startlingly clear. “To live forever, you must be willing to die a little bit every day. You must shed your identity. You must unlearn your status. You must be willing to walk into a room and be the stupidest person there, over and over again. Can you do that? Or are you too in love with who you think you are?”

    “But surely,” I argued, trying to defend my heavy furniture, “inner peace is the goal? Being calm? Being independent?”

    “Peace is not silence,” he corrected gently. “Peace is a harmony. And you cannot harmonize alone.”

    He closed his eyes, listening to the saxophone solo. “We are not machines, my friend. We are not brains in vats floating in a nutrient fluid. We are social primates. We were made to sing. We were made to walk.”

    He leaned in closer, his voice dropping to a whisper, as if sharing a state secret.

    “Evolution made a deal with us. It gave us long lives, but only if we stayed in the tribe. When you walk side-by-side with another human—what I call ‘parallel play’—your cortisol drops. Your nervous system regulates. When you sing with others, your heart rates synchronize. It is biological magic.”

    “So, loneliness is the poison?”

    “Longevity is a team sport,” he said firmly. “A long life lived in isolation is just a long prison sentence. You can take all the cold plunges and eat all the kale in the world, but if you are not vibrating with other people, you are dying. You are just dying slowly.”

    I ordered another drink. The rain was hitting the window harder now, a rhythmic drumming against the glass. “It sounds exhausting,” I admitted. “Constantly unlearning. Constantly seeking people. How do you keep it up?”

    “That is because you are relying on willpower,” Dr. K said, pulling a napkin and a fountain pen from his coat pocket. “And willpower is a finite resource. Long life is a systems problem.”

    He drew three quick circles on the napkin.

    “If your decision-making degrades, an extended lifespan just amplifies your errors. You need a system of Radical Honesty. You need friends who love you enough to tell you when you are becoming arrogant. When you are stagnating. When you are becoming irrelevant to reality.”

    He capped the pen and slid the napkin toward me.

    “Death is not the failure condition. Irrelevance is. The moment you stop adapting to the reality of the Now, you are a ghost. You might be walking around, paying taxes, eating dinner. But you are already gone.”

    Dr. K finished his drink and stood up, smooth and fluid, like water flowing uphill.

    “I have to go,” he said. “There is a choir practice at midnight. We are terrible, but we are loud.”

    “Wait,” I said. “What is the secret? If you could put it in one sentence.”

    He paused at the door. The streetlights outside cast a long shadow behind him.

    “The goal is not to live long,” he said. “The goal is to remain adaptable, calm, and useful for as long as you are alive. Do not try to conquer death. Just try to keep the furniture moving.”

    Then he stepped out into the rain and vanished.

    I sat there for a long time. The record ended. The needle clicked softly in the groove. The silence in the bar wasn’t heavy anymore. It felt open. Spacious.

    I paid the bill and walked outside. The air was cold and wet, and for the first time in years, I didn’t open my umbrella. I just let the rain hit my face. I looked down the street and saw a group of people walking together, laughing, their breath rising in the cold air like small ghosts.

    I started walking toward them. I didn’t know who they were, but I knew I needed to learn the song.

  • A Guide to Balancing Regret, Anxiety, and the Present Moment

    かこ+ みらい = くのう

    past + future = suffering


    It was 11:42 p.m. The wine was gone. The heavy, absolute silence of the Mojave Desert had settled over us like a wool blanket.

    I was sitting in the sand, watching the embers of our campfire breathe a deep, pulsating red against the black backdrop of Joshua Tree.

    I looked at the three men sitting across from me:

    • The Strategist: Methodically arranging the unburnt logs into a perfect pyramid.
    • The Inventor: Leaning back, scanning the Milky Way with binoculars.
    • The Philosopher: Sitting cross-legged, perfectly still, staring into the flames.

    “I have a question,” I said, my voice sounding small in the vastness. “Do you spend more time thinking about the future or the past?”

    Their answers formed a perfect map of the human condition and three distinct mental models for viewing time.

    The Strategist: Using History as Data (The Past)

    The Strategist answered first. He spoke with the cadence of a mechanic diagnosing an engine.

    “I spend almost all my time in the past,” he said. “But only because it is the only way to survive the future.”

    He pointed the iron poker at a log that had just collapsed. “See that? Wood burns, structure weakens, gravity takes over. It is a mechanism.”

    The Mental Model: Cyclic History

    To the Strategist, time is not a line; it is a circle.

    • Pattern Recognition: He believes that everything happening now—financial crashes, political revolutions—has happened before.
    • Predictive Power: “If you identify the cycle in history, the future stops being a mystery and becomes a probability distribution.”
    • The Utility: He looks backward to find the engine’s blueprints. You cannot drive the car if you don’t know how it was built.

    The Inventor: Optimism as a Duty (The Future)

    The Inventor lowered his binoculars. He smiled, shaking his head.

    “I have to disagree,” he said. “The past is dead data. I live in the future.”

    He gestured expansively at the darkness above us, where the stars hung like diamonds in a net.

    The Mental Model: Exponential Growth

    To the Inventor, we are entering a world of complexity—AI, biotech, the Technium—that has no historical precedent.

    • The Trajectory: “If you only look at history, you become a pessimist. But if you look at the trajectory of evolution, you see that things are getting a tiny bit better every day.”
    • Strategic Optimism: He believes optimism is not a feeling, but a duty. You have to visualize the destination to steer the ship there.
    • The Vision: We are at the “beginning of the beginning.” The impossible is just an engineering problem we haven’t solved yet.

    The Philosopher: The Power of Presence (The Now)

    The two of them looked at the Philosopher. He hadn’t moved. He was watching a single spark drift up into the smoke and vanish into the cold air.

    “You are both missing the point,” he said. His voice was quiet, but it cut through the desert chill. “You are both choosing to be unhappy.”

    “I don’t spend time in the past or the future,” he continued. “I try, as hard as I can, to stay right here.”

    The Mental Model: The Void

    He picked up a handful of sand and let it slip through his fingers.

    • Regret vs. Anxiety: “Thinking about the past is just Regret—the ego trying to rewrite a story that is already finished. Thinking about the future is just Anxiety—the ego trying to control an outcome that hasn’t happened yet.”
    • The Reality: “Your history is a story you tell yourself to feel safe. Your future is a fantasy you tell yourself to feel hopeful.”
    • True Effectiveness: The only thing that is actually real is this fire, this cold air, and this sensation of sitting here. When you empty your mind of time, you become free.

    Synthesis: Which Fire Are You Watching?

    The fire popped, loud and sharp, sending a shower of sparks upward.

    I sat there, shivering slightly. I realized that a balanced life requires the ability to switch between these three modes intentionally.

    ModeFocusEmotionBest Use Case
    The StrategistPastCautionAvoiding mistakes, financial planning, analyzing data.
    The InventorFutureHopeSetting goals, building products, creative vision.
    The PhilosopherNowPeaceLiving, loving, reducing stress, deep work.

    The trick is knowing which chair to sit in. When you are planning, be the Strategist. When you are building, be the Inventor. But when you are sitting by the fire, just be the fire.

  • The Gift of the Zero Degree: On the Virtue of Struggle

    くろう + どくりつ = しんのあい

    struggle + independence = true love


    It was late January in the Engadin valley. The air didn’t just feel cold; it felt hostile, like an invisible animal waiting to bite. The temperature was somewhere in the negative double digits. My breath was freezing into ice crystals on my balaclava before I could even exhale it completely.

    We were grinding up a relentless pass near St. Moritz. The sun was beginning its final descent behind the Bernina range, casting that famous, deceptive alpine glow—a soft, pink light that looked like warmth but signaled the arrival of the true, dangerous night.

    My friend, L., was churning the pedals beside me. He possessed that maddening Swiss fortitude that viewed sub-zero cardio as a casual pastime. I, on the other hand, was losing the feeling in my toes and fighting the urge to turn around.

    To take my mind off the creeping numbness, L. started talking about the architecture of human connection. And in the thin air, he gave me the answer to a question I hadn’t realized I was asking: What is the greatest gift you can give another person?

    The Trap of Comfort

    “Back in my twenties,” L. said, his voice perfectly calm despite the incline, “I had a system for dating. I would take new girlfriends on trips like this. Brutal hikes. Ninety-kilometer rides in bad weather.”

    I grunted. It was all the energy I had.

    “People thought I was being cruel,” he continued. “But they didn’t get it. I genuinely believed that the greatest gift you could give someone wasn’t comfort. It was the opportunity to struggle.”

    L. was channeling the philosophy of the Architect. He understood a fundamental truth about human value:

    • Comfort is a Sedative: If you constantly coddle someone, you rob them of their agency. You make them soft.
    • Friction is a Filter: You have to see if the pressure sharpens them or wears them down.
    • Radical Truth: He needed to know if they valued reality (the cold, the pain, the truth) over polite pretense.

    “Most of them hated it,” L. chuckled. “They were trying so hard to be the ‘best’ girlfriend—the most agreeable, the prettiest cyclist. But I didn’t care about who was the best.”

    Be The “Only,” Not The “Best”

    Here, L. shifted into the territory of the Gardener

    The world is full of people competing to be the “Best.” It is a crowded ladder. But the most valuable things in life—and the most valuable partners—aren’t competing. They are creating their own category.

    “I was looking for someone who wasn’t competing,” L. said. “I needed someone with that specific combination of grit and weirdness that matched mine. You can’t find your own unique ability if you’re just trying to copy everyone else’s path to happiness.”

    The Vital Distinction:

    • The Best: Tries to impress you by fitting the standard mold. They are playing a finite game.
    • The Only: Becomes so distinct that there is no competition. They are playing an infinite game of one.

    Independence as the Ultimate Leverage

    We were nearing the crest of the pass. The wind picked up, biting through my gloves.

    “And when you find that person?” I wheezed.

    “Then you get the real prize,” L. smiled, looking toward the darkening peaks. “You get Sovereignty.”

    This is the synthesis of the Architect and the Gardener. Real wealth isn’t just money; it is having assets that work for you while you sleep. L. argued that the best relationships are similar. They are not about “completing” each other; they are about two whole universes colliding.

    The Relationship as an Asset, Not a Job:

    • No Extraction: When both people are capable of standing completely alone, they don’t need each other. They aren’t extracting validation or security.
    • Pure Leverage: When you remove neediness, what is left is play. Two independent operators choosing to combine forces.
    • Peace of Mind: The relationship stops being work and just becomes peace. And peace is happiness at rest.

    The Tea at the Summit

    We hit the top of the pass. The sudden lack of resistance nearly threw me over my handlebars. I stopped, gasping, my lungs burning. The view was a frozen, silent kingdom of blue and white.

    I looked back down the winding road. About two hundred meters behind us, a lone figure was closing the gap. Her cadence was smooth, rhythmic, and unrelenting against the darkening mountain.

    “Speaking of peace of mind,” L. said softly.

    His wife crested the hill without showing a hint of strain. She pulled up next to us, her eyes bright above her scarf. She looked at my shivering form, then gave L. a knowing, slightly sympathetic nod.

    “He’s telling you about the ‘test,’ isn’t he?” she asked.

    “I might have mentioned it,” L. grinned.

    “He forgets the part where I beat him to the top of the Albula Pass on our third date,” she said, clipping out of her pedals. She reached into her bag, pulled out a thermos, and handed it straight to me. “Drink up. The descent is colder.”

    The Conclusion

    I drank the tea. It tasted like smoke and honey.

    I realized then that the greatest gift isn’t the tea. It isn’t the warmth. It isn’t the safety.

    The greatest gift is the mountain.

    The greatest gift is having someone in your life who refuses to let you stay comfortable, who forces you to find your own sovereignty, so that when you finally reach the top, you aren’t standing there because they carried you.

    You are standing there because you climbed.

  • The University of the Eternal Now

    がっこう} \neq たてもの

    school \neq building


    It was 4:18 p.m. on a Wednesday. The sky was the color of a wet slate roof, and a steady, silent rain was falling on the city. I was sitting on the floor, cleaning the lens of an old camera, listening to Bill Evans play “Waltz for Debby.” The piano sounded like raindrops hitting a tin roof.

    Someone asked me recently: “What colleges have you attended?”

    I looked at the diploma on the wall—or rather, the empty space where a diploma should be. I realized that the question was flawed. It assumed that “college” is a place you go to, rather than a state of mind you inhabit.

    I have attended two universities. Neither of them had a campus. Neither of them charged tuition, though both cost me everything I had.

    1. The University of the Backpack (The Scavenge)

    The first college I attended was the Open Road.

    I didn’t register for classes. I bought a one-way ticket to a continent where I didn’t speak the language. My dormitory was a cheap hostel that smelled of curry and damp wood. My professors were bus drivers, street vendors, and the silence of mountain passes.

    The Curriculum:

    • Physics: Learned by fixing a broken motorcycle engine on the side of a dirt road in Asia.
    • Economics: Learned by bargaining for a bowl of rice when you only have three coins left.
    • Sociology: Learned by realizing that people in remote villages are exactly the same as people in high-rise apartments, just with different “texture packs.”

    This university taught me that answers are cheap, but questions are expensive. It taught me that if you want to understand how the world works, you have to get your hands dirty. You have to tinker. You have to be lost.

    2. The University of the Empty Room (The Descent)

    The second college I attended—and am still attending—is the Library of Silence.

    This is a harder school. There are no parties. There are no roommates. There is just you, a chair, and a book that is slightly too difficult for you to understand.

    The Curriculum:

    • Foundations: I stopped reading the “news” (which is just gossip) and started reading the “source code.” Physics. Math. Philosophy. The books that have survived for 500 years.
    • Self-Management: I learned that the hardest person to lead is yourself. I sat in a room for sixty minutes without a phone, staring at a wall. That was my final exam.
    • The Rejection of Status: In regular college, you try to impress the teacher. In this college, you realize the teacher doesn’t exist. You are learning for leverage, not for credentials.

    3. The Karmic Irony of Graduation

    As I screwed the lens back onto the camera, a strange thought hit me—a piece of dark, cosmic humor.

    We are all waiting to “graduate.”

    We are waiting to feel “ready.”

    We are waiting for the certificate that says, “Congratulations, you have figured out Life.”

    But here is the Wabi Sabi truth: Life is the college. And you never graduate.

    There is a karmic irony to it. The moment you finally get the certificate—the moment the Dean hands you the diploma and says, “You are done, you have learned it all”—is the exact moment you die.

    Death is the graduation ceremony.

    You are left hanging in the void, holding a piece of paper that says you finally understand how to live, just as you stop doing it.

    4. The Curriculum of the Now

    So, if there is no graduation until the end, what are we doing?

    We are in the Classroom of the Present.

    Most of us are skipping class. We are sitting in the lecture hall (our lives), but we are looking at our phones. We are worrying about the next semester (the future) or regretting the last exam (the past). Meanwhile, the lesson is happening right in front of us.

    • The way the light hits the rain on the window.
    • The specific taste of the coffee.
    • The sound of the jazz piano.

    You can learn every. single. day.

    To truly learn, you must understand the curve of knowledge. We often think we know more than we do, only to realize how little we know.

    • Be a Freshman forever. Stay on the left side of the curve, or deep in the valley of humility. Keep your “Beginner’s Mind.” The moment you think you are a Senior, you stop learning.
    • Audit every class. Listen to the birds. Study the way your cat stretches. Analyze why you felt angry at the traffic light.
    • Ignore the grades. Status is a game for people who don’t know who they are.

    I put the camera down. The record ended. The room was silent, filled only with the grey light of the afternoon.

    I am not an alumnus of anywhere. I am a student of here.

  • The Architecture of the Freezing Now: On Surviving the Shock of the New

    しょうげき + せいじゃく = てきおう

    shock + silence = adaptation


    It was 5:12 a.m. on a Thursday. The sky was the color of a television tuned to a dead channel—a static, buzzing grey. I was standing in the shower, staring at the chrome handle, while a Thelonious Monk record spun silently in the other room, the music trapped in the grooves, waiting for the needle.

    I was thinking about my biggest challenge.

    It isn’t something grand, like writing a Great American Novel or solving a paradox of physics. It is a physical sensation that serves as a metaphor for the entire architecture of my life.

    It is the Cold Water.

    1. The Biology of the Scream

    My challenge is simple: getting into cold water and staying there.

    I am not talking about a cool breeze on a humid day. I am talking about the bone-jarring, breath-stealing shock of absolute zero. The kind of cold that feels less like temperature and more like a physical rejection by the universe.

    My body has a default setting for this. It screams. It says: “This is wrong. This is dangerous. Return to the warmth immediately.”

    This is the Universal Panic Response. It is the ancient, lizard-brain desire to flee from discomfort. And as I stared at the handle, I realized that “Cold Water” is just a code name. We encounter this freezing shock everywhere.

    • The Cold Water of the New Skill: You pick up a guitar, and your fingers feel like sausages. You try to code, and the screen looks like alien hieroglyphs. You feel stupid. You feel slow. Your brain screams, “I don’t belong here! I should be good at this already!”
    • The Cold Water of the Difficult Work: You sit down to write the report, or build the business plan. The blank page hits you like a bucket of ice. It is overwhelming. It is uncomfortable.
    • The Cold Water of Illness: This is the coldest water of all. You wake up one day, and your body is no longer your friend. It is a stranger. The diagnosis comes like a plunge into a frozen lake. You didn’t choose to swim, but suddenly, you are drowning.

    The instinct is always the same: Jump out. Find the towel. Retreat to the known world where you are competent, healthy, and warm.

    2. The Man Who Became the Stone

    But I have seen the alternative. I have seen the people who don’t jump out.

    I remember a specific afternoon years ago by a mountain river. The water was the color of melted glaciers—a pale, milky blue that promised pain. My friend and I stepped in. We lasted four seconds. We shrieked, scrambling back onto the sun-warmed rocks, our feet burning from the shock, our egos bruised.

    Then, he appeared.

    A man, older, with quiet eyes and skin the texture of old parchment. He didn’t look at us. He walked past our panic and waded into the deepest part of the current. He didn’t gasp. He didn’t tense his shoulders. He simply sank down until the water was up to his neck.

    And then, he just sat there.

    He didn’t fight the river. He didn’t try to warm it up with his mind. He simply became a stone. After a minute, the redness in his face faded. He looked completely at peace, as if the cold was just another type of clothing he had decided to wear.

    He possessed the secret skill I was missing: Radical Adaptation.

    3. The Hitchhiker’s Rule

    I realized then that the shock doesn’t come from the temperature; it comes from our resistance to it. We suffer because we are screaming, “I should be warm!” while the universe is saying, “You are cold.”

    To survive the plunge—whether it is a cold shower, a new language, or a sudden tragedy—you have to follow the most important rule from The Hitchhiker’s Guide to the Galaxy. It is printed in large, friendly letters on the cover:

    DON’T PANIC.

    It sounds deceptively simple, but it is the hardest discipline in the world.

    • Panic tightens the muscles, which makes the cold hurt more. It makes the new skill feel impossible. It makes the illness feel like a punishment.
    • Panic shortens the breath, which tells your nervous system you are dying.
    • Acceptance relaxes the muscles. It allows the body’s internal thermostat to say, “Okay. This is the new reality. Let me calibrate.”

    4. The Theory of the Second Minute

    The secret of the river man wasn’t that he was immune to cold. It was that he understood the Timeline of Shock.

    The First Minute:

    This is the scream. This is where the Python script makes no sense. This is where the grief is sharpest. This is where the water burns. Most people jump out here. They quit the class. They close the laptop. They numb the pain.

    The Second Minute:

    But if you stay—if you breathe through the scream, if you refuse to scramble for the rocks—something miraculous happens.

    The water doesn’t get warmer. You get colder.

    Your body adapts. The boundary between your skin and the river dissolves. The shivering stops. The panic is replaced by a strange, high-definition clarity.

    • In Learning: The confusion settles into a pattern. You see the logic in the code.
    • In Illness: The shock fades into a routine. You find a way to live within the new limits.
    • In Work: The blank page fills with words.

    You realize that you are liquid. You take the shape of the container, even if the container is made of ice.

    5. Turning the Handle

    I looked at the chrome handle again. It was 5:15 a.m. The world was still grey.

    I realized that avoiding the cold water doesn’t make you warm; it just makes you fragile. It makes you terrified of the temperature changing.

    The only way to be safe is to know that you can handle the freeze.

    I turned the handle. The water hit me. It was a shock, sudden and violent. My brain screamed Jump! My heart hammered against my ribs.

    But I remembered the man in the river. I remembered the letters on the book cover.

    Don’t panic.

    I took a deep breath. I stood under the freezing stream. I waited for the Second Minute to arrive.

    And eventually, as it always does, the water stopped being an enemy and just became water.

  • The Character Sheet of the Soul

    にんげん = おなじ x ちがう

    human = same x different


    I was running along the river path yesterday. It was that specific time of evening when the sky looks like a bruised plum—purple, grey, and quiet. The air smelled of wet asphalt and impending rain, a scent that always triggers a strange, hollow nostalgia in my chest.

    Somewhere between the third and fourth kilometer, when my breath was starting to catch in my throat and my heart was drumming a steady, mechanical rhythm, I realized something.

    We are all playing the exact same game, but we are holding different controllers.

    We like to think we are unique masterpieces, completely distinct from the stranger on the train or the boss in the office. But we aren’t. We are all built from the exact same control panel.

    1. The Universal Mixing Board

    Imagine a giant audio mixing board in a silent room. Or, if you grew up playing RPGs (Role Playing Games), imagine the Character Creation Screen at the start of a long journey.

    Every human being is born with the exact same list of sliders:

    • Empathy
    • Anxiety
    • Ambition
    • Patience
    • Creativity

    We all have the hardware. The only difference—the only difference—is where the knobs are set. We are the same song, just mixed differently for the particular room we are standing in.

    2. The Auto-Save (The Trap of the Environment)

    Here is the tragedy of our youth: For the first twenty years, you didn’t touch the board.

    While you were busy learning how to tie your shoes and navigate the social hierarchy of the schoolyard, your environment was the one moving the sliders. Your “Default Loadout” was decided by the Game Master (your history).

    • The Survival Build: If you grew up in a house where emotions were dangerous, the system automatically dumped all your XP into Hyper-Vigilance.
    • The Performance Build: If you were only praised when you were “useful,” your Work Ethic is likely level 99, but your Self-Worth stat is still at the tutorial level.
    • The Adaptability Build: If you moved cities five times before you were ten, your Flexibility is maxed out, but your Deep Attachment skill tree is completely locked.

    You didn’t choose these settings. You simply walked into a room, and the environment gave you the tools it thought you needed to survive the weather.

    3. The Biological Constraint (The Hardware Limit)

    But there is a nuance many people miss—a “hard cap” on certain skills. We are not all playing on the same console.

    Just as a vintage 8-bit system can’t run the same graphics as a high-end PC, our biology sets limits on how high certain sliders can go, or how much “mana” it costs to move them.

    • The Floor and the Ceiling: Some are born with a biological floor for Anxiety that is higher than others’ ceilings. It takes ten times the “willpower points” for them to move a slider that a naturally calm person moves for free.
    • Neurodivergence: For some, the Sensory Processing slider is stuck at 11. No amount of “leveling up” will turn down the volume of the world.
    • XP Multipliers: We possess different genetic “XP multipliers.” One person spends an hour on a creative task and gains three levels; another spends a month and barely moves the bar.

    Acknowledging this isn’t an excuse; it’s a strategy. You cannot win the game if you are trying to play a build your hardware wasn’t designed for.

    4. The Secret Mission: Manual Override

    Most people play the whole game with their default settings. They die at level 80 with the same anxieties they had at 18, thinking, “This is just who I am.”

    But eventually, if you are lucky, you unlock a Secret Mission. It’s called Radical Introspection.

    This is the only quest that matters. It grants you access to the User Interface (UI). For the first time, you realize you can stop letting the environment move your sliders. You can take the controls.

    5. How to Re-Spec Your Soul

    If you’ve unlocked the UI, the real work begins. It’s slow, it’s expensive, and it requires a massive amount of “Presence Points.”

    1. Identify the Default: Which of your high-level skills were forced on you by a childhood you’ve already left?
    2. Acknowledge the Hardware: Stop trying to level up a skill that your biology has capped. If your Social Battery is small, don’t level up Networking; level up Selective Presence.
    3. Manual Adjustment: When you feel your Defensiveness flaring up to an 8 in a conversation, you pause. You breathe. You manually drag that slider back down to a 3.

    The Nostalgia for the Future

    I finished my run just as the rain began to fall in earnest. I felt a strange closeness to everyone I passed—the woman walking her dog, the man staring at his phone at the bus stop.

    I saw their sliders. I saw their high-level Stress builds and their locked Joy trees. I saw that they were all struggling with controllers that were sticky and manuals that were missing.

    It’s a hard game. But the moment you realize you can touch the board? That’s when the music finally starts to sound like your own.

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  • The Two Paths to Freedom: The Gardener vs. The Architect

    システム vs こじん = じゆう

    system \quad vs \quad individual = freedom


    It was 3:17 a.m. on a Tuesday. The rain had stopped, but the city outside my window still glistened like the inside of a wet lung. I was sitting at my kitchen table, peeling a tangerine and listening to a Chet Baker record played at very low volume.

    I was thinking about the future. Specifically, I was thinking about the anxiety that seems to hum underneath the floorboards of modern life.

    We are all trying to figure out how to survive the next decade. Do we fight the system? Do we hide from it? Do we build our own?

    I have two friends who serve as my compass points. They live on opposite sides of the same invisible mountain. They are both watching the world change, but they see two completely different movies playing on the screen of reality.

    To understand where we are going, I realized I had to listen to both of them.

    1. The Gardener: Trusting the Machine (Technological Optimism)

    I visited the first friend—let’s call him the Gardener—a few days ago. He lives in a cavernous cedar barn near the coast, a place that smells of old paper, salt spray, and possibility.

    When I arrived, he was standing on a rolling ladder, adjusting a complex mobile of copper gears. The barn was alive with the hum of 3D printers.

    “People are worried about the wrong things,” he said, pouring me a cup of black coffee that tasted like smoke. “They are fighting over ideologies. But the ideologies don’t matter anymore.”

    The Philosophy of the Current

    He walked over to a window where a massive fern was growing out of a hydroponic tank.

    “The world isn’t a collection of political parties,” he said. “It is a single, vast organism of technology. It has its own wants. It wants to get more complex. It wants to connect everything to everything else.”

    • The Perspective: He doesn’t believe in fighting the machine. He believes in gardening it.
    • The Strategy: You prune a branch here. You water a root there. You accept that the forest is bigger than you.
    • The Goal: We aren’t building a Utopia. We are building a “Prototopia”—making the world just 1% better every year through experimentation.

    In his world, the hero isn’t the politician. The hero is the Tinkerer in the garage, quietly inventing the tool that makes the old arguments obsolete.

    2. The Architect: Building the Fortress (Radical Sovereignty)

    The next night, I took the train into the city to see the second friend—the Architect.

    He was sitting in his glass box of an apartment, in a single black leather chair facing the void. There was no clutter here. No gears. No ferns. Just the aggressive silence of a mind that has cleaned house.

    “The Gardener is wrong,” the Architect said. He took a sip of water. “He thinks the system will save us. But the system is a trap.”

    The Philosophy of the Exit

    To the Architect, the world of politics and collective action is a “Theatre of Noise.” It is a status game played by people who are afraid to be alone.

    “Why argue with the tribe?” he asked. “The tribe wants you to be average. The only way to win is to leave the game.”

    • The Perspective: Politics is a distraction. The only vote that counts is the one you cast with your own life.
    • The Strategy: Build your own leverage. Build your own wealth. Build your own mind.
    • The Goal: To become Sovereign. When you are healthy, wealthy, and free, the laws of the tribe stop applying to you.

    In his world, the hero isn’t the Tinkerer. The hero is the Monk—the one who has stepped out of the stream to sit on the bank and watch the water rush by.


    The Synthesis: Which Path is Yours?

    I sat at my kitchen table, looking at the tangerine peel curled on the wood like a bright orange question mark.

    I realized that these two men represent the two dominant mental models for navigating the 21st century.

    FeatureThe Gardener (System)The Architect (Self)
    FocusThe long-term evolution of society.The immediate freedom of the individual.
    ActionConnect, invent, and participate.Disconnect, build assets, and exit.
    MetaphorTending a massive forest.Building a high tower.
    FearStagnation and collapse.Loss of agency and time.

    The Third Path

    The record ended. The needle hissed in the groove. I realized I couldn’t choose between them.

    If you listen only to the Gardener, you become a cog in a beautiful, uncaring engine. You trust the system too much.

    If you listen only to the Architect, you become lonely. You build a fortress so high that no one can get in.

    The Answer is the Sovereign Gardener.

    1. Build your Fortress (The Architect): Secure your own mind first. Get free of the financial noise. Step out of the status games.
    2. Tend the Garden (The Gardener): Once you are free, don’t just sit there. Go back into the forest. Use your leverage to make the machine a little kinder.

    We have to live in the machine, but we don’t have to be parts of it. We can be the ghosts in the shell.


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  • The Museum of Everything and the Room of Zero

    しゅうしゅう vs くうはく

    collection \quad vs \quad blank space


    It was raining—a steady, colorless rain that seemed determined to wash the soul out of the afternoon. I sat at my kitchen table, watching the water streak the glass. I was thinking about two men I knew. Let’s call them K. and N.

    They lived on opposite sides of the same invisible mountain. To understand how to navigate the world, I had realized I needed to visit both of them. It was a matter of alignment.

    1. The Cedar Cathedral (The Barn)

    I visited K. first. He lived out near the coast, where the air smells of salt spray and wet pine. His house was a cavernous wooden barn that groaned softly when the wind blew off the Pacific.

    Walking inside felt like stepping into the internal cockpit of a 19th-century naturalist who had found a time machine. The smell hit you instantly: raw cedar, old paper, and the ozone tang of warm electronics. There were no walls, really. Just books. Thousands of them, creating a second skin over the structure. They weren’t organized by color or alphabet; they were stacked by the logic of curiosity. To reach the high ones, you had to climb a rolling wooden ladder that creaked like a ship’s mast.

    The Landscape of the Scavenge:

    • The Physical Footnotes: Massive towers of LEGO bricks stood near the windows. They weren’t toys; they were architectural meditations he built while his mind worked through a problem.
    • The Cool Tools: A workbench held jars of dried iridescent beetles next to a 3D printer humming a digital lullaby. There were vintage Leica cameras and specialized Japanese shears.

    The light was always golden, hazy, and thick with dust motes. K. didn’t just read; he tinkered. He would scan a 100-year-old book on botany just to see how the leaf patterns might inspire a new digital algorithm.

    The room screamed: “The world is abundant. Go play with it.”


    2. The Glass Box (The Chair)

    A week later, I took the train into the city to see N.

    The contrast was sharp enough to cause vertigo. N. lived in a high-rise that seemed to float above the traffic, a glass needle stitching the sky to the earth. His sanctuary was defined not by what was there, but by the aggressive absence of everything else.

    There were no rugs. No art. No background hum of a CPU fan. The air was cool, still, and completely scentless.

    The Geometry of the Descent:

    In the center of the main room, facing a floor-to-ceiling window, sat a single object: A black leather Eames lounge chair. It looked out at nothing but the grey sky and a single, unmoving branch of a distant tree.

    Next to the chair was a raw-edged wooden table holding exactly two things:

    1. A glass of water (room temperature).
    2. A well-worn copy of Meditations by Marcus Aurelius.

    N. practiced “The Descent.” He would sit there for sixty minutes, doing absolutely nothing. No phone. No notebook. He described the “Phantom Vibration”—the itch in the pocket where a phone used to be. But if you sat past the panic, the silence changed texture. It became “Inbox Zero for the Mind.”

    This room whispered: “You are already enough. Stop seeking.”


    The Architecture of the Middle

    I walked out into the busy street after leaving N.’s apartment. I thought about the Barn and the Chair.

    • The Barn is the sound of The Clack. It is the noise of plastic bricks and the whir of gears. It is the joy of the Scavenge—moving outward into the infinite complexity of the world.
    • The Chair is the sound of The Breath. It is the terror and peace of the Descent—falling inward to find the signal beneath the noise.

    I realized that to be a complete human being, you need a passport for both countries.

    If you stay too long in the Barn, you become a hoarder of possibilities, spinning your wheels in a beautiful, cluttered chaos. If you stay too long in the Chair, you become a ghost—too pure for the messy reality of living.

    You need the Barn in the morning to gather the fragments of the universe. You need the Chair in the evening to understand what any of it means.

    I went home and sat at my own table. I pulled out a yellow legal pad and a fountain pen. I let the smell of the cedar fade, and I invited the silence in. I wrote one sentence. Then I crossed it out.

    The architecture held.

  • The Slow Collection of Invisible Things

    くうはく + ほこう + かけら = そうぞう

    blank space + walking + fragments = creation


    It was 2:15 p.m. on a Thursday. The kind of afternoon where the sunlight hits the pavement at a slant, making the city look like a movie set that everyone has abandoned for lunch.

    I was walking nowhere in particular. I was thinking about the question a young writer had asked me: “How do you force yourself to be creative?”

    I wanted to tell him: “You don’t. If you force it, you break it.”

    Creativity isn’t a factory. It’s a foraging mission. It’s the act of walking through the world with your pockets open, waiting for the universe to drop small, shiny things inside.

    1. The Art of the Empty Vessel (Relaxation)

    Most people try to be creative by tightening their grip. They stare at the screen. They drink too much coffee. They try to squeeze a diamond out of a piece of coal with their bare hands.

    But I have learned that ideas are like stray cats. If you chase them, they will run under a parked car and hiss at you.

    To catch them, you have to do the opposite. You have to sit on the porch and pretend you are sleeping.

    • The looseness: I am most creative when I am doing absolutely nothing of value. When I am washing a dish. When I am staring at a cloud that looks like a bruised peach.
    • The permeability: You have to be relaxed enough to be permeable. If you are stressed, you are a stone wall. If you are relaxed, you are a screen door. The wind blows through you, and sometimes, the wind carries a seed.

    2. The Kinetic Engine (The Walk)

    I don’t trust any thought I have while sitting down.

    The legs are the pistons of the imagination. There is a specific rhythm to walking—left foot, right foot, breath, breath—that hypnotizes the logical part of the brain. It puts the “Manager” to sleep so the “Dreamer” can sneak out the back door.

    I walk to forget, not to think.

    I walk until the noise of my own ego quiets down. And in that silence, strange things start to bubble up. A sentence. A melody. A solution to a problem I didn’t know I had. The rhythm of the feet becomes the rhythm of the work.

    3. The Thief of Small Things (The Surroundings)

    But you cannot create from nothing. You need raw materials.

    I am not a genius. I am a thief.

    I surround myself with people, not to talk to them, but to harvest them. I take small scraps of their existence and glue them into my own notebook.

    • The laugh: I once heard a woman laugh in a bakery. It was a sharp, jagged laugh, like breaking glass. I stole it. I gave it to a character three years later.
    • The posture: I saw an old man waiting for a bus, standing with a dignity that broke my heart. I stole his spine. I put it in a story about a retired soldier.
    • The fragment: I hear a snippet of conversation: “He smells like rain and old newspapers.” I steal the phrasing.

    I don’t take their whole lives. I just take the shavings. The button off a coat. The specific way they hold a cigarette. The silence they leave behind when they walk out of a room.

    The Collage of the Soul

    I stopped walking. I was standing in front of a park where children were playing on a jungle gym.

    I realized that creativity is just a collage.

    It is the act of taking the relaxation of a Tuesday afternoon, the rhythm of a long walk, and the stolen fragments of a hundred strangers, and arranging them into a pattern that looks like Truth.

    You don’t have to be brilliant. You just have to be:

    1. Loose enough to let the world in.
    2. Moving enough to keep the blood flowing.
    3. Observant enough to pick up the pieces others drop.

    I reached into my pocket. There was nothing there but a receipt and a smooth stone I had picked up earlier.

    It was enough. It was the beginning of a story.

  • The Museum of Accidental Gods

    ぐうぜん+はんきょう= うんめい

    coincidence + echo = destiny


    I was standing on the platform of a train station in the suburbs of Tokyo. It was 4:56 p.m., the specific time of day when the sky turns the color of a bruised plum and the crows start calling out to each other with news of the coming night.

    I was thinking about the concept of Influence.

    If you were to ask me who built the person standing here, I couldn’t give you a single name. I am not a self-made man. I am a collage of accidents.

    1. The Lottery of the Start (The Unchosen Hardware)

    The most terrifying truth about life is that the foundation was poured while we were asleep.

    • The DNA: You didn’t choose the shape of your hands or the way your brain processes serotonin. That was a roll of the dice in a dark room long before you took your first breath.
    • The Parents: You didn’t choose the two people who taught you what “love” looks like—or what “fear” sounds like. They were just the weather. You didn’t pick the rain; you just learned how to get wet.
    • The Zip Code: You didn’t choose the street where you learned to ride a bike. You absorbed the specific grey of that concrete and the specific anger of those neighbors just because you happened to be there.

    In the beginning, we are sponges in a bucket of dye. We soak up the color of our environment not because it is “right,” but because it is there.

    2. The Proximity Bias (The Early Friends)

    Then come the friends.

    We like to think we chose our childhood friends because of a deep soul connection. But if we are honest, we chose them because of proximity.

    We were friends because we were both twelve. We were friends because we both sat in the back row. We were friends because we both lived within walking distance of the same convenience store.

    I think of a boy I knew who loved heavy metal. I started listening to heavy metal not because I liked it, but because his car was the only one that worked. His influence became my soundtrack, simply because of a broken transmission.

    3. The Shift: The Curator of the Soul

    But there comes a moment—usually in the quiet hours of your twenties or thirties—when you look in the mirror and realize you are wearing a suit tailored by strangers.

    This is the most critical juncture of a human life. This is where you stop being a Product of Environment and start becoming an Architect of Experience.

    You realize that while you couldn’t choose the start, you can choose the next room.

    • The New Soil: You realize that if you want to grow a different kind of flower, you have to move to a different kind of soil. You move to a city where no one knows your name. You sit in cafes where people argue about things you don’t understand.
    • The Intentional Imprint: You start to treat your brain like a VIP club. You become the bouncer. You decide who gets to leave a mark. You read books that challenge the “Old Stories” your parents told you. You befriend people who are kind in ways you’ve never seen before.

    4. The Canvas and the Paint

    I watched the train pull into the station. It was a silver streak, cutting through the dusk.

    I realized that I am a painting where the first layer was applied by reckless, random hands. There are splashes of red I didn’t ask for. There are dark corners I didn’t paint.

    But the brush is in my hand now.

    I can’t scrape off the old paint—it’s too deep, it’s part of the canvas now. But I can layer over it. I can add light where there was shadow. I can turn a mistake into a texture.

    The Last Thought

    So, who are my biggest influences?

    • The wind that blew on a Tuesday in 1997.
    • The girl who broke my heart in a library.
    • The genetics that gave me anxiety.
    • The friend who dragged me to a jazz bar when I wanted to stay home.

    I am a museum of things I didn’t choose, curated by the person I decided to become.

    The doors of the train opened. I stepped inside. The air was cool and smelled of ozone. I didn’t know exactly where I was going, but for the first time, I knew I was the one choosing the destination.

  • The Blueprint of the Recurring Soul

    こせいい\div じかん} = るいけい

    individuality \div time = the archetype


    I was sitting in a small laundromat near the tracks of the Odakyu line. It was 11:45 p.m. The machines were tumbling in a rhythmic, heavy sequence—the sound of wet cotton hitting metal over and over again. It felt like the heartbeat of a very large, very tired animal.

    A young man sat three seats away from me. He was staring at a girl who was folding neon-colored exercise clothes. He looked at her with a kind of desperate intensity, as if he were witnessing the birth of a new star.

    “She’s different,” he said, more to the air than to me. “I’ve never met anyone who holds her head quite like that. It’s like she’s from another planet.”

    I watched the suds swirl in the window of my machine. I knew that look. I had worn it myself in 1998, and again in 2005.

    “She might be from another planet,” I said. “But the gravity there is the same as it is here.”

    The Resistance to the Pattern

    We are born with a deep, biological resistance to the idea that we are predictable. We want to believe that our specific brand of loneliness or our particular style of ambition is a first edition.

    But being a good judge of character isn’t about being cynical; it’s about becoming a librarian of human behavior.

    The older you get, the more you realize that while the faces change, the underlying blueprints do not. You begin to recognize the “Architect of Chaos,” the “Quiet Martyr,” or the “Charming Void” before they even speak. You’ve seen these blueprints before in old novels, in history books, and in the people who broke your heart a decade ago.

    We hate this. We find it offensive to our ego. But the “Old Stories” are true because they have survived the friction of time. They are the shapes that remain when the flash-in-the-pan trends of personality burn away.

    The Skill of Radical Presence

    You cannot judge character by looking at a resume or a social media profile. Those are just curated museum exhibits. To truly see someone, you have to be entirely present in the small, unscripted moments.

    1. The Waiter Test: Everyone knows this one, but few actually watch. It’s not about kindness; it’s about power. How does a person treat someone they have no reason to impress?
    2. The Reaction to Silence: Most people are terrified of a gap in conversation. They fill it with “noise”—bragging, complaining, or performative empathy. The person who can sit in a three-minute silence without flinching? That is a blueprint of a very different kind.
    3. The Handling of Minor Loss: Watch how someone reacts when they lose their umbrella or miss a bus. Character is revealed when the “Unique Persona” is inconvenienced. That’s when the Archetype walks out of the shadows.

    The Comfort of the Known

    There is a certain melancholy that comes with being a good judge of character. It means fewer surprises. It means you can often see the end of a relationship while it’s still in the first chapter.

    But there is also a profound safety in it.

    When you stop seeing people as “unpredictable mysteries” and start seeing them as “living stories,” you stop taking their actions so personally. You realize that the person who betrays you isn’t doing something “new”—they are simply following their blueprint. You can’t be angry at a circle for not having corners.

    I looked at the young man in the laundromat. He was still captivated by the girl. He was convinced he was at the beginning of a story that had never been told.

    I didn’t tell him that I knew exactly how that story ended. I didn’t tell him that her “unique” way of holding her head was a classic sign of someone who is always looking for an exit.

    I just let my laundry tumble.

    The machines stopped. The silence that followed was heavy and honest. We collected our clothes—his neon, my grey—and walked out into the night, two people following very old scripts under a very old moon.

  • An Incomplete Man

    ちち + とき = ただのひと

    father + time = just a human


    It was 3:12 a.m., the hour when the world feels like it has been drawn with a thin, trembling pencil. The refrigerator in my kitchen was humming a low, purposeful G-sharp, a sound that seemed to be vibrating not in the room, but somewhere deep inside my own marrow.

    I was sitting at the table, drinking a glass of water that was slightly too warm. On the wooden surface sat an old, silver wristwatch—the kind you have to wind manually every morning or it simply gives up on the concept of time. It had belonged to my father.

    When I was a child, I thought that watch was a magical object. I thought my father was a man who possessed a secret map to the universe. I believed his silence was a form of wisdom, and his occasional anger was a calculated storm meant to keep the world in order.

    But as the years pass, and I find myself sitting in the same kind of quiet kitchens he once sat in, I have begun to realize a heavy, quiet truth: He was just a man. He was an amateur at being alive.

    The Mystery of the Amateur

    We are born into a world where we view our parents as finished products. We see them as statues—solid, unmoving, and permanent. We assume they have a manual. We assume they know why the bills are high, why the car makes that clicking sound, and how to navigate the complicated geography of a human heart.

    But lately, I have been thinking about the sheer terror he must have felt.

    Imagine it: You are twenty-five, or thirty, or forty. You have never been this age before. You have never had this child before. You are walking into a dark room with no flashlight, and someone hands you a tiny, crying human and says, “Here. Don’t break this.”

    He was living life for the first time, too. Every mistake he made—every cold silence, every missed connection, every word he shouldn’t have said—was the error of a beginner. He was practicing being a person, and unfortunately, I was the material he practiced on.

    The Story of the Dark Car

    I read a story once about a man who grew up hating his father for being distant. He remembered his father coming home from work and sitting in his car in the driveway for thirty minutes every single night. The boy would watch from the window, fuming. He thought his father was avoiding the family. He thought his father didn’t love them.

    Decades later, when the man had his own children and a high-pressure job, he found himself doing the exact same thing. He realized his father wasn’t avoiding them. He was decompressing. He was sitting in that dark car, gripping the steering wheel, trying to shed the skin of the office so he wouldn’t bring the stress inside to his children.

    He was a man who was exhausted, trying to find the strength to be “Father” for just a few more hours. He wasn’t a hero. He was just a guy trying to keep his head above water in a world that didn’t care if he drowned.

    The Ledger of Invisible Sacrifices

    We often measure our parents by what they didn’t give us.

    • We remember the toys we didn’t get.
    • We remember the “I love you” that stayed stuck in their throats.
    • We remember the birthday they worked through.

    But we rarely see the Ledger of Invisible Sacrifices.

    I think of another story—a woman who discovered after her father died that he had been a talented jazz pianist in his youth. He had a chance to tour Europe. Instead, he took a job at a chemical plant because his wife was pregnant and they needed health insurance.

    He spent forty years in a grey building, breathing in fumes, so his daughter could go to a university and study art. He never told her. He didn’t want her to feel the weight of his unlived dreams. He chose to be “boring” so she could be “vibrant.”

    When we look at our fathers, we see the wall they built. We don’t always see the bricks they had to carry to build it.

    The Geography of Forgiveness

    Forgiveness is not a grand, cinematic event. It is a slow, quiet adjustment of the light. It is the realization that if you were put in his shoes—with his specific trauma, his limited education, his economic pressure, and his lack of a support system—you would have likely made the exact same mistakes.

    1. Release the Manual: Stop looking for the guidebook he didn’t have. Accept that he was winging it from day one.
    2. Look at the Scars: Understand that he was raised by people who were also amateurs. Trauma is a relay race, and sometimes a father is just the person who tried to run a little slower so the baton wouldn’t hit you as hard.
    3. The Humanity of Failure: To forgive him is to allow him to be human. Not a god, not a monster. Just a man who was sometimes tired, sometimes scared, and often overwhelmed.

    The Winding of the Watch

    I picked up the silver watch from the table. I began to wind it. Click. Click. Click. The sound was rhythmic and small, like the heartbeat of a mechanical bird.

    I realized that my father was just a version of me that had arrived earlier. He was a traveler in a different time zone, navigating the same fog.

    I forgave him. I forgave the silences. I forgave the times he couldn’t see me because he was too busy looking at the obstacles in his own path. I forgave him because holding onto the anger was like carrying a suitcase full of stones through a desert. It didn’t hurt him; it only slowed me down.

    He did his best with the tools he had. They were rusty tools. They were broken tools. But they were his, and he used them until his hands bled.

    The watch started ticking. It was 3:18 a.m. now. I stood up, turned off the kitchen light, and felt a strange, light sensation in my chest. For the first time, the house didn’t feel hollow. It felt like a place where a man had lived, tried, failed, and left behind a small, ticking piece of himself.

    I went to bed and slept the sleep of someone who has finally put down a heavy weight.

  • a Quiet Heart

    ねむり

    しずけさ

    つながり


    The record player in the corner was spinning a Miles Davis album so quietly it sounded like a ghost humming in another room. K. sat across from me, staring at a glass of water as if it held a secret he wasn’t quite ready to hear.

    “I’ve spent ten years building a life,” K. said, his voice flat. “I have the apartment. I have the career. I have the high-speed internet. But I feel like a house with no furniture. I’m waiting for happiness to arrive, but the delivery truck never shows up.”

    I leaned back. The refrigerator in the small bar hummed a low, purposeful G-sharp.

    “Maybe you’re waiting for a mountain,” I said. “But happiness isn’t a mountain. It’s a system of small, moving parts. It’s not about the ‘More.’ It’s about the ‘Enough.’

    1. The Sleep of the Deep-Sea Diver

    K. looked up. “Enough of what?”

    “Let’s start with the base layer,” I said. “I am most happy when I have slept enough. I’m talking about the kind of sleep that feels like diving into a cool, bottomless lake. I once read about a man who had been running on caffeine and anxiety for a decade. He finally broke. He went to a small hotel, shut the heavy curtains, and slept for fourteen hours straight.”

    “What happened when he woke up?”

    “He said he woke up and for ten seconds, he forgot his own name. But when it came back to him, it felt new. The ‘static’ in his brain was gone. His mind was a clean, empty room. If you don’t sleep, you are a ghost haunting your own life.”

    2. The Physics of the Body

    “And then?” K. asked, his fingers tracing the rim of his glass.

    “Then you have to move enough,” I said. “The body is a machine that generates clarity through friction. It’s not about the gym; it’s about the physics of being alive. I think of a woman who lost everything in a bad divorce. She started walking. Just walking. Ten miles a day through the city. She said she had to move fast enough to keep the sadness from settling in her joints. When you move, the thoughts that are stuck finally start to flow.”

    3. The Green Silence (Vitamin Nature)

    I gestured to the window, where a single tree stood under a streetlamp.

    “You need Vitamin Nature. We are all born with a certain amount of ‘green hunger.’ I read a story about a man who felt like he was suffocating in his office. He drove to a remote forest and just sat on a mossy log. He stayed so still that after an hour, the birds stopped seeing him as a person. He became part of the landscape. Nature provides a scale of time that makes your Tuesday morning anxieties look like ripples on a pond. You need to sit in the green silence until you become invisible.”

    4. The Tribal Pulse and the Solitary Room

    “That sounds lonely,” K. said.

    “Only if it’s all you have,” I replied. “Happiness is a balance between the ‘Us’ and the ‘Me’. You need to spend enough time with family and friends. Not ‘scrolling’ time, but ‘shared meal’ time. I think of a group of friends who met every week just to eat plain rice and listen to the rain. They didn’t talk about their careers. They just existed together. But then,” I paused, “you have to go back to your room. You have to sit with your own thoughts. You have to decorate your interior.”

    5. The Flow of Deep Work

    “Is that all?”

    “The final gear is Deep Work,” I said. “I am most happy when I have lost myself in a task. I read about a person who spent six hours fixing an old, broken radio. They forgot to eat. They forgot to check their phone. They were in the ‘Flow.’ When the ‘I’ disappears and only the work remains, that is the highest form of human functioning. It’s a high-leverage move for the soul.”


    The Geography of Enough

    The Miles Davis record came to an end. The needle hissed softly in the groove.

    “So,” I said to K., “that’s my secret. When I hit those marks—when I’ve slept, moved, seen the trees, loved my people, and done my work—I don’t even have to look for happiness. It just sits down next to me like an old dog.”

    K. was quiet for a long time. He took a sip of his water and looked at the empty record player.

    “Enough,” he whispered. “I think I’ve been looking for ‘Everything’ when all I needed was ‘Enough’.”

    “It’s a common mistake,” I said.

    Outside, the city hummed with its millions of stories, but in our small corner, the architecture was sound. We sat there in the silence, two people in a quiet world, waiting for the night to deepen.

  • The Midnight Frequency of the Salted Shadow

    ねつ+ あぶら+ しお = Just Keep Livin

    heat + fat + salt = the frequency


    At exactly 3:17 a.m., the refrigerator in my kitchen began humming in a way that sounded like a low-frequency broadcast from a different dimension. Not a mechanical failure—just a purposeful, rhythmic thrumming, as if it were trying to remember a name it had forgotten in 1984.

    I was sitting at the table. Across from me sat S. He was wearing a trench coat that was still damp from a rain that hadn’t started yet. He looked at his empty palms like they were a map he couldn’t read.

    “The world’s getting thin, man,” S. whispered. “I can feel the static in my teeth.”

    I didn’t say anything. I just reached for a paper bag on the counter. It was a simple bag, but inside were the five gears of a cosmic engine.

    “You want to tune the frequency, S.?” I asked. “You want to find the green light in the fog? You gotta start with the chemistry of the common aisle.”


    1. The Medium: Cultured Butter

    I pulled out a block of gold-wrapped Butter. I set it on the table. It seemed to glow under the single, flickering bulb.

    “First, you got the Fat. This is the ‘slip,’ brother. It’s the lubricant for the metaphysical gears. See, the world wants to grind you down with friction. But when you melt this in a pan, you’re creating a workspace where things can finally move. It’s leverage. You’re telling the universe, ‘I’m making a choice here. I’m choosing to slide.’

    2. The Geometry: Maldon Salt

    I set a small box of Sea Salt next to it.

    “Look at these crystals, S. They’re tiny, hollow pyramids. Pure geometry. This is the Salt. It’s the Great Amplifier. It’s like turning the ‘gain’ up on a radio station that’s fading into the void. Salt doesn’t just season; it forces the world to be honest. It pulls the hidden dimensions into the light. That’s a real way to exist.”

    3. The Floor: Red Miso

    I reached into the bag and pulled out a tub of Miso. It was dark, dense, and smelled like a forest after a long winter.

    “This is the Umami. The ‘Ghost’ in the room. This is the Earth’s memory, fermented and packed into a jar. It’s that deep thrum that hits you in the chest and says, ‘You’re grounded. You’re safe.’ It’s the compound interest of the soul. You get it cheap, you let it build, and suddenly, you got a foundation that the wind can’t blow over.”

    4. The Spark: Chili Crunch

    I slid a jar of Chili Oil across the table. The red flakes swirled like a galaxy in a bottle.

    “And you need the Heat. A little bit of controlled friction. Because if everything is just smooth and savory, you’re gonna lose your edge. You need that sting on the tongue to remind the nervous system that it’s currently in the game. It’s the ‘just keep livin’ spark in the dark.”

    5. The Atmosphere: The Lemon Reset

    Finally, I pulled out a single, bright Lemon. It looked impossibly yellow, like a dream someone had left behind.

    “The fifth element, S. The Good Vibes. You squeeze this, and the acidity washes away the heaviness. It’s the ‘reset’ button. But it’s more than the juice. It’s the way you dim the lights. It’s the record you put on—maybe some Stan Getz or a solo piano that sounds like it’s raining inside the room. It’s the decision to turn a midnight snack into a sacred ceremony.”


    The Small, Irreversible Decision

    I looked at S. He was staring at the lemon as if it were a door leading out of the city.

    “You don’t need a mountain of cash to find a state of grace, man,” I said. “And you don’t need a map to find home. You just need to know how to work the ingredients. You take the Fat, you hit it with the Salt, anchor it with the Umami, spark it with the Heat, and wrap it all in Good Vibes.”

    I stood up and turned the burner on. The blue flame hissed—a quiet, focused sound. I dropped the butter into the pan.

    “The world’s gonna stay hollow, S. The refrigerator’s gonna keep humming its secrets. But in this kitchen? Right now? We’re building something durable. We’re tuning the frequency.”

    S. watched the butter melt. He finally smiled—a slow, real smile that looked like it had been a long time coming.

    “Alright,” he said.

  • The Alchemy of Bone and Breath

    かこのひかり

    ちのあじ

    いきるためのうた

    light of the past / taste of blood / a song for living


    I was sitting in a bar that smelled like damp wood and old regrets. The kind of place where the clock on the wall stopped in 1994 and no one felt the need to fix it. I was thinking about a man named Elias.

    He was a retired longshoreman I met years ago when I was drifting through a coastal town. His skin was the color of a tea-stained map, and his knuckles were swollen, resembling the smooth, grey stones you find at the bottom of a cold river.

    Elias didn’t give me advice. He gave me presence. Once, we sat for three hours on a pier watching the tide come in. He didn’t say a word until the sun hit the horizon. Then he looked at me and said, “The world doesn’t owe you a meaning. You have to carve it out of the silence.”

    That stayed with me. It was a raw, jagged piece of truth that I didn’t know what to do with until much later.

    The Library of Broken Things

    I’ve come to realize that we are all walking museums of everyone we’ve ever encountered. But it’s not just the mentors. It’s the strangers who left scars.

    I think of a story I once read about a man whose father was a “functional” alcoholic. Every night, the father would come home and meticulously sharpen his kitchen knives for an hour. He never used them for violence; he just sharpened them until they could slice through a thought. The son lived in a state of high-frequency terror, a constant, vibrating fear.

    But years later, that son became a world-class surgeon. He realized that the trauma had gifted him a hyper-awareness of precision. His father’s sickness had, through some dark alchemy, become the son’s saving grace.

    Every person is a lesson, but sometimes the lesson is wrapped in barbed wire.

    The Specificity of Influence

    If you look closely enough, everyone has a “specific knowledge” they are desperate to offload.

    • I think of the woman who lost her child and now grows the most beautiful roses in the county. She taught me that grief is just love with no place to go. She channeled that massive, destructive energy into the soil. She turned a void into a bloom.
    • I think of the man who spent ten years in prison for a crime he didn’t commit. When he got out, he didn’t seek revenge. He just sat in the park and watched the pigeons. He told me, “Anger is a luxury I can no longer afford. It takes up too much space where the sun should be.”

    These people are my teachers. They taught me that leverage isn’t just about money; it’s about the emotional capacity to stay soft when the world tries to sandpaper you into a stone.

    The Human Compound Interest

    We are taught to avoid the “toxic,” to delete the “negative.” But if you are playing the long game of the soul, you realize that even the betrayals are compounding assets.

    I read about a woman who was cheated on after twenty years of marriage. She felt like a hollowed-out shell. But in the vacuum of that loss, she discovered a version of herself that didn’t need external validation to exist. She found a “sovereignty” she never would have sought if she had stayed comfortable.

    True wealth is the ability to walk away from any table where respect is no longer being served. You only learn that by sitting at the wrong tables first.

    The Carpenter’s Ghost

    Back in the bar, I looked at my hands. They aren’t as scarred as Elias’s, but they carry the weight of everyone I’ve touched.

    I am a mosaic. I am a Frankenstein’s monster of other people’s habits, warnings, and quiet acts of bravery. I have the stubbornness of my mother, the silence of that longshoreman, and the precision of a man I only met once in a dream.

    The mindset of growth isn’t about being “positive” in a shallow, sunny way. It’s about being clinical. It’s about looking at a heart-breaking experience and asking: What is the nutrient here? What can I eat from this fire to grow stronger?

    I don’t want to live a life that is “unspoiled.” I want to be a used-up, well-read book, with notes scribbled in the margins by everyone I’ve ever loved or hated.

    The door of the bar opened. A stranger walked in, shivering from the rain. They sat down and ordered a drink, looking at the floor with a heavy, preoccupied gaze.

    I didn’t turn away. I leaned in. I waited. Because everyone is a book, and I am still learning how to read.

  • The Museum of Invisible

    くうき}

    かざる

    しずかなへや

    air / to decorate / a quiet room


    Recently, I learned how to move furniture that doesn’t exist.

    It happened on a Tuesday, or maybe a Wednesday. The days have been blending together lately, like watercolors left out in the rain. I was standing in my living room, looking at a bookshelf I had just arranged. It was perfect. The books were color-coded. The small cactus was placed at the exact angle where the afternoon sun would hit it. A vintage record player sat in the corner, silent, looking very pleased with itself.

    I took a photo. I posted it. I waited for the digital applause.

    But then, I sat down on the sofa and felt a draft. Not a physical draft—the windows were closed—but a draft inside my chest. It was a hollow, whistling wind.

    I realized then that I was living in a showroom. The outside was curated, polished, and ready for inspection. But the inside—the room where I actually lived, the room behind my ribs—was empty. Or worse, it was filled with junk I hadn’t looked at in years.

    This is the skill I have been learning: Interior design for the invisible.

    The Unopened Boxes

    We spend our lives decorating the exterior. We buy the coat, the car, the degree. We learn how to speak at dinner parties about politics and wine. We learn how to smile in a way that suggests we are essentially fine, even when we are not.

    But no one teaches us how to furnish the soul.

    I imagine the soul as a small, quiet apartment in a part of the city that the trains don’t reach. For years, I treated this apartment like a storage unit. I shoved things in there and closed the door.

    • Box 1: The time I said the wrong thing to a person I loved and never apologized.
    • Box 2: The ambition I gave up because it was safer to be average.
    • Box 3: The fear that I am fundamentally boring.

    They were all there, piled up, collecting dust. The windows were dirty. The air was stale.

    The lesson I learned is simple but terrifying: You have to open the boxes.

    You cannot decorate a room that is full of garbage. You have to clean it first. And cleaning the soul is not like cleaning a kitchen. There is no spray for regret. You have to pick it up, hold it in your hands, feel its weight, and then—this is the hardest part—you have to carry it out the door.

    The Softness of the Walls

    Once the room is empty, you must decide what to put in it.

    I used to think strength meant having walls of steel. I thought being an adult meant being impervious. If you couldn’t be hurt, you won.

    But I have learned that a soul with steel walls is a prison. It is safe, yes, but nothing can get in. Not light. Not music. Not the smell of rain.

    So, I am learning to re-decorate with softness.

    I am hanging curtains made of forgiveness. Not just forgiveness for others—that is relatively easy—but forgiveness for myself. For the version of me that was weak. For the version of me that didn’t know better.

    I am placing a rug on the floor made of patience.

    In the modern world, we want healing to be like an Amazon delivery. We want it overnight. We want to click “Confirm Purchase” on a better version of ourselves.

    But the soul operates on a different time zone. It operates on tree time. It operates on cat time. It grows slowly, in the dark, when you aren’t looking.

    Decorating your soul means accepting that the renovation will never be finished. You will never stand back and say, “There. It is done.” There will always be a new corner that needs light. There will always be a floorboard that creaks.

    The Guests You Allow In

    The most critical part of this new skill is security. Not locks and alarms, but curation.

    For years, I let anyone walk into my inner room with their muddy shoes.

    If someone was loud, I let them in.

    If someone needed me to be small so they could feel big, I let them in.

    If someone loved me only when I was useful, I let them in.

    I was running a hotel with no front desk.

    Now, I am learning to be the doorman.

    I am learning to look at the people in my life and ask: Does this person bring light into the room? Or do they break the furniture?

    It is a painful process. You have to ask some people to leave. You don’t have to shout. You don’t have to make a scene. You just gently open the door and say, “I’m sorry, but there is no space for you here anymore.”

    And then you invite the others. The ones who bring warmth. The ones who sit quietly on the sofa and listen to the music. The ones who see the cracks in the wall and don’t try to fix them, but simply say, “Ah, yes. A crack. The light comes in through there.”

    The Meaning of the Object

    I am currently sitting in a café, writing this. The coffee is lukewarm. The jazz playing is something from the late 50s, a saxophone that sounds like it’s recounting a long, complicated dream.

    I am practicing the skill of collecting moments.

    These are the ornaments of the soul.

    • The way the light hits the water in the glass.
    • The feeling of fresh sheets on a Sunday night.
    • The specific silence after a good conversation ends.

    I collect them. I polish them. I place them on the invisible mantelpiece inside my chest.

    When the world gets loud—and it is always getting louder—I can retreat into this room. I can sit in the chair I built out of resilience. I can look at the paintings I made out of joy. I can feel the warmth of the fire I lit with my own honesty.

    It is not a perfect room. It is small. It is sometimes messy.

    But for the first time in my life, it feels like home.

    And I think, perhaps, that is the only lesson worth learning. That we are not just the architects of our careers or our social profiles. We are the curators of our own inner peace.

    So, if you see me staring into space, doing absolutely nothing, do not worry.

    I am just hanging a picture in the hallway of my mind.

    I am just watering the plants in the garden of my chest.

    I am just decorating.

  • The City That No Longer Exists

    かえりたい

    あのころの

    ゆうぐれ

    want to return / to those days / the dusk


    People ask me: “What city do you want to visit next? Is it Rome? Is it Kyoto? Is it Buenos Aires?”

    They expect me to name a place on a map. They expect a coordinate that can be found on a GPS.

    I looked at the departures board. I looked at the scrolling list of bright, modern destinations.

    “None of them,” I said.

    “The place I want to visit does not accept flights anymore. It doesn’t even exist in this time zone.”

    I want to go back to my village. But not the village as it stands today, with its fiber optic cables and its paved roads.

    I want to go back to the village before the turn. Before the technology curve went vertical like a hockey stick. Before the screen became a wall between us and the world.

    The Warmth of the Giant’s Hand

    I want to visit a Tuesday afternoon in 1996.

    In this city, I am very small. My perspective is low to the ground. The world smells of dust and laundry detergent.

    I am walking down a dirt road. I am holding my mother’s hand.

    That is the entire itinerary: Holding her hand.

    Her hand feels huge, warm, and invincible. In that moment, there is no vibration in her pocket. There is no notification pulling her mind away to a server in California. There is no email waiting.

    She is entirely there. She is looking at the trees. She is looking at me. We are walking at the speed of human legs, not the speed of information.

    I want to go back to that specific silence. The silence where you could hear the wind moving through the wheat, and you knew, with absolute certainty, that you were the most important thing in her universe.

    The Analog Tribe

    I want to walk to the playground at the edge of the woods.

    In the city I live in now, the parks are full of parents staring at blue light, and children taking photos of the slide.

    In the village of the past, the playground is a war zone. It is raw. It is real.

    I want to see the version of myself that had scraped knees and dirty fingernails. I want to see my friends—not their avatars, not their profiles—but them.

    We are running. We are screaming. We are playing a game with rules we invented five minutes ago. There is no record of this game. No one is filming it. No one is posting it.

    If we are bored, we sit in the dirt and look at ants. We do not scroll. We dissolve into the boredom until it becomes imagination.

    We were more human then. We were animals, happy and tired, running under a sun that felt yellow, not white. We were not users. We were just boys.

    The Ghost Town

    But I know the truth.

    If I bought a ticket to that village today, I would not find it. The houses are there, but the air has changed. The signal is everywhere now. The invisible web has covered the roofs.

    The village I want to visit is a ghost town. It exists only in the amber of memory.

    I want to go back not because I hate the future, but because I miss the weight of reality. I miss being a person who was defined by who he was with, not who he was connected to.

    I want to feel the rough skin of my mother’s hand, unmediated by a device. I want to feel the exhaustion of running until my lungs burn, unmeasured by a fitness tracker.

    I want to go home.

    But the train only goes forward. So I sit in my seat, I close my eyes, and for a moment—just a moment—I let myself walk down that dirt road, feeling the warmth of a sun that set a long time ago.

  • The Unworn Raincoat

    まよなか

    きいろいかげ

    すがお

    midnight / yellow shadow / the naked face


    At exactly 3:17 a.m., the refrigerator began humming in a way I had never heard before. Not louder, not broken. Just purposeful. It sounded like a large, metallic lung trying to remember how to breathe, inhaling the silence of the kitchen and exhaling a low, vibrating regret.

    I was sitting at the wooden table, my hands cupped around a mug of cold coffee I had forgotten to reheat three hours ago. The liquid was black and flat, like a pond where nothing lives.

    Outside, the streetlight flickered with the patience of someone waiting to be forgiven. The city felt hollow, scooped out. It was as if the buildings were just cardboard props, and all the people had stepped out for a cigarette and forgotten to come back.

    That was when the cat appeared.

    I do not own a cat. I am not especially fond of them either. I prefer dogs, or silence. But there it was, sitting on the counter next to the toaster. It was gray, the color of wet pavement, and entirely unremarkable. It was licking its right paw with professional concentration.

    It stopped, looked at me with eyes the color of old moss, and spoke.

    “You are early,” the cat said. Its voice was dry, like leaves scraping across asphalt.

    “For what?” I asked. I was not surprised it spoke. At 3:17 a.m., in a hollow city, surprise felt like an unnecessary expenditure of calories.

    “For the shift,” it replied. “For becoming someone else.”

    I stirred my coffee with a spoon, even though there was nothing left to dissolve. The clink of the metal against the ceramic sounded violent in the quiet room. Somewhere deep inside the walls of the apartment, the pipes knocked twice. Thud. Thud. A cautious agreement.

    The Man in the Window

    The cat jumped down from the counter. It moved like liquid shadow. It walked to the window and sat on the sill, its tail twitching.

    “Look,” the cat said.

    I looked.

    Down on the street, under the flickering light, a man in a bright yellow raincoat stood perfectly still.

    It was not raining. The pavement was dry. The sky was clear and indifferent. Yet, he was buttoned up to his chin. He was staring up at my building, at my specific window. He was holding a paper bag that sagged at the bottom, heavy with invisible weight.

    “You could become him,” the cat continued, nodding toward the glass. “He is very reliable. He has a pension. He has opinions about politics that everyone agrees with. He is safe.”

    The cat turned its head back to me.

    “Or you could become me. I sleep eighteen hours a day and I do not pay taxes. Most people pick something convenient at this hour. The membrane is thin at 3:00 a.m. You can slip through.”

    “I was planning on staying myself,” I said.

    The cat considered this. Its tail stopped moving. It stared at me with a mixture of pity and boredom.

    “That is the hardest option,” it said. “To be yourself, you have to give things up.”

    “Dreams?” I asked.

    “No,” the cat said. “Habits. You have to give up the habit of being liked. You have to give up the habit of the yellow raincoat.”

    The Smell of Oranges

    The refrigerator stopped humming abruptly. The silence that rushed back into the room felt heavier than before. It had texture. It felt like velvet.

    Suddenly, I could smell oranges. Sharp, citric, peeling oranges. There were no oranges in my apartment. There was only stale coffee and bread. But the smell was overwhelming, brighter than the light.

    When I blinked and looked back, the cat was gone.

    The counter was empty.

    I looked out the window. The man in the yellow raincoat had disappeared too. There was no footprint. There was just the streetlight, buzzing with its quiet, electrical resolve.

    I finished the cold coffee. It tasted bitter, muddy, and exactly like it should. It tasted like reality.

    At 3:18 a.m., I stood up. I turned off the kitchen light. And I felt, for reasons I could not explain to anyone, that I had made a small but irreversible decision.

    The Legacy of the Unworn Coat

    Which brings me to the question. You asked, “What is one thing you hope people say about you?”

    I do not want them to say I was successful. Success is just a matter of timing and gravity.

    I do not care if they say I was talented, or charming, or that I was the smartest person in the room. Those are just costumes. Those are yellow raincoats we put on to keep the world from touching our skin.

    I hope that, when they look at the empty space I used to occupy, they say this:

    “He never drifted.”

    I hope they say that when the cat appeared, when the convenient identities were offered, when the world handed me a script and told me to read it, I put it down.

    I want them to say that I did the hard, heavy work of remaining myself.

    It sounds simple, but it is a constant war. It is a war against the urge to please, the urge to fit, the urge to wear the coat because everyone else is wearing one.

    I want to be remembered as someone who was the same person in the dark of the kitchen at 3:00 a.m. as I was in the bright, noisy light of the afternoon.

    I want them to say: He didn’t wear the mask. He was just… him.

  • The Gravity of the Smallest

    小さな影

    かける

    とびこむ

    small shadow / running / diving in


    The smell of a brand new eraser is strange. It smells like ozone. It smells like a mistake that hasn’t happened yet.

    I remember my first day of school. It was a Tuesday in September. The light was sharp, cutting long, dark shadows across the gravel of the schoolyard. I stood by the iron gate clutching a backpack that was absurdly large for my shoulders. It felt less like a bag and more like a parachute.

    Years later, I walked into a glass tower for my first real job. The air conditioning was humming at a frequency that vibrated in my teeth. The carpet smelled exactly like that eraser.

    The feeling in my stomach was identical. A mix of electricity and vertigo.

    I was the youngest person in the room. Again.

    The Shortcut

    It wasn’t a clever plan. It was just a stubborn desire not to be left behind.

    Back in the village, time didn’t move in hours; it moved in friendships. All the kids I played with were born a year before me. When September came, they were crossing the river to the “big school,” and I was scheduled to stay in the nursery.

    I didn’t care about the curriculum. I just wanted to be where the noise was. So, through some loophole or parental exhaustion, I slipped through the gate a year early.

    I didn’t realize it then, but I had voluntarily walked into a room where I was the weakest link.

    Running Uphill

    On that first day, the physics of the situation settled on me.

    I was the shortest. The wooden desk felt like a cliff I had to climb. The blackboard seemed like it belonged to a different time zone.

    When you are the smallest, you cannot take up space. You don’t have the luxury of weight. So you have to trade mass for speed.

    To keep up with the older kids, I had to run faster. To get the joke, I had to listen harder. While the tall kids could just stand there and be seen, I had to vibrate. I had to be denser.

    I felt like I belonged—these were my friends—but I also felt the gap. A quiet, burning engine started in my chest. I wasn’t trying to win; I was just trying to justify my presence.

    The Glass Tower

    Cut to the office, fifteen years later.

    I sat at a conference table that looked like a frozen lake. Everyone else was older. They wore suits that fit. They spoke with the slow, heavy confidence of people who had been doing this for a decade.

    I felt that old vertigo. The “kid.”

    But I wasn’t afraid. I knew this feeling. I knew the rules of this specific gravity.

    When you are young, you have no status. You have no territory to defend. The older colleagues were heavy with experience, moving slowly, protecting what they knew. They were static.

    I was light. I was empty.

    I knew that if I wanted to stay in the room, I had to do what I did in the schoolyard. I had to run. I treated the gap in experience not as a hole, but as a space to fill with sheer, raw curiosity.

    The Eternal Chase

    I sat there, listening to the hum of the computers, and felt a strange affection for my six-year-old self.

    He just wanted to play. He didn’t know he was setting up a lifetime of chasing. He didn’t know that by surrounding himself with people who were ahead of him, he was forcing his own evolution to speed up.

    It’s funny how a small thing—just wanting to hang out with your friends—can bend the shape of your life.

    If you are always the youngest, you never get comfortable. You never get to sit back and be the expert. You are always watching. You are always becoming.

    I adjusted my chair. It was too big. I took a breath of the recycled air.

    I was small. I was new. And I had a lot of running to do.

  • The Geometry of Absence

    こうか

    しゅうしゅう

    ふくりのせいしん

    leverage / subtraction / the spirit of compounding


    It was 10:00 AM. The café was full, the air heavy with the low roar of conversation and the mechanical clatter-clatter of the espresso machine. Sunlight, hard and white, sliced through the window, highlighting the dust motes dancing in the air like confused, tiny spirits.

    I was sitting across from a writer of short stories. He was meticulously arranging sugar packets into a small, fragile tower, his focus total.

    “What could you do less of?” he asked, without lifting his eyes from the packets. His voice was quiet, almost lost in the café’s sound. “Not what you should do less of. But what you could. What’s the low-leverage time in your existence?”

    I looked at the sunlight hitting the polished wooden table. It illuminated the dust, but nothing essential.

    “Sitting,” I said.

    He paused, a sugar packet hovering in his fingers. “The physical act of it?”

    The Static Tax on Time

    The body is a machine built for movement. It is designed to track prey, to follow the contour of the earth, to walk. But we have confined it. We sit. We allow the gravity of the chair to hold the blood still, to slow the internal computation.

    I could do less of this sedentary existence. I could peel myself from the chair and simply move. Walking is often mistaken for travel, but it is not. Walking is the most direct way to generate clear thought. It is the time the mind is forced to organize itself without the blinding distraction of the screen.

    When you walk, you gain leverage. You improve your physical structure—the foundation of all wealth—and you process the tangled problems you couldn’t solve while static. The static chair is a tax levied on your most precious asset: time. It creates no leverage. It simply collects dust.

    The Status Game of Noise

    “What else?” he asked. The sugar packet tower collapsed with a soft rustle. He began building another.

    “Noise,” I said. “The relentless, self-generated sound.”

    We have created a world where genuine silence is treated like a biological threat. We fill every vacuum with external voices, music, notifications, and the endless, cyclical drama of the feeds.

    This constant input is not about learning. It is often about measuring yourself against the external world—the status game. Who is winning? Who is correct? The noise ensures you never hear the simple, unattached truth of your own desire.

    The truly high-leverage decision is to seek solitude. I could walk away from the carefully constructed digital village and find the pure, unadulterated vacuum of my own thoughts. Silence is the only place to hear the fundamental question: What do I actually want, stripped of external expectation?

    I could do less of the need to be in tune. I could allow the noise to cease, and just listen to the blood moving in my own ears, and the quiet, compound interest accruing in the space between thoughts.

    The Trade of Happiness

    “And the last one?” he asked. His new tower was symmetrical, perfect.

    “Artificial dopamine,” I said. “The shallow reward.”

    We are addicted to the instantaneous hit: the like, the solved puzzle, the minor validation. This system is designed to sell you future happiness for a present hit. It is a trade we make dozens of times a day.

    The high-leverage path is to actively seek the friction of complexity. I could walk away from the quick fixes and dive into the deep, dark ocean of a real, difficult problem—the kind that scrapes your brain raw, that takes weeks to even begin to untangle.

    The quick reward is linear. It vanishes. But the sustained effort on a complex problem—the development of a hard, fundamental skill—that reward is compounding. It accrues value while you sleep. I could do less of the things that leave me feeling empty five minutes later, and more of the things that create lasting, self-sustaining structures.

    The café began to thin out. The sun shifted, painting new patterns on the floor. My friend’s sugar packet tower stood tall, but looked precarious.

    “It is not about doing less,” I summarized. “It is about subtraction. Removing the static, removing the low-leverage activities, so the fundamental signal—the work, the silence, the walk—can finally get through.”

    I stood up. My legs felt stiff. The small movement was a small act of defiance against the gravity of the chair, against the noise of the game, against the promise of the instant hit.

    I left the café and walked out into the sharp, indifferent light of the city, ready to engage with the beautiful, brutal complexity of the world, one calculated, high-leverage step at a time.

  • The Architecture of Quiet Sustenance

    ちょうわ

    きそく

    ただつづく

    harmony / rhythm / simply continuing


    The kitchen was cool, settling into the early morning light. It was 6:00 AM. The coffee machine emitted its low, steady hum, a familiar, mechanical sigh. I watched the sun climb the windowpane, turning the condensation into streaks of soft, pale gold. This hour is for taking inventory.

    People often ask about the large victories of the past year—the ones that announce themselves loudly. But for me, the most significant positive events were quiet, structural adjustments. They were about achieving a sustainable rhythm.

    I started to write this blog a year ago, primarily as an internal necessity, a process for sorting the signal from the noise. That the words found an echo, that they gathered a small, dedicated audience, was a profound and unexpected form of connection. The reflection became shared, and for that, I am deeply grateful.

    The Two Rooms of Stability

    The foundation is simple: the stability of the people I love.

    My parents are well. They are anchored to the physical world, living off their own land, their rhythms dictated by the slow, honest cycle of the seasons. They are rooted.

    My own life, by contrast, is built on abstraction—the fluid, continuous effort of living off my own mind. My work relies on turning fleeting observation into durable language. The success of the past year was achieving stability in both disparate systems: the security of the soil and the quiet function of the skull.

    The Geometry of Care

    The past year has been defined by deliberate maintenance.

    This effort extended to my old friendships. They are the necessary reference points against which I measure my own internal drift. They are the fixed points on the map. I ensured those wells remained clean and deep.

    I welcomed the newness. The new travel stories and the new friends collected along the way were essential input—like changing the water in a vase. They brought in fresh frequencies, required for the mind to keep its edge and continue to learn and grow.

    I took rigorous care of the self. This was the simplest, most profound task.

    I took care of my mind, feeding it purpose and space. I took care of my body, respecting its limitations and giving it necessary movement and fuel. I took care of my soul, letting it rest.

    Rest is not a failure of ambition; it is the most active phase of growth. It is the moment the entire system integrates the complexity. It is the crucial counterpoint to the chaotic noise of the world.

    The ultimate victory is not a grand, singular event. It is the simple, quiet continuation of the cycle. I am well. I am working. I am learning. I am resting.

    The coffee is finished. The cup is empty. The kitchen is fully illuminated now. The structure holds.

    All that is required is the next necessary action. To simply keep on livin’.

  • The Domesticated River

    ひかりの檻

    むれをなす

    わすれたきおく

    cage of light / forming a herd / forgotten memories


    Someone asked me recently: “Do you ever see wild animals?”

    The question was innocent enough. They probably expected a story about a fox in the snow in Hokkaido, or a bear sighting in the mountains.

    I drank my coffee. It was lukewarm and tasted faintly of paper.

    “I see them every day,” I said.

    “Really? Where?”

    “In Shinjuku,” I said. “Thousands of them.”

    The Concrete Current

    It was 5:30 PM on a Thursday. The sky was the color of a wet slate. I was sitting on a wooden bench near the South Exit of Shinjuku Station.

    If you have never been there, you cannot understand the scale of it. It is not a crowd. It is a hydrological event. It is a flood.

    I sat still and watched the mass of humanity flow past me. They moved as one single, terrifying organism. A river of black coats, grey suits, and white masks. They flowed around obstacles like water. They split into streams and re-converged.

    To the untrained eye, this looks like civilization. It looks like order. It looks like a high-functioning society commuting home.

    But I looked closer.

    I looked at the eyes.

    The Invisible Leash

    Almost every person in that river was holding a rectangle of glass.

    Their heads were tilted down at a forty-five-degree angle. Their faces were illuminated by the pale, blue glow of the screen.

    They were walking fast, with purpose, but they were not navigating by the stars. They were not navigating by the smell of the wind or the shape of the terrain.

    They were following a signal.

    We like to think we have evolved past our instincts. We think we are rational beings who make conscious choices. But sitting on that bench, I realized that is a lie. We are still wild animals. We are still driven by the lizard brain. We are driven to seek reward and avoid pain.

    The difference is the source of the signal.

    Ten thousand years ago, the signal was the scent of a predator or the color of a ripe berry. It was a signal from the real world. It kept us alive.

    Now, the signal comes from the cloud.

    I watched a young man walk past. He was wearing expensive headphones. He was staring at a map on his phone. He almost collided with a woman who was staring at a social feed. They swerved at the last second, not because they saw each other, but because their peripheral vision detected a shadow.

    They were blindsided.

    They were wild animals who had been tricked. Their instincts—the deep, biological drive to connect, to find information, to seek status—had been hijacked by the silicon in their hands.

    They were migrating, yes. But they were migrating into a cage.

    The Digital Pheromone

    I closed my eyes and listened. The sound of Shinjuku is a roar. It is the sound of tires, announcements, footsteps, and the relentless, digital chime of notifications. Ping. Whistle. Buzz.

    These are the new pheromones.

    We follow them with the same blind obedience that an ant follows a chemical trail. We think we are free, but we are being steered. We are being herded by algorithms that know our biology better than we do.

    We have domesticated ourselves. We have traded the chaos of the forest for the safety of the feed. We have traded the danger of the wild for the comfort of the loop.

    And in the process, we have gone blind. We walk through the world, but we do not see it. We see a render of it. We see the map, never the territory.

    The Stray

    I opened my eyes.

    Across the stream of people, near a vending machine, a crow landed.

    It was a large jungle crow, its feathers black and oily. It hopped on the asphalt, pecking at a discarded onigiri wrapper. It looked up. It looked left. It looked right.

    It was alert. It was watching the wind. It was watching the people. It was watching me.

    It was the only thing in that entire plaza that was actually here.

    It looked at me with a sharp, obsidian eye. It seemed to ask: Why are they all sleeping while they walk?

    I looked back at the crow. I nodded.

    The stream of people continued to flow, a river of blue light and bent necks, rushing toward the turnstiles, rushing toward the next notification, rushing away from the wildness that still lives in their blood, waiting to be remembered.

    “Yes,” I thought. “I see wild animals.”

    But most of them have forgotten how to howl.

  • The Map of the Dissolved Self

    とける

    いま

    そこということ

    dissolving / now / the meaning of “there”


    The map on the wall of the jazz kissaten was old. It was a map of the world from 1970, the borders drawn in faded, impossible pastel colors. Borders that no longer existed. Nations that had vanished.

    I was sitting at the counter. The whiskey was amber. It was cold. It tasted of peat and salt. The woman next to me was looking at the map. She had a small, sharp scar above her left eyebrow. She traced the coastline of Sicily with a fingernail painted the color of dried blood.

    “What is your favorite place?” she asked. Her voice was flat, like a calm lake. “Of all the places you have opened your eyes. The one coordinate you would return to.”

    I looked at the map. I looked at the vast, featureless blue stretches of the Pacific.

    “That question is broken,” I said.

    “Broken?”

    “A place is not a physical structure,” I said. “It is not made of bricks or trees or GPS coordinates. A place is a container for time. And my favorite places are the ones where the time dissolved.”

    The Architecture of Nothing

    I spun the ice in my glass. Clink. The sound was sharp, precise.

    “My favorite place,” I said, “was a cramped, dusty bookstore on a back alley in London. It smelled of mildew and paper that had seen too many lives. Geographically, it was a fire hazard. A dark corner.”

    “Why there?”

    “Because I found a book there. It was a first edition of a forgotten poet. I stood in the aisle and read the first thirty pages without moving. The book was a tunnel.”

    I paused. “I entered the Flow. The walls dissolved. The smell of mildew vanished. The noise of the traffic outside vanished. I wasn’t in London anymore. I wasn’t even in my own skin. I was pure consciousness, suspended in a beam of dusty light, orbiting words.”

    She looked at me. The scar above her eyebrow seemed to deepen. “So the place was the dissolution of the self.”

    “Exactly. The place was the total absence of friction. It was the moment the I disappeared. Any place that allows you to disappear is a holy place. It is a vacuum. It is perfect.”

    It could be a mountaintop, so high the air burns your lungs. It could be a laundromat at 2:00 AM, watching the clothes tumble. It could be a desk where you are writing a sentence that finally feels true, a sentence that bleeds onto the page. If you are in the Flow, if you are truly present, the geography becomes perfect. The stained carpet becomes beautiful. The rain against the window becomes a symphony. The pain of your feet disappears.

    The Witness of the Void

    “But it is not just the Flow,” I said. “It is the Witness.”

    “The Witness?”

    “I had a meal once,” I said. “In a plastic tent on the side of a highway in Fukuoka. It was freezing. The wind was shaking the plastic walls like a monster trying to get in. We were eating ramen on rickety stools.”

    “That sounds miserable,” she said. Her voice was still flat.

    “It was the best place on earth,” I said. “Because I was with a friend who understood silence. We didn’t need to talk. We just ate the hot noodles, shoulders touching, watching the steam rise. We were sharing the exact same, brutal reality at the exact same moment. We were two animals in a cave.”

    I took a sip of the whiskey. The ice was melting, diluting the sharp edges.

    “A place is defined by the people who witness its emptiness with you. If you are with the wrong person, the Louvre is just a crowded hallway of dead paint. If you are with the right person, a 7-Eleven parking lot at 3:00 AM is a cathedral of human longing.”

    The Portable Map of Now

    I looked back at the faded map on the wall. The old borders. The vanished names.

    “We spend our lives chasing destinations,” I said. “We book flights. We climb towers. We think if we change the background, we will change the movie. But we don’t. We just carry our noise with us. We carry our distraction with us. We stand in front of the Grand Canyon and check our emails. We are physically there, but we are spiritually absent. So the place is empty. It is a hollow shell.”

    “So where is your favorite place?” she asked again. Her voice was a low hum now, like the refrigerator in the next room. “Right now.”

    I looked at the amber liquid in my glass. I listened to the jazz track playing—a slow, breathy saxophone solo that seemed to hang in the air like smoke, filling the cracks in the silence. I looked at the way the light hit the small, sharp scar above her eyebrow.

    “Here,” I said.

    “Here? In a basement bar?”

    “Yes. Because right now, I am not thinking about tomorrow’s debt. I am not regretting yesterday’s mistakes. I am tasting this whiskey. I am hearing this music. And I am talking to you. My self has dissolved, just for a moment.”

    I put the glass down. It made a soft thud.

    “This is the Flow. This is the Witness. This is the only coordinate that exists.”

    She smiled, a slow, genuine smile that changed the geometry of the room. The scar above her eye seemed to vanish.

    “Then I guess we have arrived,” she said.

    “Yes,” I said. “We have arrived.”

  • The Liquid Clock

    とけい

    かわるかたち

    みずのごとし

    clock / changing shape / like water


    We were sitting in a 24-hour diner near the highway. It was an ambiguous hour—perhaps late night, perhaps early morning. The sky outside was the color of a bruised plum.

    The woman across from me was stirring sugar into her third coffee. She looked at me with the intensity of someone trying to categorize a specimen.

    “Are you an early bird or a night owl?” she asked. “You have to be one. It’s biology.”

    I looked at my own cup. The black liquid was perfectly still.

    “It’s not biology,” I said. “It’s geometry.”

    “Geometry?”

    “It’s about fitting into the shape of the container,” I said. “I am both. Or rather, I am neither. I am whatever the ecosystem requires me to be.”

    The Bone Memory of 4:00 AM

    “If you cut me open,” I said, “my DNA probably spirals in the shape of a sunrise. That is the factory setting.”

    I grew up in a family with a restaurant. For my entire childhood, and well into the years when I should have been sleeping in, my “normal” was waking up while the rest of the world was in deep REM sleep.

    I remember the specific silence of 4:30 AM.

    It is a different species of silence than midnight. Midnight is tired; 4:30 AM is expectant. It was heavy with potential. It was the smell of prep work—the sharp acidity of onions, the deep umami of stock beginning to boil, the cold, damp air of the wholesale markets.

    That rhythm was burned into me. It wasn’t a choice; it was survival. You wake up because the broth takes six hours. You wake up because the delivery truck does not wait. Deep down, part of me will always be that person who finds peace in the grey, cold light of dawn.

    The Neon Shift

    “But then,” I continued, “the container changed.”

    Life happened. I left the kitchen. I entered industries that didn’t sleep, or perhaps, slept all morning. Suddenly, being awake at 5:00 AM didn’t mean productivity. It meant sitting alone in the dark with nothing to do, while the real work happened under the artificial sun of midnight.

    “I had to molt,” I said.

    “Molt?”

    “Like a reptile. I had to shed the skin of the morning person.”

    I learned to love the silence of 2:00 AM just as much as I loved the silence of 4:00 AM. I realized that the time on the clock is irrelevant. The common denominator is the solitude. It is the quiet space where the work gets done.

    The Architecture of Adaptation

    “Here is the truth,” I said. “We like to think our circadian rhythms are set in stone. We like to think they are personality traits. ‘I’m a morning person’ sounds like a moral stance. ‘I’m a night owl’ sounds like a lifestyle choice.”

    I shook my head.

    “But humans are masters of adaptation. Your routine is not a personality trait; it is a response to your environment.”

    When the environment demanded early mornings to feed a community, I was a creature of the sun. When the environment demanded late nights to meet deadlines across time zones, I became a creature of the neon light.

    “So, what are you?” she asked again.

    “I am water,” I said.

    I poured a little more coffee into my cup. It took the shape of the vessel perfectly.

    “I find the rhythm that the work requires, and I make it my home. If the world needs me at dawn, I am there before the birds. If the world needs me at midnight, I am there with the ghosts.”

    We are not defined by the hour hand. We are defined by our ability to sync with the chaos.

    I drank the coffee. It was hot, bitter, and necessary. Outside, the sky began to lighten, just a fraction.

    “I suppose that makes sense,” she said.

    “It’s survival,” I said. “Simple as that.”

  • The Costume of Silence: Surviving the Age of Friction

    まさつ

    きょり

    しずかなるよる

    friction / distance / quiet night


    The coin laundry near the station is a place where time ceases to function in the usual way. It was 2:45 AM, a Tuesday, or perhaps already a Wednesday. The distinction felt irrelevant. The air inside smelled of heated cotton, chemical lemon, and the damp, metallic scent of rain that had been falling steadily on Tokyo for three days.

    I was sitting on a yellow plastic chair that was bolted to the floor. Across from me, my clothes were tumbling in the dryer—a mesmerizing, rhythmic blur of grey and white. Thump. Swish. Thump.

    A jazz record was playing in my head, a slow baritone saxophone piece by Gerry Mulligan. The music seemed to match the rotation of the machine.

    Someone recently asked me a strange question. They asked what my two favorite things to wear are. They were expecting an answer about the texture of cashmere or the fit of a specific brand of denim. They wanted a conversation about fashion. But as I watched the dryer spin, I realized that for me, clothing has ceased to be about aesthetics. It has become a matter of structural engineering. It has become about armor.

    I have started to realize lately that talking with people—even friends I have known for years—feels like sandpaper to the brain.

    The texture of social interaction has shifted. It used to be smooth, a rhythmic exchange of energy like a well-played game of catch. Now, it is rough. It scrapes. It leaves a residue. I have noticed that the person I am speaking to will almost invariably take every single thing I say, or other people say, as a personal slight or a subject for immediate, high-stakes debate.

    The conversation is no longer a shared landscape where two people can walk together. It has become a contest for territory.

    You could be talking about a simple life experience. You could be talking about the taste of cold beer on a hot afternoon, or the way the light hits the train tracks at dusk. It does not matter. The person across from you will cut you off mid-sentence to pivot the narrative back to their own point. They will hijack the frequency.

    They often add the automatic, hollow buffer: “I’m sorry to interrupt, but…”

    They say this without ever correcting the behavior. The apology has become part of the attack sequence, a polite noise made before the knife goes in. It is concerning to me that this conversational narcissism has become so utterly normalized. The debate mentality has infected the quiet, neutral spaces of our lives. We are no longer listening to understand. We are waiting for our turn to speak. We are waiting to correct. We are waiting to win.

    I used to be extremely extroverted. I fed on the energy of the room. I sought out the noise. But because of this adverse disconnect, this constant, low-level friction, I have retreated. I simply do not have the emotional energy to keep doing it.

    I miss the conversations of high school. I miss sitting in a friend’s basement with the lights low, bouncing from topic to topic effortlessly. There was no agitation. There was no agenda. There was just the flow of ideas, drifting like smoke.

    So, to answer the question: my favorite things to wear are not clothes. They are defense mechanisms.

    My first favorite thing to wear is a metaphorical costume.

    Think of it as the Mickey Mouse suit at Disneyland.

    When I step out of my apartment and into the abrasive world, I put on this costume. It is a surface designed to be looked at, but not penetrated. It is a layer of pleasant, impenetrable neutrality. I nod. I smile. I offer the correct, non-committal responses. “Is that so?” “I see.” “That’s an interesting perspective.”

    For all they know, I am the mascot. I am the character on the surface.

    This costume allows me to be present without being targeted. If someone wants to debate, they are debating the costume. They are arguing with the plastic shell. The real person—the one who feels the friction, the one who remembers the quiet basement conversations, the one who just wants to share a thought without being dissected—is safely tucked away underneath, far below the surface.

    This is not deceit. It is emotional preservation. It is a necessary distance. It reduces the drag on my soul. It allows me to navigate the sandpaper society without getting scraped raw.

    My second favorite thing to wear is an internal coat of silence.

    This is the garment I wear on the inside, wrapped tight around my ribs.

    When the interruption happens, when the person cuts me off to launch their monologue about why my opinion on pasta is sociopolitically incorrect, I pull this coat tighter. I step back into the observer’s seat.

    I listen to the cadence of their voice, but I do not let the words hook into me. I treat their words like the rain outside the laundromat window. It is just weather. It is loud, it is wet, and it is persistent, but it cannot touch me if I stay inside the coat.

    This silence is not empty. It is heavy and rich. It is the space where I keep my own thoughts safe from the friction of the debate culture. It is where I remind myself that I do not need to win. I do not need to be right. I do not need to convince this person of my humanity. I just need to remain whole.

    The dryer buzzed. A harsh, mechanical sound that signaled the end of the cycle. The machine stopped. The momentum died.

    I opened the door and pulled out the warm clothes. They smelled of lemon and heat. I folded them on the folding table—shirt over shirt, sleeve over sleeve. The logic of folding is perfect. It is one of the few things in life that remains exactly as you left it. It does not argue back.

    I put on my grey jacket. I checked my reflection in the dark window of the laundromat.

    I looked like anyone else. A shadow in a room full of machines. A person ready to walk out into the abrasive, noisy night.

    But underneath the grey wool, I was wearing the silence. I was wearing the distance. I was safe. And for now, in a world that has forgotten how to listen, that is the only way to survive.

  • A Liquid Crystal Void

    ノイズ

    きかいのおと

    むいみ

    noise / the machine’s sound / futility


    The fluorescent light in the breakroom hummed—a high, sterile whine that seemed to exist just above the register of conscious thought. It was 4:00 AM, the hour of mechanical clarity. The air smelled of burnt coffee grounds and antiseptic cleaner. The ventilation system sighed, pulling the humid air into its relentless, rhythmic cycle.

    I was sitting across from Yumi, a data scientist. She was tracing the condensation ring left by her cup of cold, black coffee. She looked tired. Not the fatigue that comes from a lack of sleep, but the deep, corrosive exhaustion that comes from perpetually watching a fire that isn’t real. Her posture was the physical manifestation of cognitive load.

    “We ask the wrong question,” Yumi said, her voice quiet, almost lost in the room’s low, relentless hum. “We ask: is technology good or bad? But that’s a false question. A saw is good. A lever is good. They are simple tools that extend the human arm. They support life. They support purpose. They are neutral amplifiers.”

    She adjusted her glasses. They reflected the harsh light, turning her eyes into white, opaque discs, like small, clinical moons.

    “The problem is the business model,” she stated. “The attention economy.”


    The Betrayal of Design and Purpose

    The technology we carry—the screens that are always in our hands—was not designed to support human purpose. It was designed to consume it.

    “The purpose of these machines is not to connect you, not to inform you, and certainly not to maximize your well-being,” Yumi said. “It is engineered with surgical precision to maximize the time your eyes spend staring at the liquid crystal. That is the architecture. That is the code.”

    It is a profound betrayal of design. A hammer is a good design because its function aligns perfectly with human potential: it helps us build. But this current technology’s function—maximal attention extraction—is fundamentally misaligned with the user’s potential.

    “It is a failure of design,” I said. “A failure of ethics disguised as innovation.”

    These machines are not tools. They are slot machines—calibrated to exploit the neurological vulnerabilities we developed over millennia of survival. They hijack the quiet, deep parts of the brain that deal with fear of missing out and social validation. They convert human anxiety and boredom into quarterly profit.

    The core technology we are better off without is not the screen or the fiber optic cable. It is the extractive business model that runs the software.


    The Binge and the Residue of Emptiness

    We must be brutally honest about the transaction. The cost of this system is measured not in dollars, but in cognitive load—the heavy, invisible tax levied on our ability to think deeply, to focus, and to form real connection.

    “We treat the endless scroll like a high-calorie reward,” Yumi murmured, tracing a slow line through the moisture on the table. “It feels precisely like a binge eating and drinking session. You are standing over the sink at 4:00 AM, consuming high-sugar, zero-nourishment input that you don’t even taste. You are not hungry, but the input machine is running. You feel a frantic rush, a momentary illusion of belonging to the feed, but it is empty. It is consumption without value.”

    The immediate sensation is good—the dopamine spikes, the feeling of “update,” the high-frequency reward. But afterward, the feeling is one of toxic residue. The emptiness is not just still there; it’s deeper. You feel heavier, slower. You have wasted precious biological energy on something that left your soul malnourished. It is the perfect antithesis of nourishment.

    The essential question, the one that should force us into digital minimalism, is this: Have you gained anything real? Have you gained mastery? A tangible piece of wisdom that will help you solve a problem that truly matters? Or have you just successfully anesthetized yourself and distracted yourself from the crushing, beautiful weight of reality for another hour?


    The Necessity of the Void

    The dopamine economy is a necessary evil for shareholder value, but it is a toxic intrusion into our lives. It is specifically designed to fill the void that all humans instinctively fear.

    But the void needs to be confronted.

    The emptiness is where ideas form. The silence is where self-awareness grows. We need the space. We need the fatigue. We need the cold, hard reality of the granite under our feet.

    I stood up. My chair scraped against the tile floor. The sound was sharp and final, breaking the mechanical hum of the room.

    “The solution is simple,” I said. “Turn it off. Cut the cord.”

    I walked over and flipped the switch for the fluorescent light. The relentless hum died instantly. The clinical white light dissolved. The room plunged into the cool, absolute dark of the late morning.

    The essential tools—the solid desk, the window glass, the chair—remained. The toxic distraction vanished.

    “Go find the real problem,” I said to the darkness. “The beautiful, tangible problem. Go build something that lasts longer than a swipe. That is the only purpose worth pursuing.”

    We stood there in the quiet room. We were just two people, heavy and tired. But we had retrieved the silence. We had retrieved the space. We had retrieved the choice.

  • The Architecture of the Weight

    おもに

    えらぶこと

    いきるかたち

    the burden / the choice / the shape of living


    The bar was located in a basement in Aoyama, down a flight of concrete stairs that smelled faintly of damp earth and old roasted coffee beans. It was a place that seemed to exist outside of the standard flow of Tokyo time.

    It was raining outside—a cold, persistent November rain—but down here, the weather was irrelevant. The air was dry and smelled of burning paraffin oil and expensive bourbon.

    A Thelonious Monk record was spinning on the turntable in the corner. Ruby, My Dear. The piano notes hung in the air like smoke, jagged and beautiful, finding the perfect balance between dissonance and resolution.

    I was sitting at the far end of the counter with a woman I had known for fifteen years. She was tracing the grain of the wood with her fingernail. She looked tired. Not the kind of tired that comes from a lack of sleep, but the kind of tired that comes from carrying a heavy, invisible object for too long.

    “What is the hardest decision you’ve ever had to make?” she asked. She didn’t look at me. She watched the bartender carve a sphere of ice with a sharp knife.

    I took a sip of my whiskey. It was an Islay single malt. It tasted of iodine and the sea.

    “That’s a big question for a Tuesday,” I said.

    “I’m serious,” she said. “Was it leaving the architecture firm? Was it the divorce? Was it moving back to the city?”

    I listened to Monk hit a chord that shouldn’t have worked, but did.

    “No,” I said. “Those were just logistics. Those were just moving furniture around a room. The hardest decision was internal. It happened on a unremarkable morning, while I was waiting for the kettle to boil.”

    “And what was it?”

    “I decided to be happy.”

    The Gravity of the Abyss

    She stopped tracing the wood. She turned to me, her eyes flat and skeptical.

    “That sounds trite,” she said. “It sounds like something you’d read on a calendar in a dentist’s office. Choose Happiness.

    “It sounds trite,” I agreed. “But it is the hardest labor in the world. It is the architectural equivalent of building a skyscraper on a swamp.”

    I spun the ice sphere in my glass. It moved with a heavy, satisfying inertia.

    “For years, I let the world happen to me. I was a leaf in a gutter. If it rained, I got wet. If the wind blew, I moved. I leaned into the negativity because gravity pulls you there naturally. It is easier to be sad. It is easier to be cynical. Cynicism feels like intelligence, but it is actually just laziness. It is the path of least resistance.”

    “So you just… switched it off?”

    “I said: Fuck it.

    I said it quietly. The curse word felt heavy and solid, like a black stone placed on the mahogany counter.

    “I realized that everything comes and goes. The pain, the joy, the boredom, the terror. It is all just weather. It passes through the house. But the house? I control the house. I control the thermostat. I decided that I would no longer let the weather dictate the temperature of the living room.”

    The Monkey and the Cross

    I gestured to the empty stool next to me.

    “We are not alone here,” I said.

    She looked at the empty seat. “What do you mean?”

    “The Monkey,” I said.

    “The Monkey?”

    “We all have one. It is the invisible weight. It is the cross we carry. For some, the Monkey is a memory of a parent who didn’t love them. For others, it is the crushing fear of poverty. For me, it was the deep, genetic belief that I didn’t deserve to be light. That suffering was the rent I had to pay for existing.”

    I looked at my reflection in the mirror behind the bar. I looked at the shadow behind my own eyes.

    “It is human nature,” I said. “We are biological engines designed to survive, not to be happy. Evolution doesn’t care if you are fulfilled; it cares if you are alert. So we carry the Monkey. We feed it. We let it whisper in our ears that the world is dark, that people are cruel, that we are broken. We lean into the negativity because it feels like safety.”

    “And how do you kill it?” she asked. “How do you get the Monkey off your back?”

    “You don’t,” I said. “That’s the trick. You cannot kill the Monkey. It is part of your structure. It is welded to your spine.”

    The Mechanics of the Breath

    “So what is the decision?” she asked. “If the weight is still there?”

    “The decision is how you walk,” I said.

    I sat up straighter on the stool. I felt the tension in my shoulders.

    “Every morning, the negativity pulls. The Monkey tightens its grip. It digs its claws in. It tells me to look at the cracks in the pavement. It tells me to be angry at the rain. It tells me that the future is a catastrophe waiting to arrive.”

    “And?”

    “And I breathe,” I said. “I observe.”

    I put my hand on the counter.

    “I look at the rain and I refuse to judge it. I see it as water, nothing more. I feel the claws of the Monkey, and I acknowledge the pain. I say, ‘I see you.’ But I do not let it steer the car.”

    It is a discipline. It is harder than lifting iron. You have to remind yourself, ten thousand times a day: I am in control of this machine.

    “It’s not about smiling,” I said. “It is not about toxic positivity. It’s about posture. It’s about feeling the crushing weight of the cross, feeling the absolute fatigue of the soul, and standing up anyway. It is deciding that the weight will not break your spine today. It is a refusal to collapse.”

    The Walk Home

    The record ended. The needle clicked into the center groove. The silence in the bar was thick, heavy, and comfortable. The bartender began to polish a glass, the cloth making a soft shhh-shhh sound.

    “To be happy,” she repeated softly, testing the weight of the words.

    “To be functional,” I corrected. “To be the master of the house, even when the roof is leaking.”

    We paid the bill. We put on our coats. We walked up the narrow concrete stairs and out into the Tokyo night.

    The rain had stopped, but the streets were slick and black, reflecting the neon lights of the taxis gliding by like deep-sea creatures. The air smelled of wet asphalt and roasted sweet potatoes.

    I felt the weight on my shoulders. The Monkey was there. The history was there. The sadness was there. It was heavy. It would always be heavy.

    I took a deep breath of the cold air. I watched the steam rise from a manhole cover, disappearing into the dark.

    I didn’t push the weight away. I didn’t pretend it wasn’t there. I just adjusted my stance. I planted my feet. I decided, again, in that second, to be happy.

    “Let’s walk,” I said.

    And we walked, carrying our crosses, moving steadily under the indifferent, beautiful, broken sky.

  • The Necessity of the Void

    やみ

    かいふく

    くうはく

    darkness / recovery / the blank space


    It was 3:15 AM. The time of night when the city stops pretending to be a machine and finally admits it is an organism.

    I was sitting in the kitchen of my apartment. The refrigerator hummed—a low, electric vibration that I felt in my teeth. Across the table sat a woman I had been seeing. She worked in high-frequency trading. She lived her life in microseconds.

    She was drinking espresso. At 3:00 AM.

    “Imagine,” she said, her eyes fixed on the blue LED of the microwave clock. “If you could take a pill. One pill, once a day. And you never needed to sleep again. No side effects. No fatigue. You just get eight extra hours, every single day.”

    She looked at me.

    “What would you do with the time, Hideki? You could learn three languages. You could write five novels. You could trade the markets in London and Tokyo simultaneously.”

    I spun the ice in my glass of whiskey. It made a sharp, lonely sound.

    “I wouldn’t do any of those things,” I said.

    “What would you do?”

    “I would sleep.”

    The Accumulation of Sludge

    She laughed. It was a dry sound, like a crackers snapping. “That defeats the purpose. The point is you don’t need it.”

    “My body might not need it,” I said. “But I need it.”

    I pointed to the window. Outside, the darkness was absolute.

    “Being awake is damage,” I said.

    “Excuse me?”

    “Consciousness is expensive. Every second you are awake, your brain is burning glucose. It is firing neurons. It is accumulating metabolic waste. It is creating toxins. Being awake is a slow process of poisoning yourself.”

    I took a sip of the whiskey. It tasted of peat and old wood.

    “When you sleep, your brain cells physically shrink. Did you know that? They shrink by sixty percent so that the cerebrospinal fluid can wash through the tissue. It washes away the sludge. It cleans the machine.”

    “That’s graphic,” she said.

    “It is biology. We are biological engines. We are not software. We cannot run on an infinite loop. If you don’t shut the engine down, the heat will eventually warp the pistons.”

    The Silence Between the Notes

    I got up and changed the record. I put on Gould playing the Goldberg Variations. The 1981 recording. The slow one.

    “Listen,” I said.

    The piano notes fell into the room. Precise. Mathematical.

    “The music isn’t in the notes,” I said. “The music is in the silence between the notes. If there is no silence, there is no rhythm. There is only noise. A wall of sound.”

    I looked at her. She was vibrating with caffeine and ambition.

    “Life is the same. Being awake is the note. Sleep is the silence. If you remove the silence, you destroy the song. You become a flat line of productivity. You become a machine that produces, but never is.”

    “I just hate the downtime,” she said. “It feels like dying.”

    “It is a practice death,” I said. “And that is why it is essential. You have to practice letting go of the world. You have to practice becoming nothing. Only when you become nothing can you wake up and be something again.”

    The Heavy Body

    I sat back down. My limbs felt heavy. My eyelids felt like they were made of lead.

    This was not a bad feeling. It was a perfect feeling. It was the body speaking.

    “We stopped listening,” I said. “We drink the coffee. We stare at the blue screens. We shock ourselves into staying awake because we are terrified of missing out. We treat fatigue like an enemy to be defeated.”

    “Isn’t it?”

    “No. Fatigue is gravity. It is the earth pulling you back to the zero point. It is the body saying: Enough. The damage is done. Now we must repair.

    I finished my drink. The ice had melted.

    “If I had those extra eight hours,” I said, “I would still curl up in the dark. I would pull the heavy duvet over my head. I would close my eyes and let the fluid wash the sludge out of my brain. I would let the world spin without me.”

    “You’re hopeless,” she said, but her voice was softer now.

    “I’m human,” I said. “Broken, heavy, and tired. And right now, that is the most honest thing I can be.”

    I stood up and walked to the wall switch.

    “I’m turning off the lights,” I said.

    And I did. The blue LED of the microwave disappeared. The ambition disappeared. The trading algorithms disappeared.

    There was only the dark, and the deep, necessary silence waiting to swallow us whole.

  • The Error Corrector

    むげんの

    かのうせい

    にくたいをこえて

    infinite / possibility / beyond the flesh


    We were stationed in a corrugated iron shack on the edge of the mangrove swamp. The humidity was violent. It felt less like weather and more like a physical weight, pressing the sweat back into our pores.

    It was 4:00 AM. The jungle outside was screaming—a cacophony of mating, killing, and dying.

    My colleague, R, was bent over a stainless steel tray. He was dissecting a large stag beetle. The smell of formaldehyde mixed with the smell of the swamp—rot and preservation, side by side.

    On the small cassette player, Art Pepper was playing Winter Moon. The saxophone sounded like wet silk.

    “Favorite animal,” R said. He didn’t look up. He pulled a glistening thread of nervous tissue from the beetle’s thorax with a pair of tweezers. “Best source code. If you had to choose.”

    I watched a gecko hunt a moth on the window screen. The moth vibrated. The gecko waited. Snap. The moth was gone.

    “Design is a strong word,” I said.

    “Nature is just software,” R said. “It is a blind programmer. It writes code. It tests it in the wild. If it fails, it deletes the file. If it works, it compounds. So, which file is the masterpiece?”

    The Liquid Asset

    R dropped the beetle tissue into a glass vial. Clink.

    “The Cuttlefish,” he said.

    “Why?”

    “Because it has no shape,” R said. “It has no fixed address in the hierarchy.”

    He wiped his scalpel on a white cloth. A smear of green hemolymph stained the fabric.

    “Look at the stag beetle. It invests everything in armor. It plays a status game. It fights for territory. It fights for mates. It is a zero-sum game. If a bigger beetle comes, it loses.”

    He pointed the scalpel at me.

    “The cuttlefish plays a different game. It plays a game of leverage. It doesn’t compete. It escapes competition through specific knowledge. It rewrites its own skin to match the sand. It hypnotizes its prey. It is decentralized intelligence. Its brain is distributed through its tentacles.”

    “It is high efficiency,” I said.

    “It is the ultimate compounder,” R said. “It solves problems at the edge of the network. It doesn’t need to be strong, because it is invisible. It creates a niche that cannot be automated away by a shark.”

    The Universal Constructor

    The rain began to hammer the tin roof. It sounded like a thousand marbles being dropped at once. The Art Pepper tape hissed.

    “Your turn,” R said. “What beats the invisible shapeshifter?”

    I looked at the gecko on the screen. It was digesting. It was a perfect machine, but it was trapped. If the temperature dropped ten degrees, the gecko died. If the moth evolved a toxin, the gecko died.

    “The Human,” I said.

    R laughed. It was a dry, cracking sound. “That’s boring. We are hairless, slow, and we bleed easily. Look at us.” He gestured to his own sweat-stained shirt. “We are leaking water. We are fragile hardware.”

    “We are not animals,” I said. “Not anymore.”

    “Explain.”

    “The cuttlefish is great software,” I said. “But it is hard-coded. It acts on instinct. It has finite reach. It can only solve the problems its DNA prepared it for. It cannot leave the ocean. It cannot cure a virus. It cannot stop an asteroid.”

    I picked up the glass vial with the beetle tissue.

    “We are different,” I said. “We are universal constructors.”

    R stopped cleaning his tools. The rain roared.

    “Evolution is a force that seeks complexity,” I said. “For four billion years, the Technium built hardware. Better claws. Sharp eyes. Venom.”

    “Then it built us,” R said.

    “Yes. And we are the break in the chain. We are the first software that can rewrite its own environment. We don’t wait a million years to grow fur; we weave cotton. We don’t wait for wings; we build titanium engines. We turn matter into resources.”

    “So your favorite animal is the one that destroys the others.”

    “My favorite animal is the one with infinite reach,” I said. “Every other species is a prisoner of its biology. They are static explanations. We are dynamic. We create new explanations. We are the error-correction mechanism of the universe.”

    The Break in the Storm

    I looked out the window. The jungle was dark, wet, and indifferent. It didn’t care if we lived or died. That was the point. We were the only things in that swamp that could care.

    “Problems are inevitable, R,” I said. “But problems are soluble. That is what we do. We solve.”

    R looked at the dead beetle. Then he looked at his own hand, holding the steel tool—a tool made of rock that had been melted and refined by a human mind.

    “Infinite reach,” he whispered.

    The rain stopped. It didn’t taper off; it just cut, like a tape ending. The silence that followed was thick and sudden.

    R poured the rest of the cold coffee into the sink. It swirled down the drain, black and gritty.

    “Back to work,” he said.

    “Back to work,” I said.

    We stood there in the humid shack, two fragile, hairless apes holding tools, ready to dismantle the universe and put it back together in a better shape.

  • The Thin Air of the Borderland

    くうき

    かこうがん

    われめ

    air / granite / the crack


    We were sitting on a ridge in the High Sierra, somewhere past the Mono Pass. The elevation was exactly ten thousand six hundred feet. At this height, the air stops behaving like a gas and starts behaving like a lens. It is thin, merciless, and smells of absolutely nothing.

    My companion was a man I had met three hours ago. He wore a faded yellow parka and hiking boots that had seen better decades. He was peeling a hard-boiled egg with the seriousness of a bomb disposal expert.

    The silence around us was not empty. It was heavy. It pressed against the eardrums like deep water.

    He dropped a piece of eggshell. It fell onto the white granite, a tiny speck of imperfection on a million-year-old slab.

    “Beach or mountains?” he asked. He didn’t look at me. He looked at the jagged teeth of the Minarets slicing into a sky that was a violent, impossible shade of Prussian blue. “If you had to choose. Right now. For the rest of your life.”

    I took a sip of water from my canteen. It tasted of aluminum.

    “It doesn’t matter,” I said.

    He stopped peeling. “It doesn’t?”

    “No. The geography is a distraction. The choice is a binary trap we invented to sell magazines. The only thing that matters is the connection. The voltage.”

    The Tube of Light

    I pointed to the smartphone protruding from the breast pocket of his parka. It was dead, a black rectangle of glass and lithium, cold as a stone.

    “Down there,” I said, gesturing toward the invisible cities to the west, “we live inside a tube.”

    “A tube?”

    “A tube of light. LCD. OLED. Pixels. We spend sixteen hours a day staring into glowing aquariums. We look at pictures of trees. We look at pictures of women. We look at pictures of food. We touch the glass, but the glass is smooth. It has no temperature. It has no friction.”

    I picked up a piece of loose granite. It was sharp enough to cut skin.

    “We are biological engines,” I said. “We evolved from single-celled slime in a primordial soup. We grew legs to walk on dirt. We grew skin to feel the wind. When we sit in the tube, the animal inside us starts to die. It suffocates. It gets what I call pixel-sickness.”

    “So we come here,” he said, taking a bite of the egg. “For the view.”

    “No,” I said. “Not for the view. The view is just a postcard. We come here for the damage.”

    The Medicine of the Blizzard

    He chewed slowly. A crow circled overhead, black against the blue, silent as a thought.

    “Explain,” he said.

    “Think about the moment you felt most alive,” I said. “Not happy. Alive. Those are different things.”

    He wiped a crumb of yolk from his lip. He thought for a long time. The wind picked up, whistling through the rocks like a low note on a cello.

    “Four years ago,” he said. “The Alps. A blizzard hit us out of nowhere. Whiteout. I couldn’t see my own feet. The cold was a physical weight, like iron chains wrapped around my chest. I thought I was going to vanish. I thought the white was going to erase me.”

    “And?”

    “And I felt… electric. My blood was screaming.”

    “That is the medicine,” I said. “That is Vitamin Nature. It is a violent dose.”

    We walk through the city and we feel like gods. We edit our photos. We curate our lives. We delete the mistakes. We try to be seamless, like the glass screens. But it is a lie. We are not seamless.

    “When you stand in the blizzard,” I said, “or under this brutal blue sky, the screen shatters. You realize you are small. You are fragile. You are a soft bag of water and anxiety standing on a rock that doesn’t care if you live or die.”

    “That sounds depressing,” he said.

    “It is the opposite of depressing,” I said. “It is liberation.”

    The Crack in the World

    I ran my hand over the granite slab we were sitting on. It was rough, crystalline, cold.

    “Look at this stone,” I said. “It is broken. It has been shattered by frost, crushed by glaciers, eroded by ten million years of wind. It is full of cracks.”

    “Yes.”

    “But it is perfect.”

    I looked at him. I looked at the lines around his eyes, the scar on his thumb, the way his shoulders slumped under the weight of his pack.

    “We are the same,” I said. “We go back to the tube and we try to fix ourselves. We try to be smooth. But here? Here, you are allowed to be broken. You are tired. You are sweating. Your knees hurt. You are incomplete.”

    I threw the piece of granite over the edge of the ridge. We watched it fall, bouncing silently into the scree field below.

    “The world is broken,” I said. “We are broken. And when you are standing here, in the thin air, the two broken pieces fit together perfectly. That is the connection. That is the real world.”

    He finished his egg. He crumpled the shell into his pocket. He took a deep breath of the air—the air that smelled of ozone and ancient ice.

    “I think I’ll stay here a little longer,” he said.

    “You should,” I said. “The signal is better up here.”

    In my head, a Thelonious Monk track started playing. ‘Round Midnight. It played softly, just behind my eyes, as the sun began to drop behind the Minarets, turning the violent blue sky into a deep, bruised purple.

    We sat there for a long time, two broken things, watching the light die, feeling the cold settle into our bones like a heavy, welcome blanket.

  • The Gravity of Salt


    しずけさ

    うみのきおく

    ははとこ

    silence / memory of the ocean / mother and child


    The kitchen is not a room. It is a machine for survival.

    At 6:00 PM, the light changes. It shifts from the flat, white reality of the afternoon to something amber, something older. The air thickens with the humidity of boiling water.

    I sit at the small wooden table. My mother stands at the stove.

    We do not speak. We do not need to.

    Millions of years ago, we were single-celled organisms drifting in a dark, cold ocean. We possessed no language. We possessed no names. We evolved for a single, terrifying reason: to survive the night. And we learned, slowly, over eons of trial and error, that the only way to survive the night is to gather around a heat source and divide the hunt.

    To eat together is the oldest contract. It is a silent admission.

    I cannot do this alone.

    I need you to witness my hunger.

    In this house, the timeline has collapsed. I am forty. She is seventy. But in the amber light, we are simply two biological units keeping the cold at bay. We don’t rely on recipes. We rely on rituals.

    I. The Ritual of the Hands (Saturday)

    It is raining outside. It is usually raining on Saturdays.

    We spread yesterday’s newspaper on the table. A bowl of pork, ginger, and cabbage sits in the center. The smell is sharp, metallic, alive.

    My mother’s hands are mapped with blue veins. Her skin is like thin, dry parchment. She moves with a frightening efficiency. She takes a skin, wets the edge, pleats, seals. Click. Click. Click.

    Her dumplings are uniform. Perfect. They are small, contained universes.

    My hands are younger, but they are clumsy. My dumplings are jagged. They are hesitant. They are too full of hope, and so they burst.

    I watch her hands. I am watching the past. She is not just making dinner. She is using the exact same muscle memory that her mother used, and her mother’s mother used. She is weaving a net. She is sewing a wound.

    We wrap for an hour. The only sound is the rain and the wet friction of the dough.

    When the dumplings hit the hot oil, the silence breaks. The pan hisses. The years between us dissolve. We eat them hot, burning our tongues. They taste of ginger and safety. They taste of the fact that we survived another week.

    II. The Ritual of the Void (Thursday)

    Thursday night is the bottom of the curve. The refrigerator is a white void. There is almost nothing left.

    This is the jazz of the kitchen. Improvisation born of scarcity.

    There is no plan. There is only a heavy iron pan and a bottle of olive oil. My mother lights the gas. The blue flame flickers.

    We add what remains. A handful of wilted spinach. A tin of anchovies from the back of the cupboard. Three mushrooms that have seen better days. A clove of garlic, crushed with the flat of a knife.

    We sit on the floor. In the other room, a Stan Getz record is spinning. The volume is low. The saxophone sounds like smoke.

    The pasta tastes of alchemy. It is the specific taste of taking the broken, forgotten pieces of the week and forcing them to make sense. It is salt and heat and nothing else.

    We eat from deep bowls. We listen to the record spin. We understand that you do not need abundance to be whole. You just need heat.

    III. The Ritual of the Ocean (Sunday)

    Sunday morning. 7:00 AM. The zero point.

    The house is cold. The light is grey.

    The rice cooker clicks off. It is a small, mechanical heartbeat in the quiet room. Thunk.

    My mother ladles the soup. The smell fills the kitchen. It is the smell of dashi—dried bonito fish, kelp, water. It is the smell of our first home. It is the smell of the ocean.

    We sit. The steam rises between us, a white curtain.

    We eat in absolute silence. There is no need to talk about the news. There is no need to talk about the future. The steam does the communicating.

    It says: We woke up.

    It says: The cells are repairing themselves.

    It says: The world is still turning.

    We are just animals wearing clothes, pretending we understand time. But when she passes me the bowl, her hand brushing mine, she is doing the most human thing possible.

    She is transferring energy. She is remembering the first fire, burning in the primal dark.

    And she is handing it to me.

  • The Ghost in the Mirror

    かがみ

    むげんのかお

    いまにいきる

    mirror / infinite faces / living in the now


    The café was called Dug, located in a basement in Shinjuku. It was three in the afternoon, a time when the city felt suspended—held loosely between the brutal business of the morning and the secretive chaos of the evening. The air smelled of burnt caramel and damp wool. A Bill Evans record was playing, the piano notes falling like slow, deliberate ice into an empty glass.

    Emi sat across from me, motionless. She had been tracing the rim of her water glass with a slender finger for a full minute when she asked the question, her voice barely audible over the music.

    “If you could meet any historical figure, Hideki—anyone from the last thousand years—who would it be?”

    I looked at my hands. They were resting on the dark wood of the table, heavy and slightly clumsy.

    “I don’t think I need to go anywhere to meet them,” I said.

    Emi stopped tracing the glass. The silence that followed felt vast. “You mean you’re not interested in the past?”

    “No,” I said. “I mean I am already meeting them. Every time I look down at my hands, I am looking at a very crowded room.”


    The Weight of the Tool

    I picked up my coffee. It was black, no sugar, the warmth sinking into my palms. I focused on the temperature, a deliberate act of anchoring myself.

    “This face is a compromise between a thousand people who never knew each other. The slope of my forehead, the curve of my nose—these are design solutions settled upon by a committee of the dead. The way my eyes crinkle when the sun is too bright? That reflex was already practiced by a rice farmer in the Edo period. I don’t need a time machine. I am the mechanism they created to survive.”

    I turned my hand over, palm up. The skin was scarred slightly above the wrist from a childhood fall.

    “Look at this hand, Emi. It’s not just skin and bone. It carries the weight of their tools. The fatigue of the man who worked the docks generations ago is settled deep in my knuckles. The tremor when I lift this cup is not mine; it is the accumulated tension of a thousand people holding on too tight for too long. My fear of the dark? That’s not a personal neurosis. That’s a warning letter, written in my DNA by an ancestor who heard a wolf howl ten thousand years ago and decided to run.”

    The Silence of Language

    “It’s not just the biology, either,” I continued. “It’s the language. When I speak, I am using a vocabulary assembled by poets, soldiers, and merchants who are long dead. When I say the word ‘love,’ I am using a tool polished smooth by billions of tongues. I am the archive that keeps their words circulating.”

    Emi looked past me, into the reflections on the wall’s dark wood paneling. She didn’t speak for a long moment, watching the piano player’s ghostly image against the grain of the wood.

    “That’s what this music is, too,” she finally observed, her voice soft. “That sustained chord Bill Evans is holding—it’s not just him. It’s the weight of every sad night in New York, poured into his fingers. We aren’t listening to one man. We are listening to the sound of a hundred thousand moments of loneliness being resolved.”

    “Exactly,” I agreed. “That resolution is the inheritance. The knowledge of how to endure is the family secret.”

    The Crowded Comfort

    I leaned back, feeling the rough velvet of the booth against my jacket.

    “So, no, Emi. I don’t need to look for a historical figure in a book or an old letter. I just have to be quiet. I have to sit here, listen to the jazz, and feel the way my body reacts to the sound of the ice melting in your glass. That reaction—that small, specific echo—is the history. I am the host. The living meeting place.”

    Emi finally lifted her glass, the ice clinking against the side—a sound as sharp and singular as the first note of a new song. She drank the water slowly, her eyes on mine.

    “That’s a strange kind of comfort,” she said. “That you are never actually alone, even when you feel the most isolated.”

    “Is that comfort?” I asked. “Or is it just the fact of the matter? It means that when you try to change, you are arguing with everyone who came before you. It means that every small failure is shared by a million ancestors who finally thought they succeeded through you.”

    She didn’t answer. The light from the street shifted as a car passed outside, casting a sudden, momentary shadow across Emi’s face. In that instant, she looked impossibly old and impossibly young at the same time. The piano continued its slow descent, leaving the answer hanging in the dusty light.

  • The Calculus of the Scarred Heart

    くちない

    すぎたこと

    のこるみず

    undecayed things / things of the past / water that remains


    The rain on Yakushima is not a simple phenomenon. It is an ocean of fine, suspended mist that seems less like falling water and more like the constant, tired exhalation of the ancient world. It clings to everything—to the moss, to the cedar, to the edges of memory—saturating the air until even the light feels heavy. We were the only ones left awake in the common room of a cheap hostel near Miyanoura, the kind of place where the silence between conversations felt sharper than any noise.

    The light came from a single, naked bulb hanging by a fraying cord, illuminating a small circle of damp plywood table. On the wall opposite, a framed poster advertised a 1980s jazz festival in Kobe.

    Kento, the photographer, was conducting his nightly ritual—the meditative, painstaking cleaning of his primary lens. His movements were precise, suggesting a mind that needed order to survive the surrounding chaos.

    He was the one who broke the silence, pushing a profound question into the humid air like a stone dropped into a dry well.

    “Do you trust your instincts, Hideki?”

    Hideki, the single father, a man whose quiet existence felt molded by exhaustion, didn’t look up from his coffee. It was lukewarm now, and bitter. He stirred it slowly, using a heavy steel spoon that seemed too large for the porcelain mug, the edge making a faint, persistent clink-clink-clink. He had the distant, careful eyes of someone who knew the exact difference between a feeling and a fact.

    “That’s a big question for a Tuesday afternoon, Kento. Or perhaps Wednesday. I can’t tell, not with this rain.”

    “It’s Wednesday,” Kento confirmed, holding the polished glass up to the light. “I was reviewing the photos from today.” He tapped the camera screen, showing a shot of a path disappearing into the moss forest, a world of deep, silent green. “I took this because my gut screamed at me to step five feet off the known trail, right into that patch of dense shadow. Logically, it was a wasted minute. But the light found the angle I needed. The instinct for the photograph was perfect. I trust the eye. I don’t know if I trust the heart’s instinct.”

    Hideki finally set the spoon down. The sound of steel on porcelain was instantly absorbed by the room’s atmosphere.

    “That’s the exact difference, Kento. The eye just has to recognize a pattern in light. The heart has to recognize the pattern of suffering. And yes, I trust my instincts. But they had to be learned, the good way and the bad way. The bad way was the only way it became permanent.”

    The Geometry of Heat and the Record That Stopped

    He lifted the mug, the ceramic worn smooth from years of use.

    “When I was younger, instinct felt like a flash of heat. It was a beautiful, dangerous geometry. It told me to pursue the things that demanded immediate energy. It was that heat that told me to quit my accounting job for a band that went nowhere but left me with a stack of poorly mastered vinyl records and a severe lack of savings. It was that heat that convinced me my ex-wife and I were a beautiful, unstoppable storm that would simply consume all obstacles.”

    Kento nodded slowly, his fingers tracing the contour of his lens barrel. The click was crisp and deliberate.

    “And the storm broke?”

    “It evaporated. Like steam. She left, saying I was too much of a dreamer, too disconnected from the practical ground. I remember standing in the doorway after she packed her last bag—a blue suitcase with a broken latch. And my instinct was a cold, pure panic. It told me to beg, to promise things I knew, even then, I couldn’t deliver—a new life, a new direction. That was the bad way of learning. I followed the frantic instinct, and it only led to deeper water, more noise. I learned that pure, emotional instinct, when it hasn’t been tested, is nothing more than panic or desire wearing the noble mask of intuition.”

    The Ledger of Scars and the Scent of Dish Soap

    Kento placed the lens cap back on, securing the delicate glass, a gesture of finality. “So, what is the structure of the learned instinct? How do you recognize it?”

    Hideki leaned forward, resting his elbows on his knees, his gaze fixed on the frayed edge of the jazz poster.

    “It’s not a flash anymore, Kento. It’s the absolute opposite. It’s the deep, pervasive quiet that settles after the initial noise has faded. Now, when I have to make a choice—about the loan, about my daughter’s new school, about sending that message you wrote late at night—I wait. I wait for the screaming to stop, like waiting for the needle drop on a B-side.”

    He explained that the instincts he trusted now weren’t a gift; they were earned.

    “They were purchased at a very high price: the loss of that beautiful, terrible storm, the decade of exhaustion, the quiet, persistent reality of raising a child alone. My gut isn’t an oracle that speaks divine truth. It is a ledger of scars. And because I know every entry in that ledger, every mistake, every moment I failed to listen before, that ledger is reliable.”

    “And what does that ledger tell you, finally?” Kento asked.

    “It tells me to prioritize the quiet things,” Hideki said softly. “It tells me which battles are just ego-noise, and which silence is worth defending. It tells me to go home tonight and teach my daughter how to make rice properly, measuring the water with her finger, because that small, perfect ritual is more real, more trustworthy, than any burning passion or grand plan I ever conceived.”

    He looked down at his hands, which were rough and bore the faint, clean scent of the hostel’s dish soap.

    “The truth is, Kento, the instincts of the heart have to be broken and repaired, over and over, before they become something truly trustworthy. Like an old cedar tree, you learn to trust its direction not by its height, but by how many thousand years it’s spent in the rain, surviving the typhoon. The learned instinct tells you where the true roots are, where the water is retained beneath the moss. And you can build a life on that.”

    The light bulb above them gave one final, almost imperceptible hiccup, and the small corner of the room was consumed by the deep, water-logged gray of the Yakushima dawn.

  • Four Small Doors

    はるのかぜ
    ひらかれたまま
    ときがまわる

    haru no kaze / hirakareta mama / toki ga mawaru
    spring wind / the door left open / time keeps turning

    Someone once asked me, “What’s your favorite month of the year?”
    I wanted to give a simple answer, something quick and tidy, but months aren’t tidy.
    Months are four small doors we walk through again and again,
    each one opening into a different version of ourselves.

    If I had to choose, I would choose all of them
    for different reasons
    and different versions of me.

    Spring is a shy knock.
    You hardly notice it at first.
    Just a small shift in the air,
    the smell of damp soil,
    the feeling that something warm is waiting just beyond the next corner.
    You walk through a park and the grass looks tired,
    but the tiredness is good,
    like someone waking up slowly after a long dream.
    Small green buds appear on branches, so small you feel guilty staring at them.
    But you can’t help it.
    They are hope in its most fragile form.

    Summer enters like someone pushing open every window in the house.
    It sweeps in loud and bright, unapologetic.
    Your skin becomes a diary of warmth and salt.
    You sweat and it feels like a tiny prayer leaking from your pores,
    a request for the days to last just a little longer.
    Fruit bruises in your hand because it is too alive,
    too full,
    too ready.
    Nights grow thick and sticky,
    cicadas screaming like old radios left on too long.
    You stay out later than you meant to.
    Summer convinces everyone to be a slightly wilder version of themselves.

    Autumn arrives in a low voice.
    If summer shouts, autumn murmurs.
    Leaves turn into letters,
    pages of a book you forgot you were writing.
    They fall without apology,
    soft little farewells collecting on sidewalks,
    on car rooftops,
    in the folds of jackets hung by the door.
    The air tastes like the inside of an old wooden drawer.
    You breathe in,
    and memory breathes out.
    Autumn is where all reflection begins.

    Winter is a white hush.
    A season that holds its breath.
    Cold hands gripping still air,
    the world simplified into two colors
    and the sound of your own footsteps.
    Dreams sleep warm under blankets,
    and the sky feels closer,
    almost touchable.
    There is a strange comfort in the quiet,
    as if the whole world is finally willing to rest.

    And the world keeps turning.
    Not to start again,
    but to continue
    with different light.

    So when I am asked about my favorite month,
    I never know how to answer honestly.

    Do I choose the soft beginnings of March,
    when the air itself feels like a new page?

    Or the golden burn of August,
    when nights stretch like dark honey?

    Or the October twilight,
    where every street becomes a memory you have not lived yet?

    Or the deep, silent January nights,
    when the smallest light feels like salvation?

    The truth is,
    I love the year like a novel that refuses to end.
    Every month holds its own room,
    its own scent,
    its own strange magic.

    If I must choose,
    I choose the door that is opening right now,
    whatever it happens to be.

    Because each month teaches me something different:
    how to wake,
    how to burn,
    how to let go,
    how to rest.

    Four small doors, always turning.
    And I walk through them
    with different versions of myself,
    each one carrying a slightly different light.

  • The Quiet Places Above the City

    ゆきのまち
    ひなたをさがす
    たびびとよ

    yuki no machi / hinata o sagasu / tabibito yo
    in the snowy town / a traveler searches / for a patch of sun

    There is a building in my city that pretends not to exist.
    Seven stories tall, stained with age, wrapped in a skin of gray concrete that drinks in winter light like a forgotten sponge. The entrance is narrow and dark, and the stairwell smells of wet metal, dust, and something else — something faintly nostalgic, like old libraries left unventilated.

    I found the rooftop by accident years ago.
    The door at the top was rusted, its paint peeling like sunburned skin. Someone had wrapped a chain through the handle, but the chain was cut years ago, leaving a jagged silver scar across one link.

    Push it gently, and it sighs open.

    The rooftop always surprises me.
    Even after all these years, it feels less like stepping outdoors and more like entering another version of the city. The air is thinner up there. The silence sharper. The sky too close, as if someone pulled it down just a bit so you could touch it if you stretched.

    One winter afternoon, I climbed the stairs again. My breath rose in pale clouds, disappearing before they reached the next floor. The cold was the kind that clings to your bones, like an animal with sharp little teeth.

    When I pushed open the rooftop door, sunlight spilled across the concrete in long, trembling ribbons. The city below was a mosaic of roofs dusted white, chimneys exhaling tired wisps of smoke, windows glowing with the faint domestic warmth of early evening.

    That was when I noticed him.

    A man in a beige coat stood near the far edge, leaning on the waist-high railing. His coat was too thin for winter. His hair was dark and uncombed, pushed back by the wind into haphazard shapes. He was reading a book, the pages rippling like small wings trying to escape his hands. He didn’t turn when I came out.

    “Beautiful light today,” he said, as if commenting to the sky rather than to me.

    I stepped closer. “Feels a bit like a dream,” I replied.

    He nodded. “Dreams and rooftops get along well. They share the same altitude.”

    Something about him felt slightly out of phase with reality — like he was an echo of someone else, or someone from a different hour that accidentally slipped into mine. His coat smelled faintly of cedar and cigarette ash. His shoes were wet from snow that had already melted away.

    “What book is that?” I asked.

    He closed it softly, almost reverently. The cover was plain gray with no title. “A book about questions,” he said. “Not answers.”

    We stood in silence as a gust of wind swept across the rooftop, dragging a paper cup along the ground with a hollow scraping sound.

    “Do you come here often?” I asked.

    “Only on days when the city feels heavy,” he said. “Up here, things float differently.”

    He pointed toward the horizon. A band of golden light stretched across the sky, thin as a blade. Below it, the city buzzed silently, as if someone had pressed the mute button on the world.

    “Most people never look up,” he said. “They stay down there, caught between schedules and screens, letting the days pass like receipts they never check.”

    He turned toward me then. There was nothing unusual about his eyes, but something in them felt unmistakably familiar — the worn-out curiosity of someone who has spent too many hours searching for something nameless.

    “You look like someone who still looks up,” he said.

    I shrugged. “Rooftops are the only place where the city doesn’t lie.”

    He smiled faintly. “Exactly.”

    The wind shifted, colder now, carrying the metallic scent of winter storms. He slipped the book into his coat and walked past me toward the door.

    “Remember this place,” he said without turning around. “When you forget who you are, the city will remind you.”

    The door creaked shut behind him, and I stood there alone, listening to the hum of the city below. For a moment, the world felt like it was holding its breath — as if waiting for something impossible and delicate to land.

    I have gone back many times since.
    The rooftop never changes, yet it always feels different, as if adjusting its shape to match whatever version of myself climbs those stairs.

    I never saw the man in the beige coat again.
    Sometimes I wonder if he existed at all, or if the rooftop itself conjured him — a guardian spirit of forgotten places.

    Still, the reason I return is simple.
    Up there, away from the crowds, the noise, the artificial glow of screens, the city becomes honest. The cold sunlight in winter feels like truth.

    My favorite place is always the same:
    somewhere above everything,
    somewhere quiet,
    somewhere the world becomes thin enough
    for something magical to slip through.

  • First impressions last.

    Autumn breath whispers
    a wordless introduction
    before the first word

    There are moments that don’t look like moments.
    You know the kind. The ones that happen when no one’s watching, and even if they were, they wouldn’t think anything of it.

    Like the first time you meet someone, and instead of saying the right thing, you just nod, or half-smile, or ask them something small like if the tea is any good.

    That was how this one started.

    A bench. A path.
    Somewhere just outside Matsumoto.
    The wind was doing that thing it does in late October—pushing and pulling the trees in slow waves, like it was tuning a memory.

    There were no introductions. Just a shared pause.
    Then the question came, light and casual, as if it had been floating there in the air all along.

    “What kind of first impression do you think you give?”

    I thought about lying.
    Saying something like, I try to be confident or I want people to see I’ve got it together.

    But the truth was simpler.

    “I want people to feel safe.”

    When I was younger, I wanted to be interesting.
    Maybe even mysterious.

    The kind of person who said something clever within the first five minutes of meeting someone. Who dressed just right. Made eye contact, but not too much. Smiled in a way that felt effortless. Casual. Cool.

    But somewhere along the way, that changed.

    Maybe it was all the people I met on trains. Or the elderly man in a secondhand bookstore in Basel who once told me, “Don’t waste time trying to be memorable. Be kind. It lasts longer.”

    Or maybe it was the silence of the mountains in Tohoku, where even the trees seemed to say—just be here.

    Whatever it was, I stopped trying to impress.
    And I started trying to be present.

    I learned something strange about first impressions.

    They don’t come from saying the perfect thing.
    They come from attention.

    People remember if you listened.
    They remember if you paused before replying.
    They remember if you looked at them—not to study or judge—but as if you were quietly saying, It’s okay. I see you.

    You could wear the perfect jacket, have the sharpest words, even rehearse a flawless self-introduction. But if you’re not there with them, not really, they’ll forget you.

    Attention is the new charisma.

    There was a lesson someone once taught me.

    They said the best way to build trust isn’t through persuasion.
    It’s through making someone feel seen without needing anything from them.

    That’s the kind of first impression I want to give.

    Not: Look at me.
    But: You can be you around me.

    Not: Here’s why I matter.
    But: Here’s space for you to breathe.

    And ironically, once you stop trying to shape how you’re seen—
    you start being remembered for something real.

    The Quiet Power of a Gentle Beginning

    There’s a small knife shop in Kyoto.
    The man who runs it doesn’t say anything when you enter.
    He just bows.
    Then he stands behind the counter in silence.

    At first, I thought he was shy. But he wasn’t.
    He was just waiting to see who you were—without interrupting.

    That moment stuck with me.
    Because that bow said more than any pitch ever could.

    It said: I’m here. You’re here. That’s enough for now.

    A First Impression Isn’t a Performance

    It’s a kind of handshake with the world.
    It doesn’t have to be loud.
    It doesn’t have to sparkle.

    It just has to be honest.

    And honesty, real honesty—the kind that doesn’t require explanation—
    is rare enough to be magnetic.

    What People Actually Remember About You

    Here’s the part no one tells you:

    People don’t remember your outfit.
    They don’t remember your job title.
    They don’t remember your joke.

    They remember if you asked them something real.
    They remember if you made them feel like they belonged.
    They remember if the silence between your words was kind.

    That’s it.

    The most unforgettable people are often the ones who didn’t try to be unforgettable.

    They just showed up with their whole presence intact.

    Wabi-Sabi Lesson:

    A beautiful first impression doesn’t shimmer—it settles.

    It doesn’t chase. It invites.

    It’s not made with your résumé.
    It’s made with your rhythm.
    The way you walk into a room without needing to own it.
    The way you let your attention fall gently onto someone else’s words.
    The way you’re okay not being the main character.

    Presence, not performance.

    That’s what people remember.
    That’s what stays.

    Later that day, we parted ways on the edge of town.
    The wind had died down.
    The trees had stopped their slow waving.

    I didn’t get their name.
    They didn’t ask for mine.

    But the impression stayed.

    Like the smell of a tangerine after it’s gone.
    Like warmth in a cup long after it’s been drained.

    And isn’t that the whole point?

    To leave behind something gentle.
    Something real.
    Something worth returning to, even if only in thought.


    When in doubt, just bow.
    Let your silence be soft.
    Let your first hello say: I’m here. That’s enough.

  • The Book That Refuses to End

    よるのつき
    ことばのあいまに
    ときがとまる

    yoru no tsuki / kotoba no aima ni / toki ga tomaru
    moon at night / between the words / time stands still

    Right now, I’m reading The Beginning of Infinity.
    It’s not an easy book to read. It’s the kind of book you keep open longer than you mean to, not because the sentences flow, but because they keep interrupting your thoughts. You read a paragraph, then stare at the wall for five minutes, unsure whether you’ve just understood something profound or completely missed the point.

    The book is about knowledge, but not in the usual sense. It’s about the idea that progress — real progress — has no limit. That every mystery, every piece of confusion, is just a problem waiting for an explanation that hasn’t been found yet. It argues that the moment a mind begins to create explanations rather than just observe, the beginning of infinity starts.

    That idea has been haunting me lately. The thought that human understanding isn’t supposed to end — that everything we call “impossible” is just something we haven’t understood deeply enough. It changes how you see time. It changes how you see yourself.

    I used to think of knowledge as something to collect — like coins, or quotes, or moments of clarity. But this book makes me realize that knowledge is something that’s constantly alive. It’s a process. A conversation between what we know and what we still don’t.

    Sometimes, late at night, I’ll reread a single chapter. I’ll find myself staring at the same sentence, again and again: “Problems are inevitable. But problems are soluble.”
    It sounds simple, almost naïve. Yet when you let it sink in, it feels revolutionary. If that’s true — if every problem carries the seed of its own solution — then despair becomes irrational. The world becomes a kind of open horizon, not a maze.

    The book doesn’t offer comfort. It demands something instead — an honesty about how much we don’t know, and a stubborn belief that we can keep getting better at knowing. It’s not a self-help book. It’s a mirror. And sometimes, it shows you how small you are. But other times, it shows you how much possibility fits inside that smallness.

    Reading it makes me rethink how I measure progress — not in achievements, or possessions, or even peace of mind, but in how clearly I can see and explain the world around me. The moments when confusion becomes clarity, even for an instant — that’s the real growth.

    And maybe that’s why I keep reading it slowly, sometimes out loud, sometimes half-asleep, sometimes on long train rides when the world outside feels endless. Because it reminds me that understanding itself is the journey.

    There’s no final destination, no last answer, no perfect wisdom waiting somewhere in the distance. There’s only the continuous unfolding of thought — the small, steady courage to keep asking why.

    That, I think, is what The Beginning of Infinity is really about.
    Not the promise of knowing everything, but the permission to never stop trying.

  • The Most Expensive Thing I Ever Bought

    よるのあめ
    てのひらのひかり
    けしてぬれず

    yoru no ame / tenohira no hikari / keshite nurezu
    night rain / the light in my palm / never gets wet

    We were sitting in a small café near the station, the kind that still plays old jazz through a single cracked speaker. The rain outside came in waves, soft and rhythmic, like it was trying to remember an old song.

    He stirred his coffee, then asked, “What’s the most expensive thing you’ve ever bought?”

    I laughed. “That’s easy. My phone.”

    He raised an eyebrow. “Your phone? That doesn’t sound very poetic.”

    “It isn’t,” I said. “That’s the problem.”

    He waited. I could tell he knew there was more coming.

    “It’s not expensive because of what it cost,” I continued. “It’s expensive because of what it took.”

    He tilted his head. “What do you mean?”

    I looked down at the screen between us. It was face-down, black, quiet — like a sleeping animal that could wake at any second. “I think it’s stolen most of my time from the last ten years,” I said. “Time I could’ve spent watching the world instead of photographing it. Time I could’ve spent feeling instead of documenting.”

    He nodded slowly. “Yeah,” he said. “That sounds familiar.”

    “It’s strange,” I said. “You buy something that promises connection, and then you spend years feeling slightly apart from everything. You scroll through people’s lives, you chase signals, you mistake vibrations for meaning. And by the time you look up, the day’s already gone.”

    The rain outside grew heavier. Drops ran down the window in crooked lines. Each one caught the light for a moment, then disappeared.

    “Do you ever wonder,” he said, “what we’d remember if we hadn’t spent so much time looking down?”

    “All the time,” I said. “I think about all the small things I missed — the way light changes on a friend’s face when they laugh, the sound of footsteps on wet pavement, the smell of rain on metal. I traded all that for updates I don’t even remember.”

    He leaned back in his chair. “You think it’s too late to change that?”

    I smiled, though I didn’t feel like smiling. “No. But it’s like trying to unlearn a language you’ve spoken for too long. You can’t forget the words, only choose silence.”

    We sat there quietly for a while. The café was half-empty now. The lights buzzed faintly, and the rain outside softened into a hum.

    After a long pause, he said, “You know, it’s strange. Phones used to be about reaching people. Now it feels like they’re about escaping them.”

    I nodded. “Maybe that’s the real price. Not the money — but the hours. The little fragments of ourselves we trade for the illusion of being everywhere, while slowly being nowhere.”

    The barista turned the lights down. The rain stopped. The air felt lighter, but I couldn’t tell if that was relief or regret.

    He finished his coffee and stood up. “So,” he said, “you going to sell it?”

    I looked at the black screen again, its surface reflecting my face — two eyes, slightly tired, framed by the ghost of the café lights. “No,” I said. “But maybe I’ll start buying my time back.”

    He smiled, almost sadly. “That sounds expensive.”

    “Yeah,” I said. “The most expensive thing I’ll ever pay for.”

  • The Wabi-Sabi Frequency – Episode 14: The Seasons We Forget to Notice

    冬の息
    霜の下で根はぬくく
    春は音もなく待つ

    (fuyu no iki / shimo no shita de ne wa nukuku / haru wa oto mo naku matsu)
    Winter breath whispers / beneath the frost, roots are warm / spring waits without sound


    sound of rain sliding down an old radio antenna
    then the slow click of a reel beginning to spin

    Aya: You ever notice how life never asks before it changes seasons? One day you wake up, and the air just feels… different.

    Ryo: (soft chuckle) Yeah. That’s how you know autumn’s coming. You can smell woodsmoke before anyone lights the fire.

    Aya: I used to think change happened overnight. Now I think it’s more like the tide. You don’t see it shifting, but when you look again, the shoreline’s already moved.

    Ryo: (pause) I like that. That’s the quiet kind of change—the kind that doesn’t make announcements.


    The sound fades into a low hum of wind. You can almost hear the room they’re sitting in—a small recording studio somewhere outside Kyoto. Tatami underfoot, a narrow window framing a persimmon tree that has already lost half its leaves. Somewhere nearby, a kettle begins to sigh.


    Aya: You once said something I wrote down in my notebook: always prepare for winter.

    Ryo: (smiling through his voice) I say that to myself more than to others. Every time life feels too easy, I remind myself winter will come again.

    Aya: And how do you prepare?

    Ryo: By remembering that summer doesn’t last. By storing light, not in a bottle, but in memory. Watch how the sun falls across a table. Remember the laughter from a night you didn’t want to end. Those are provisions for winter.

    Aya: So when the cold comes—

    Ryo: —you’re not surprised. You’ve already gathered enough warmth to survive it.


    They pause. You can hear the soft sound of porcelain meeting wood.

    Aya: But isn’t that sad? Knowing every good season will end?

    Ryo: (gently) Only if you think endings are thefts. They’re really just handoffs. Winter takes what summer leaves behind. Spring borrows from both.

    Aya: Like chapters of the same book.

    Ryo: Or breaths of the same life.


    Silence again—the kind that feels awake, not empty. A heater hums in the background. The floor creaks softly beneath them.

    Aya: I had a winter once. A long one. I’d just moved to Basel. The days were short, my thoughts shorter. I used to walk along the Rhine every morning, even when fog made it look like the world had erased itself.

    Ryo: And what brought you out?

    Aya: A man selling chestnuts by the bridge. He had a small cart, a radio that played old Italian songs, and steam rising around him like a halo. I bought a bag every morning just to see his face. I think that’s how spring began.

    Ryo: That’s it. Spring always starts small. A smell, a sound, a stranger who smiles.


    The kettle clicks off. Tea is poured into two cups.

    Ryo: You know, people forget that autumn and spring are the most important seasons. Not because they’re beautiful—but because they teach transition. Summer and winter are extremes. But autumn teaches how to let go. Spring teaches how to begin again.

    Aya: You sound like a monk.

    Ryo: I’m just old enough to have repeated mistakes. The seasons are patient teachers. You either listen, or you freeze.

    Aya: (laughs softly) I guess I’m still learning to listen.


    A slow jazz track hums underneath their voices now, the kind that could have been recorded decades ago—just a bass line, a faint snare, air thick with nostalgia.

    Ryo: You know why they’re called seasons? Because they’re seasonal. They’re not meant to last. Every winter will be followed by spring. Every summer by autumn. The cycle keeps us humble.

    Aya: So the point isn’t to fight the seasons. It’s to notice them.

    Ryo: Exactly. You don’t need to control them. Just know where you are, and dress accordingly.

    Aya: (smiling) Emotionally or literally?

    Ryo: Both. Bring a coat, either way.


    The jazz fades. You hear the sound of a door sliding open—the outside world slipping in: a sparrow on the eaves, soft footsteps, the smell of rain turning to soil.

    Aya: When I was younger, I used to hate endings. Now I collect them. Photos, scents, half-filled notebooks. They remind me I’ve lived.

    Ryo: That’s the secret of wabi-sabi. Beauty isn’t in the beginning or the middle. It’s in the evidence of time. The chip on the bowl, the fading ink, the quiet after laughter. Those are seasonal too.

    Aya: Do you ever wish the seasons would stop?

    Ryo: No. Without change, there’s no rhythm. Without rhythm, there’s no music.

    Aya: (whispering) No life, either.


    The rain slows. You can hear one of them exhale.

    Ryo: When life gets heavy, remember this: every season carries the seed of the next. Even your hardest winter contains a hidden spring. You just have to survive long enough to see it bloom.

    Aya: (softly) I’ll remember that.


    The tape clicks. Static seeps in like snow.

    Ryo: We don’t control the seasons. We just walk through them.
    Aya: And if we walk slow enough, maybe we’ll finally notice the flowers growing through the cracks.

  • The Time Away From the Screen

    ゆうひさす
    かわべにのこる
    ひとのこえ

    yuuhi sasu / kawabe ni nokoru / hito no koe
    evening light / voices linger / by the riverbank

    I don’t really manage my screen time.
    I counterbalance it.

    The world on a screen moves too fast, too brightly, too close to the nerves. It compresses everything — thoughts, emotions, time — into something flat and glowing. You can’t feel the air there. You can’t smell rain or watch the way light moves across water. So, to keep my mind from turning pixel-shaped, I seek the exact opposite: time with people, or time in nature.

    That’s my reset.
    Not an app, not a timer. Just friction. Reality with texture again.

    When I start to notice my attention thinning, I go outside. I don’t even need to go far — a walk by the river, a park bench, a forest edge, a conversation that doesn’t require typing. Anything where things move at the speed of wind instead of Wi-Fi.

    It’s strange how the body seems to remember balance even when the mind forgets. After hours of scrolling, everything starts to feel abstract — distant. But the moment I touch a leaf, or hear someone’s laugh in person, the distance collapses. The world comes back into focus.

    There’s something sacred about the unrecorded moment. Sitting with someone without a phone between you. Watching clouds drift without needing to capture them. Listening to water without a soundtrack. These are the moments that recalibrate you — slow, quiet, imperfect.

    When I’m outside or talking with others, time stretches again. It becomes three-dimensional. A single hour feels like a whole life, because it contains weight, sound, breath. It reminds me that being alive isn’t a feed — it’s a pulse.

    Screens compress us into observers.
    The world expands us back into participants.

    So, I don’t really “limit” my screen time.
    I dilute it with reality — with laughter, cold wind, sunlight through trees.
    The kind of time that doesn’t need managing because it manages you.

    If you ever feel burned out from being too online, don’t delete everything.
    Just step into something real.
    Go talk to a friend until your throat goes dry.
    Walk until your thoughts start making sense again.
    Let your eyes rest on something that doesn’t emit light.

    That’s how I manage my screen time —
    by remembering that there’s a world that doesn’t need a password to enter.

  • The Wabi-Sabi Breath

    For the restless mind that wants to come home. And you will find time.

    Lie down.
    Flat on your back.
    Let the ground take your weight like a friend who says stay.
    Close your lips softly, as if sealing a finished letter.
    Breathe through your nose. Quiet. Gentle. Small.

    Awkward is fine.
    Inhale. Exhale.
    Let each breath become a little slower, a little softer.
    Soon it begins to breathe you.

    When the air moves easily, listen inside.
    Inhale and think So.
    Exhale and think Hom.
    Not as words. As sound.
    A current that says I am here.

    The inner sound

    And then, speak without meaning.
    Only inside your head.
    Let sounds roll like a tide.
    Nonsense syllables. Fragments. Echoes.
    Something ancient. Something new.
    It does not matter what.
    Sound becomes breath. Breath becomes stillness.

    Now let go of control.
    Do not hunt for a good syllable.
    Do not arrange a pattern.
    Drop the steering wheel.
    Whatever comes is what comes.

    It will feel clumsy at first. Keep going.

    If you need a door, start simple and let it change by itself:
    om… ma… ya… so… la… kee… na…
    or just a soft hum that bends into made-up sounds.

    Keep it light. Keep it quiet.
    Imagine you are underwater and bubbles form their own shapes without you planning them.
    After a minute you are not speaking anymore. It is speaking.
    Your breath follows that rhythm.
    Thoughts fall behind it like leaves in a slow stream.

    This is letting go. Not silence. Freedom from control.
    You do not force the calm. You stop interrupting it.

    If it fades, let it fade.
    If thinking returns, begin a new stream of sounds.
    Each time takes less effort. Each time you fall a little deeper.

    You may feel warmth at the eyes or hands.
    You may feel your jaw soften and your throat open.
    You may feel nothing at all.
    All of this is right.

    Keep going until you forget you are doing anything.
    The body breathes. The mind hums.
    For a while there is no line between them.

    When it ebbs, do not chase it.
    Rest.
    Let the silence after the sound be enough.
    This is where the calm hides. In surrender, not effort.

    Wabi-sabi meditation is not escaping the noise of life.
    It is letting the noise learn to sing.

  • Time Is the Stage, Not the Play

    あさひさす
    ときのかわにも
    こたえあり

    asahi sasu / toki no kawa ni mo / kotae ari
    morning sun / even the river of time / carries an answer

    People often say, “I need more time.”
    More time to finish something important.
    More time to rest.
    More time to find themselves, to love better, to live fully.
    But the truth is, we don’t really need time.
    We need understanding.

    Time is not food.
    It doesn’t nourish you.
    It doesn’t heal your wounds or write your story for you.
    It simply moves — quietly, endlessly, indifferently.
    What gives time meaning is what we create inside it.

    If you think about it, time itself doesn’t change us.
    We change by learning.
    By correcting mistakes.
    By explaining the world to ourselves more truthfully each day.
    What matters is not how much time passes, but how much knowledge accumulates in that passage.
    Progress isn’t measured in years — it’s measured in insight.

    We often confuse time with growth,
    but they are not the same.
    Time is the stage; growth is the performance.
    Without action, without curiosity, the stage stays empty.

    That’s what makes being alive so strange and beautiful.
    We are creatures trapped in time,
    but capable of understanding things that exist beyond it.
    Every discovery we make — scientific, emotional, spiritual —
    is an act of rebellion against the limits of time.

    When you start to see life this way, you stop asking for more hours or days.
    You begin to ask for clarity.
    You ask for the ability to see what you already have more deeply.
    Because understanding turns even the smallest moment into something infinite.

    The real question isn’t “Do I have enough time?”
    It’s “Am I using the time I have to create something that lasts beyond it?”

    Think about the people who changed the world —
    artists, writers, inventors, philosophers, parents, teachers.
    They didn’t live longer lives than anyone else.
    They simply used time differently.
    They treated it not as a cage, but as a canvas.

    Time is the medium of meaning.
    It’s where our stories unfold,
    where our failures ferment into wisdom,
    where we learn to connect dots that once looked like chaos.

    You can waste years without learning a single thing.
    Or you can live one day that changes everything you understand.
    That’s why time is not the resource — understanding is.

    We don’t need time the way a plant needs sunlight.
    We use it the way a writer uses a blank page —
    to give shape to what can’t yet be said,
    to turn uncertainty into explanation.

    And maybe that’s what it means to live fully:
    to stop treating time as something we run out of,
    and start treating it as something we write into.

    Every mistake corrected, every small truth uncovered,
    every insight shared —
    those are the brushstrokes on the stage of time.
    And each one moves us closer to something limitless.

    Because progress doesn’t end.
    There is no final truth, no finished painting.
    Just a continuous unfolding —
    a process of understanding that, if we let it, never stops improving.

    The beginning of infinity isn’t about endless years ahead of us.
    It’s about realizing that knowledge has no ceiling.
    That even within the limits of a human life,
    we can reach beyond time by leaving understanding behind.

    Time is the stage.
    We are the play.
    And the meaning we create inside it —
    the learning, the love, the mistakes, the insight —
    is what turns moments into eternity.

    So stop asking for more time.
    Ask for awareness.
    Ask for the courage to keep learning,
    to keep refining,
    to keep turning the unknown into light.

    That’s what we really need —
    not time,
    but the will to use it beautifully.

  • Three Years From Now

    あさのあめ
    ひとはかわらず
    そらがかわる

    asa no ame / hito wa kawarazu / sora ga kawaru
    morning rain / people stay the same / only the sky changes

    In three years, my life will be chaotic.
    Not in a tragic way just in the way real life tends to be when it’s lived fully.
    There will be love and anger, soft mornings and sleepless nights, calm days that dissolve into arguments, apologies whispered in the dark. I’ll be pulled between what I want and what I should do, between the person I am and the one I keep trying to become.

    There will be moments when I’ll feel completely alive drinking coffee too late, watching the sky turn gold, laughing until I can’t breathe. And then, moments when everything feels too heavy, when silence fills the room like fog, and I’ll wonder if I’ve drifted too far from who I was.

    I’ll fight with people I love. I’ll lose my patience, my way, maybe even my faith in things for a while. But I’ll also find it again in small gestures, in the quiet kindness of strangers, in the way the world keeps going even when I fall behind.

    There will be temptations the easy ones, like staying comfortable, and the harder ones, like pretending not to care. Sometimes I’ll give in. Sometimes I’ll resist. I’ll regret both. But I’ve learned that regret is a kind of proof that you still have a pulse, that you still give a damn.

    There will be love, too. Complicated, inconvenient, stubborn love. The kind that doesn’t fit neatly into plans but makes the world softer around the edges. The kind that reminds me why I still choose to stay open, even when it hurts.

    And through it all, I’ll keep noticing the small things the smell of rain, the clinking of dishes after dinner, the way streetlights hum in the cold. These are the moments that tether me, that remind me life doesn’t need to be perfect to be good.

    Three years from now, I’ll still be learning how to live without guarding myself too much.
    How to forgive faster.
    How to stop chasing some imagined version of balance and instead just breathe through the motion.

    I don’t want a life that makes sense.
    I want one that feels real full of noise and color and contradictions.
    A life that leaves traces.

    And when I look back, I hope I’ll see exactly that:
    a story that’s messy, human, full of love and mistakes and moments that hurt enough to make me grow.

    In short three years from now, I’ll still be me.
    Still learning. Still falling.
    Still alive in every possible way.

  • he Ghosts of the Old Internet

    よるのひかり
    まどにうつる
    こえのあと

    yoru no hikari / mado ni utsuru / koe no ato
    night light / reflected in the window / after a voice fades

    I used to love the old internet—the one that felt like wandering down a quiet street at night, past flickering windows of other people’s dreams. It was messy, slow, unpredictable. Websites looked like the inside of someone’s mind: uneven fonts, blinking cursors, colors that clashed but somehow made sense because they were real. They were built by people, not systems. Each one carried fingerprints, warmth, intention. I’d spend hours exploring tiny pages with strange names, reading late-night thoughts from strangers who wrote just to be understood, not to be seen. Every click felt like discovery, not consumption. Every photo took its time to appear, pixel by pixel, as if the world wanted to be earned.

    Now, everything glows too perfectly. The screens are sharper, the light colder, and the spaces that once felt alive have been replaced by a wall of numbers—millions of tiny red digits pulsing in unison, tracking every heartbeat of our attention. We’ve built a digital city where the lights never go out, but no one truly meets anymore. The web no longer invites you to wander; it keeps you scrolling. It doesn’t wait for you—it chases you. And in that chase, something essential slips away: the quiet curiosity that made it magical in the first place.

    The old internet taught me patience. It taught me how to listen to silence, how to read between the lines of a stranger’s words, how to sit in the gentle stillness of not knowing what comes next. That’s something the modern world seems to have forgotten. Everything now is designed to eliminate uncertainty, to predict what you’ll love before you know it yourself. But when you lose uncertainty, you lose wonder. You lose the thrill of stumbling upon something that changes you.

    The truth is, we don’t need faster, louder, shinier things—we need depth again. We need the slow spaces where thought can stretch, where creativity doesn’t have to fight for oxygen. The old internet was imperfect, but it was human. You could feel the rhythm of real lives beating behind every broken link. Now, as I scroll through infinite feeds, I sometimes wonder if the perfection we’ve built has made us forget how to feel.

    That’s why I started writing here—to reclaim a small corner of slowness. To rebuild a fragment of that lost quiet. If you’ve ever missed the world before the noise, before the screens became our mirrors, you’ll understand what I mean. This blog is my way of remembering that not everything needs to trend to matter. Some things just need to exist—to be shared between two people in the stillness of a late night, when the only light is the soft red pulse of a digital clock and the sound of your own thoughts returning home.

    If that’s what you’re looking for—if you still believe that the internet can be more than noise—then stay awhile. Read. Wander. Leave slower than you came.

  • The Last Time Everything Still Felt Real

    なつのひに
    わらいごえまだ
    かぜにのる

    natsu no hi ni / waraigoe mada / kaze ni noru
    on a summer day / the sound of laughter / still rides the wind

    We met by the old river, the one that cut through the city like a forgotten thought. The air smelled faintly of iron and wet stone. Someone was playing a guitar on the other side—badly—but the sound drifted soft enough to feel like memory instead of noise.

    He was already there, sitting on the low wall with two cans of beer sweating between his hands. The sun was almost down, the kind of gold that lingers a little longer just to show off.

    “Tell me,” he said, handing me a can, “if you could relive one year, which would it be?”

    I didn’t have to think. “Anything before 2016.”

    He laughed. “That specific, huh? What happened in 2016?”

    “Nothing,” I said. “And everything.”

    He tilted his head. “Go on.”

    “It’s like that was the last year the world still felt alive. The last time things were… fun, you know? When people still met by accident. When you could call a friend and end up walking half the night just because you could.”

    He cracked open his can, the hiss sharp and short. “Yeah. Back when we were still in the world. Not orbiting around it.”

    “Exactly.” I took a sip. The beer was warm, but it didn’t matter. “I remember back then—you’d go out without checking your phone every five minutes. You’d talk to people and actually see them. Not through glass, not through filters. Just them. Their real faces, their pauses, their imperfections. That was connection.”

    He smiled, looking at the river. “Now everything’s mediated. Nobody talks unless there’s a reason. Nobody listens unless it’s performative. The whole world’s a feed.”

    “Yeah,” I said quietly. “Back then, people still had time. They went out more. They touched things. They met strangers. Now everyone’s drifting. Together, but alone.”

    He nodded. “It’s funny. They said all this technology would bring us closer.”

    “It did,” I said. “Just not to each other.”

    A small silence fell between us. The sound of the water filled it, like punctuation. Somewhere upstream, a group of teenagers shouted, their laughter bouncing off the bridge. For a moment, it felt like a sound from another era—when laughter came from people, not from clips on a screen.

    “You know,” he said, “sometimes I scroll through photos from those years and I can’t tell what’s memory and what’s just data. They look the same now. All flattened, all tagged.”

    “Yeah,” I said. “It’s strange. The more we document, the less we remember.”

    He smiled faintly, as if that hurt a little. “Do you think it’s just nostalgia?”

    I thought about it. The light was fading fast now, the city beginning to hum with neon. “No,” I said finally. “It’s not nostalgia. It’s recognition. We all know something real slipped away, and no one wants to admit it. That’s why we keep scrolling—to find the thing we lost inside the machine that took it.”

    He exhaled slowly, a long ribbon of breath dissolving into the air. “It’s weird,” he said. “I remember how even boredom used to feel different. You could lie on the floor and stare at the ceiling and let your thoughts go wherever they wanted. Now, the second silence hits, people panic. They open their phones like it’s oxygen.”

    “Back then,” I said, “boredom was where ideas came from. You’d think, wander, invent. Now, we’re never bored, but we’re also never really awake.

    A train passed on the bridge, its lights flickering across the water. For a second, everything shimmered—like two realities overlapping, the world before and the one after.

    “Do you ever feel like people have split into camps?” he asked suddenly.

    “Yeah,” I said. “Everyone’s defending something. Opinions, identities, digital borders. Nobody meets in the middle anymore. We used to disagree, talk, drink, make up. Now it’s all noise. All certainty.”

    He nodded, eyes half-closed. “It’s like we’ve forgotten how to be unsure.”

    The air grew cooler. I could smell the faint salt of the sea in the distance. The city was behind us now, glowing faintly, pulsing like a machine breathing in its sleep.

    “I miss how things felt before,” I said quietly. “When time moved slower. When people looked at each other instead of through each other. When friendship didn’t have to survive through screens.”

    He didn’t answer at first. Then he said, almost to himself, “I remember those nights. Walking through the old district after midnight. You’d hear music coming from open windows, smell bread baking somewhere. You didn’t need to share it with anyone. It was enough just to be there.”

    I nodded. “That’s what I mean. The world was textured. It had scent and weight. Now it’s flattened, digitized. Like we’ve all been reduced to reflections.”

    We sat in silence for a while, the way old friends do when words stop being useful. The last of the sunlight disappeared. Streetlights blinked on, one by one, like tiny awakenings.

    Finally, he stood up. “You know,” he said, brushing dust from his jeans, “we’re sitting here talking about how people don’t meet in person anymore.”

    I smiled. “Yeah.”

    “And yet,” he said, “here we are.”

    The water moved softly. The sound of the guitar drifted again, closer now, still slightly out of tune. I watched the reflection of the city shimmer and break on the surface.

    “Maybe,” I said, “this is how it begins again. One small conversation at a time.”

    He smiled, and for a moment, the air between us felt like those years before—
    before the screens, before the noise,
    when everything still felt real.

  • The Part of Me That Never Grew Up

    あさひさす
    こどものこころ
    まだのこる

    asahi sasu / kodomo no kokoro / mada nokoru
    morning light / the child’s heart / still remains

    There’s a part of me that never grew up.
    It doesn’t wear a watch. It doesn’t understand the word “networking.”
    It still gets excited about small, unnecessary things—like the smell of a new book, the sound of gravel under bicycle tires, or watching clouds drift into shapes that mean nothing at all.

    I think we all carry that version of ourselves somewhere.
    Some keep it quiet, buried beneath layers of adulthood.
    Some let it breathe a little more often.
    And some, like me, are still learning how to listen to it without feeling guilty.

    When I was a kid, I used to draw for hours—little scenes of people who didn’t exist yet. I’d wander forests near my house and pretend they were ancient kingdoms. I’d build stories out of twigs and broken glass, convinced the world was full of secret messages if I only looked long enough.
    That way of seeing—the mix of curiosity, wonder, and useless beauty—never fully left me.

    Even now, when I’m supposed to be serious, I catch myself staring at patterns of light on the wall, at the way steam curls from a cup, at the accidental poetry of overheard conversations. It’s not immaturity; it’s recognition. The world hasn’t changed—it’s just that most people stopped paying attention.

    I once heard someone say they still feel fourteen inside.
    There’s truth in that. You grow up, you work, you build things, you take care of others—but inside there’s still that version of you who’s wide-eyed, hopeful, slightly clumsy, still asking why instead of how much.

    Being a kid at heart isn’t about avoiding adulthood.
    It’s about carrying curiosity through it.
    It’s about refusing to let routine erase your sense of discovery.
    It’s about seeing a puddle and wondering how cold it is, instead of just walking around it.

    I know adults who seem allergic to joy. They rush, plan, perfect, accumulate.
    And yet, the happiest people I know are the ones who kept a small piece of that early softness alive—the permission to laugh too hard, to play without a goal, to be amazed for no reason.

    I’ve learned that being a kid at heart is a kind of wisdom.
    It’s a way of staying flexible in a world that tries to make you rigid.
    It helps you forgive faster.
    It helps you remember that not everything has to be useful to be meaningful.

    When I travel, I try to move like a child again—without agenda, open to being surprised.
    When I cook, I make a mess, taste too early, experiment.
    When I meet new people, I try to stay curious, not calculated.
    And when I fail—which happens often—I remind myself that learning, too, is a game.

    There’s a word I love: shoshin—“beginner’s mind.”
    It means approaching everything as if for the first time.
    That’s what being a kid at heart really is.
    It’s not pretending you’re young; it’s staying awake to the world’s small miracles.

    I sometimes think the reason life feels heavy is because we forget how light we used to be.
    We forget what it’s like to run for no reason, to make things just to see what happens, to get lost and call it adventure.
    But that part of us doesn’t disappear. It waits.
    It waits for the moment we stop pretending to be so certain,
    and start wondering again.

    If there’s one thing I wish to keep alive in myself, it’s that wondering.
    That small, untidy joy of not knowing yet.
    Because it’s there—in that small, messy space between knowing and dreaming—
    that I still feel most like myself.

    And maybe that’s what being a kid at heart really means:
    Not escaping life, but falling in love with it again and again,
    no matter how many birthdays go by.

  • Three Wishes I Keep Forgetting I Already Have

    ゆめのなか
    ひとはもどる
    たいせつなものへ

    yume no naka / hito wa modoru / taisetsu na mono e
    in a dream / we return / to what truly matters

    If I had three magic wishes, I already know what they would be.
    And maybe that’s the quiet tragedy of it—how simple they are,
    and how often I forget them.

    The first would be to spend more time with the people I love.
    I already try to, but life—life is greedy. It takes its share.
    It drains you, makes you tired, makes you choose efficiency over presence.
    And each time that happens, each time I choose the noise over the faces that calm me,
    I regret it.

    There’s no better investment than time given to your tribe.
    Family, friends, those rare souls who make you feel like you can breathe deeper around them.
    Everything I’ve learned that mattered came from others—
    from watching, listening, sitting beside them long enough to catch the rhythm of their hearts.
    The world teaches us to chase independence,
    but happiness, I think, is a shared construction.
    It’s built, not achieved.

    The older I get, the more I understand that “love” isn’t a single emotion.
    It’s attention, presence, small rituals repeated over time.
    Cooking together. Long walks without purpose.
    Saying “I’m here” without needing to explain why.
    If I had one wish, it would be to always remember this,
    especially on the days when the world makes me forget.

    My second wish would be to have followed my passions earlier.
    Not recklessly, not in some dramatic, cinematic way—
    just earlier.
    To have trusted that the things that pull at your curiosity
    are not distractions but directions.

    In my twenties, I played it safe.
    I followed what seemed stable, predictable, respected.
    And yet, the people who inspire me most never played it safe.
    They wandered. They combined things that didn’t seem to fit—
    craft and science, art and structure, risk and patience.
    They built what some call a “talent stack,”
    but really it’s just a long story of saying yes to what feels alive.

    Looking back, I wish I had diversified sooner—
    not just my career, but my self.
    Taken more small bets. Failed more interestingly.
    I know now that playing it safe slowly costs more than taking risks ever could.
    Safety, when stretched too long, becomes its own kind of danger.

    Still, the wish isn’t bitter.
    Because it’s not too late.
    The lesson came, even if it arrived on tired legs.
    And maybe part of maturity is realizing that passion doesn’t expire—
    it just waits for you to remember it.

    The third wish is harder.
    To have taken better care of my health.

    This one feels almost universal.
    No matter how disciplined you are,
    life finds a way to wear you down.
    And health isn’t something you ever finish taking care of—
    it’s maintenance, not mastery.

    There are the obvious things—
    less alcohol, more sleep, a balanced body that doesn’t burn its candle for comfort.
    And then there are the quieter ones—
    protecting your energy, staying close to people who make you laugh,
    not letting bitterness calcify inside you.

    I’ve realized health is less about perfection
    and more about not giving the wrong things too much of you.
    There’s a checklist—avoid the obvious poisons, physical or otherwise.
    But beyond that, it’s about small daily negotiations with your future self.
    Eating well. Moving often. Feeling alive enough to keep showing up.

    Each of these wishes could be written on a napkin.
    They’re that simple.
    Spend more time with people who matter.
    Follow what makes you come alive.
    Take care of the machine that carries you through it all.

    No wealth, no wisdom, no accomplishment can replace these three.
    They are the foundation beneath everything else.
    And yet, somehow, they’re the first things I forget when life gets busy.

    Maybe the real wish is not to get them—
    but to remember them.
    Every day.
    Especially when the world tries to convince me that something else matters more.

    Because it never does.

    If I had three wishes,
    I’d spend them reminding myself of what I already know—
    that love, curiosity, and health
    are the real currency of a good life.

    Everything else is just the noise between breaths.

  • My Father’s Silence

    ゆうぐれに
    けむりがゆれる
    ちちのかげ

    yūgure ni / kemuri ga yureru / chichi no kage
    in the dusk / the smoke sways / my father’s shadow

    My father is a quiet man.
    Not the kind of quiet that feels cold or distant,
    but the kind that comes from a lifetime of watching before speaking.
    He inherited that silence—from his parents, from the land he grew up on,
    from a culture that believed words should be earned, not spilled.

    Part of it, I think, is in his genes.
    The way he can sit for hours fixing something small,
    a broken lock, a chair, the hinge of a door—
    as if time itself waits for him to finish.
    And part of it is habit, carved into him by years of repetition.
    Patience, precision, quiet hands.

    He smokes. Always has.
    The smell of tobacco still feels like home in a strange way—
    that soft blend of fire and calm.
    He used to drink too, back when the world seemed heavier.
    There was a certain sadness to it,
    an attempt to burn away the silence from the inside out.
    I watched him do it for years.
    And though I didn’t inherit the bottle, I inherited the itch—
    that restless need to fill the empty spaces.
    Only, I learned to pour it into other things.
    Writing. Moving. Fixing what’s broken before it breaks me.

    I learned a lot from him.
    How to fix what can be fixed,
    and how to wait when it can’t.
    He taught me how to take things apart carefully,
    so they’d still remember how to come back together.
    He taught me to measure twice,
    to listen before speaking,
    to let things unfold at their own pace.

    But I also learned from his mistakes.
    From the nights when silence turned too heavy,
    when the room filled with smoke and regret,
    when distance became easier than tenderness.
    Those moments taught me what not to repeat—
    how to speak before it’s too late,
    how to sit in the same room with someone you love and still feel close.

    He never told me how to live.
    He just lived—and let me watch.
    Sometimes I wish he’d said more,
    but then again, his lessons came through differently.
    Through pauses, through gestures, through small repairs.
    He taught me what strength looks like when it’s quiet.
    What dignity feels like when no one’s watching.

    And yet, because of him, I also learned to laugh.
    His humor is subtle, almost accidental.
    A single raised eyebrow, a perfectly timed sigh,
    a joke delivered without changing expression.
    It’s the kind of laughter that slips through cracks—small but healing.

    And I’ve cried because of him, too.
    Not out of anger, not even sadness—
    but because I could finally see how deeply human he was.
    How much love hides behind restraint.
    How much fear hides inside pride.
    How much silence can carry if you let it.

    Now, as I get older, I recognize more of him in me.
    The quietness. The stubbornness. The need to fix things instead of talk about them.
    But also, the capacity to change.
    To let the silence soften into something that connects rather than isolates.
    To learn patience without paralysis.

    When I visit him, he still smokes by the window.
    The ashtray fills with tiny gray mountains.
    He doesn’t say much, and I don’t push it.
    We just sit there, the air between us filled with faint smoke and old understanding.
    Sometimes he tells a story from decades ago,
    something I’ve never heard before.
    Sometimes we just sit in shared quiet,
    and I realize that maybe this is what love looks like in his language—
    steady, wordless, warm in its own way.

    He gave me more than I ever knew.
    A blueprint of strength and silence,
    a map of mistakes and redemption,
    and the permission to feel everything—
    even what he never learned how to say.

    I learned to laugh and to cry because of him.
    And both, I think, are just different ways of saying thank you.

  • The Art of Moving Without Noise

    あさのかぜ
    くつのうらまで
    しみこんだ

    asa no kaze / kutsu no ura made / shimikonda
    morning wind / soaking through / the soles of my shoes

    Walking has always felt like the most human thing I do.
    It’s simple, primitive, unremarkable. But every time I walk, something inside me shifts—quietly, like a coin turning in a pocket.

    I don’t walk to get fit. I walk to return to myself.
    Somewhere between the first and the hundredth step, the noise begins to fade. The tangled lines of thought loosen. The world, once overwhelming, becomes manageable again—one breath, one footstep, one streetlight at a time.

    I’ve always believed that the act of walking is a kind of prayer. Not the formal kind, but the kind whispered without words. A slow conversation between your body and the world that built it. The road listens, the air answers, and you just… keep going.

    In the mornings, when the city still feels half-asleep, I like to walk alone. The streets are pale and quiet, the sky somewhere between silver and blue. A bakery hums to life; a cyclist passes by like a soft rush of wind. Somewhere a radio plays an old song—Japanese, maybe—and the melody trails off before I can catch the words.

    Those are the best moments.
    When you’re neither here nor there, not quite awake, not quite dreaming.
    You don’t walk to somewhere. You just walk through.

    But walking isn’t always a solitary act.
    Sometimes it’s two people, maybe three, maybe four—moving through the world together, side by side, not facing each other, just drifting in the same direction.
    That’s when it feels almost ancient.

    There’s something profoundly comforting about walking with others. You don’t need to look at them or fill the silence. The rhythm of your steps takes care of the conversation. Sometimes one person talks for a while; the others listen. Then it flips. Sometimes no one says anything for ten minutes, and it’s fine—better than fine, actually. The quiet starts to mean something.

    I’ve noticed that walking with people changes them.
    Voices soften. Arguments disappear. The body calms the mind in ways words never could.
    When you’re side by side, you’re equals. Not debating, not performing. Just existing.
    I think that’s why some of the best talks I’ve ever had happened while walking. The pace keeps everything honest.

    There’s a wordless intelligence in it—a memory that stretches back thousands of years. Before we learned to sit at desks, before we forgot what air feels like against our faces, we were a species that walked together.
    We followed rivers. We crossed mountains. We searched for fire, for food, for each other.
    Our happiness, I think, was simpler then—not because life was easier, but because we were still moving.
    We were still part of the rhythm.

    Even now, when I walk with friends, I can feel that same ancient thread pulling us forward.
    Sometimes we split into two groups on narrow paths, talking in pairs, then drift back together again, like schools of fish.
    No one leads. No one needs to.
    It’s enough that we’re going somewhere, even if we don’t know where.

    At some point, the conversation always fades.
    All that’s left is the sound of shoes against pavement, a shared silence that feels older than language.
    You start to realize—this is what contentment sounds like.

    When I walk alone, the world becomes sharper.
    I notice things I would normally ignore—the flicker of light through tree branches, the smell of bread cooling on a windowsill, the way the wind hesitates before turning a corner.
    It feels like the universe showing me its small handwriting.

    And when I walk with others, I notice something else:
    That belonging doesn’t always mean being seen.
    Sometimes it’s enough to move in rhythm with another person—to exist together in the same slice of time, quietly, without explanation.

    By the time I get home, I feel lighter.
    Not just in the body, but somewhere deeper.
    The room feels softer, the air thicker with meaning. Even the silence has texture, as if it’s been washed clean.

    I think walking works because it’s one of the few things that still connects us to our beginnings.
    It’s how we learned to survive, to understand, to trust.
    Every step is a reminder: this is what it means to be alive.

    So yes, walking is my favorite exercise.
    But it’s more than that. It’s my reset button, my small rebellion against a world that keeps rushing ahead.
    It’s how I slow down enough to listen—to others, to myself, to the quiet that’s always been there waiting.

    Because happiness, I think, is not found in stillness.
    It’s found in motion.
    In the simple act of walking, together or alone,
    somewhere between nowhere and home.

  • The Price of the Moon

    しずけさに
    こたえをさがす
    つきのひと

    shizukesa ni / kotae o sagasu / tsuki no hito
    in the silence / someone searches / for an answer on the moon

    The café near the station always smelled like warm milk and tired metal. The kind of place where nothing ever changed except the people aging inside it. I used to go there often—always at the same time, always to meet the same man. His name doesn’t matter. What matters is that he had the strange habit of asking questions that sounded simple but never were.

    That day, as I sat down, he was already there. His coffee sat untouched, cooling beside a small notebook covered in scribbles. Outside, rain slid down the window in slow, uneven streaks.

    Without looking up, he asked, “How much would you pay to go to the moon?”

    I laughed, because what else do you do with a question like that?
    “I don’t know,” I said. “I’m not sure I’d want to go.”

    He finally looked at me. His eyes were the color of late evening—somewhere between blue and grey.
    “Of course you’d want to go,” he said. “Everyone does. They just don’t admit it. Everyone wants to escape gravity.”

    He took a folded piece of paper from his coat pocket and slid it across the table. It was a magazine clipping, the glossy kind you find on airplanes. The headline read: ‘Private Companies Begin Selling Civilian Trips to the Moon.’ The picture showed a couple in white suits floating above the Earth, smiling like they had finally outrun themselves.

    “Seventy million for a ticket,” he said. “What’s seventy million worth to you?”

    I watched the steam rise from my cup and curl into nothing. “It’s not about the money,” I said. “It’s about where you think you’re going.”

    He smiled in that small, quiet way of his—the kind of smile that doesn’t quite reach the eyes.
    “The moon isn’t about destination,” he said. “It’s about distance. You think if you go far enough, you’ll finally be able to hear yourself think.”

    There was something heavy about the way he said it. Like he’d already tried, in some smaller way.

    “You think that’s worth paying for?” I asked.

    He shrugged. “People pay for distraction all the time. Maybe silence is just the luxury version.”

    For a while, neither of us spoke. The rain grew steadier outside, blurring the reflection of the streetlights until everything looked like it was melting.

    Finally, he leaned forward. “Imagine it. You’re standing on the moon. There’s no sound. No chatter, no clocks, no background noise. The whole planet is there beneath you, small and blue and fragile, and for once, you can see it all without being in it. What would you feel?”

    I thought about it. “Small, probably. Maybe lonely.”

    He nodded slowly. “Exactly. Loneliness you can finally measure.”

    The waitress came by with refills. He thanked her softly, though he didn’t touch his cup. The light from the window cast his reflection across the table—it looked faint, almost transparent, as if he were already halfway gone.

    “Do you ever feel like your life is running too fast for you to catch up?” he asked.

    “Every day,” I said.

    He smiled again, more tired this time. “That’s why I think about the moon. Not for the view. For the slowness. Up there, nothing happens. No noise. No deadlines. Just silence and dust and time finally taking its time.”

    He turned the cup in his hands, leaving faint rings of coffee on the table. “I used to think that’s what I wanted,” he said. “Silence. Escape. A place where my thoughts couldn’t find me.”

    “And now?” I asked.

    He looked at me for a long time before answering. “Now I’m not so sure. Maybe what I was running from was the part of myself that still wanted to stay.”

    Outside, a train passed, its sound deep and rhythmic like a heartbeat under the city. The whole window trembled. He watched it go until the vibration faded.

    “I think people misunderstand the moon,” he said. “They think it’s empty. But maybe it’s just quiet. Maybe it’s not what’s missing that matters, but what you bring to it.”

    I didn’t know how to reply. He was right, though I didn’t want to admit it. We all dream of escape, but what we’re really trying to escape is the noise inside our own heads. The kind that follows you even into sleep.

    We sat there for another hour, saying little. The rain softened. The café emptied. When he finally stood up, he left a few coins on the table and looked out the window one last time.

    “You know,” he said, “we’re all already paying to go to the moon in small ways. Every time we chase something that takes us further from ourselves—work, ambition, endless motion—that’s the ticket price. The higher you climb, the quieter it gets. And then one day, you realize you’re floating, but you can’t hear anything anymore.”

    He smiled gently, and I noticed for the first time how tired he looked—not physically, but like someone who’d spent too much of his life searching for a door that didn’t exist.

    “Maybe,” he said, “the goal isn’t to go there. Maybe it’s to find a piece of the moon here—on Earth—without losing gravity.”

    He nodded, and then he was gone, his coat brushing the chair as he passed. I sat alone, the sound of the doorbell fading behind him, watching the steam from my coffee disappear into the cold air.

    The moon was still faintly visible in the window, pale and imperfect.
    For the first time, I noticed how much it looked like a scar—something healed, but still there to remind you.

    And I realized he was right.
    We don’t need to go to the moon.
    We just need to stop running long enough to notice the one already inside us—the one that glows quietly behind the noise, patient, unbothered, waiting for us to finally look up.

    That night, walking home through the wet streets, I caught my reflection in a shop window. For a second, it looked like I was floating. Then I blinked, and gravity found me again.

    I smiled, quietly, to no one.
    I didn’t need the moon anymore.
    I’d already paid for the silence, and it was worth every cent.

  • My Kind of Food

    ゆげのなか
    じかんとかおり
    まざりあう

    yuge no naka / jikan to kaori / mazariau
    in rising steam / time and scent / intertwine

    When people ask what food I’m best at making, I never have a clean answer.
    I can’t point to a single recipe, or name a dish that would impress anyone at a dinner party.
    My kind of food isn’t the kind you photograph. It doesn’t come out identical twice. It’s not measured, or timed, or perfectly plated. It’s food that remembers things—hands, voices, seasons. It’s food that’s alive.

    It begins quietly.
    A knife on the cutting board. The low rhythm of something frying. The sound of running water hitting a pot, steady and reassuring. The moment I start cooking, the day starts to loosen its grip.

    My food is slow. Not in the trendy, “slow food” sense. It’s slow because I am. Because I need time to meet the ingredients halfway. Because when I cook, I’m not trying to make something perfect—I’m trying to make something that feels like me, or the version of me that’s still learning to be gentle.

    The first thing I ever learned to cook was polenta.
    I was a student, broke, and living in an apartment that smelled faintly of dust and detergent. The stove took forever to heat. The pot was secondhand, uneven on the bottom, like it had survived a small war. I’d pour the cornmeal in too fast, and it would clump in golden islands before I could stir. Every single time.

    But that was the beauty of it.
    The patience polenta demanded.
    The way it forced me to stand still.

    I’d stir and stir until the air grew heavy with steam, and the kitchen walls turned soft around me. Sometimes I’d add butter if I had any. Sometimes cheese. Sometimes just salt and water, nothing else. When it was done, I’d sit by the window, bowl in my hands, the city stretching below me. Steam fogged the glass. I remember thinking, this is enough.

    It wasn’t about the food—it was about the act of making it. About time becoming visible in the swirl of a wooden spoon. About turning cheap ingredients into something warm enough to quiet your thoughts.

    I still make that same greasy polenta sometimes, when life feels like too much noise.
    It’s not nostalgia—it’s muscle memory.
    It’s a return to rhythm.

    My mother taught me most of what I know about cooking, though she never called it teaching.
    She had her own language in the kitchen—one made of gestures and silences, not words. She never used recipes, just intuition. She’d throw in “a bit of this” and “a handful of that,” and somehow it always tasted right.

    When I was little, I’d stand beside her while she cooked—too short to see into the pot, but tall enough to watch her hands. The way she wiped them on her apron before touching anything new. The way she tilted her head when tasting, as if listening to something only she could hear.

    Once, she burned the onions because she was laughing at something my father said from the next room. She tried to save them, stirring quickly, but the smell filled the air—sharp, bitter, beautiful. For some reason, that smell still means home to me.

    Cooking with her wasn’t about learning recipes—it was about learning how to care. How to pay attention. How to turn ordinary ingredients into something that held memory. She used to say, “Food keeps us honest.” I didn’t understand then. Now I do.

    Travel taught me the rest.
    The first time I cooked in Japan, I learned to wash rice properly. The woman who showed me said, “Don’t just rinse—listen.” The grains brushed against my palms, making a soft, whispering sound. I rinsed again and again until the water ran clear, and something inside me cleared with it.

    In Kyoto, I learned patience from dashi.
    In Italy, I learned boldness from olive oil.
    In Slovenia, I learned that food is language—that you can say more with a plate than with words.
    And in Switzerland, where I live now, I learned silence—how some meals don’t need conversation, just warmth shared in a small, well-lit space.

    Everywhere I’ve been, I’ve stolen a technique, a scent, a small ritual. I’ve carried them home like pebbles in my pocket. When I cook now, they all show up together—little ghosts of other kitchens.

    Sometimes it’s a Japanese cut, clean and precise.
    Sometimes it’s the rustic chaos of my mother’s table.
    Sometimes it’s the carelessness of youth—adding too much butter because it feels like forgiveness.

    My kind of food isn’t consistent, but it’s faithful.
    It remembers what I was feeling when I made it.
    It remembers who I was trying to feed, even if it was just myself.

    When I cook, time bends.
    The scent of garlic in oil will suddenly take me back to my mother’s kitchen.
    The sound of a simmering sauce will remind me of a storm outside a small apartment window years ago.
    The first taste will take me forward—to someone I haven’t met yet, to a table that doesn’t exist yet.

    Food is the only time machine that works reliably.

    Sometimes, cooking feels like writing.
    You start with ingredients that don’t belong together.
    You add heat, time, patience.
    You let them change you while you change them.
    And if you’re lucky, something true emerges—something that can’t be repeated, only remembered.

    People think a recipe is a set of instructions.
    But it’s really a story someone else began.
    Every time you cook it, you add a chapter in your own handwriting.

    That’s why I don’t have a specialty.
    My food is not about perfection. It’s about presence.
    It’s what happens when your hands remember something your mind has forgotten.

    There’s a ritual I love.
    After dinner, when the plates are still warm and the air smells faintly of rosemary and wine, I leave the dishes for later. I sit at the table in the quiet mess I’ve made, sip whatever’s left in my glass, and just watch the steam fade from the food.

    It’s a small moment, but it feels sacred.
    Like watching time dissolve.

    Sometimes I imagine that all the meals I’ve ever cooked still exist somewhere—
    in another version of the world, in rooms I’ve left behind.
    The student polenta. The miso soup in a Kyoto kitchen.
    The bread I baked for a friend after her breakup.
    The pasta I made for someone I loved who didn’t stay.
    The food doesn’t vanish—it lingers, quietly, in memory, still warm.

    That’s what I want my food to do.
    To linger.

    My kind of food doesn’t impress anyone.
    It’s too personal for that.
    It belongs to evenings that stretch longer than expected, to quiet Sundays, to moments when the world outside feels too fast.

    It’s the kind of food that tastes a little different every time because you do too.
    The kind that teaches you how to slow down.
    The kind that forgives mistakes.

    If you asked me again, what’s your specialty?
    I’d tell you: this.

    Food where time flows into it.
    Where my mother’s gestures live between each stir.
    Where the scent of burnt onions still means home.
    Where a wooden spoon becomes an heirloom.
    Where the heat doesn’t just cook—it transforms.

    Maybe that’s what I’m really cooking: time itself.
    The way it folds into flavor, disappears into texture, reappears as warmth.
    A lifetime in a bite.

    If you ever visit, I’ll cook for you.
    Nothing fancy. Maybe polenta, maybe soup, maybe bread still warm from the oven.
    You’ll smell the butter before you taste it.
    You’ll hear the spoon clatter against the pot.
    And maybe, if the evening is kind, you’ll feel time slowing down—
    just enough for both of us to notice it.

    If this reached you when you needed to remember that food is more than nourishment—
    stay awhile.

    There’s a seat by the window,
    a pot on the stove,
    and a story still simmering.

  • What I’ve Been Working On

    こえのない
    ことばがひかる
    よるのすみ

    koe no nai / kotoba ga hikaru / yoru no sumi
    silent words / give off light / in the corner of night

    Most nights I write with the window cracked open to let the city in. The radiator clicks like an old watch. A bicycle leans against the hallway wall and ticks as it cools. On the desk: a chipped mug, a fountain pen that stains my thumb blue, a notebook with a coffee ring shaped like a small eclipse. This is the workshop where my blog is being built, plank by plank, with the kind of attention you give to things that are shy.

    It started quietly. A few paragraphs about the way afternoon light arrives late in winter, how a repaired bowl can hold more than soup, how certain streets smell of rain and bread at the same time. I did not intend to start a project, I only wanted to save small moments from evaporation. But the posts kept coming, and soon there was a thread. I followed it.

    Somewhere along the way I began to want reach, not for applause, not for speed, but for resonance. I want these pages to travel as scent does, through cracks and under doors, until they find people who have been living with unnamed weather and need a word for it. I want the right readers to feel found, the way a misplaced glove finds its partner on a fence.

    There is a map taped to the inside of the closet door. Pushpins mark places where a message arrived from a stranger. Sapporo, Novi Sad, Oaxaca, Kochi, Ghent. The notes are never long. A woman who reads during night shifts says the posts feel like a warm kitchen light. A man in a quiet town says he takes the words on walks. Someone wrote from a hospital corridor to say the haiku at the start made the waiting softer. When I doubt the point of all this, I open the closet and look at the map. The string between the pins is thin, but you can feel the tug.

    My days have learned the rhythm. In the mornings I edit by hand, slow enough to hear the sentence breathe. I copy a page onto real paper, then remove everything that sounds like a trick. In the afternoon I walk a loop that crosses two bridges and a park bench with a brass plaque for someone who must have loved that view. I collect textures as I go. Wet walnut leaves. Tram bells. The sour-sweet smell that rises from the bakery vent at 16:20. In the evening I photograph simple things in black and white, the way I was taught to look in Kyoto by a man who said the shadow is the story. Later I return to the desk and try to pair a feeling with a sentence that can carry it without spilling.

    There is a drawer of failed drafts. The titles are honest and a little embarrassing. “On Cutting Fruit Carefully.” “Mornings That Refuse Their Names.” “How to Sit With an Evening.” Sometimes I resurrect a line months later, the way you rescue a shard from a broken plate to repair another. The rest becomes compost for whatever needs to grow next. Nothing is wasted, only slowed.

    Success, if I say the word carefully, would be this: a reader at 3 a.m. who closes the page and feels less alone. A teenager who prints a paragraph and tucks it into a subway ticket, because the words made a room inside a noisy day. A person who never leaves comments, who never subscribes, who simply returns to read and breathe and then goes on with their life a little steadier. Numbers would be useful only in the way a lighthouse is useful, to say there is a shore here, you can approach with care.

    I am trying to earn the kind of reach that does not shout. That is the work. It means refusing easy sentences, letting silence remain in the places where silence carries more truth than adjectives, trimming every paragraph until what is left feels like bone. It means publishing slowly and standing by what I put into the world. It means replying to letters as if they were hand delivered, because they are.

    Some nights the cursor blinks like an impatient metronome and nothing comes. The refrigerator hum grows loud. I make tea, peel a pear in one unbroken ribbon, stand in the kitchen and listen to the kettle settle, air moving inside metal, a small weather system. I remind myself that invisible work is still work. Clay rests between firings. Muscles grow while you sleep. The river clears itself by moving. I go back to the desk and change the angle of the lamp. Sometimes that is enough.

    I have not said this before, but the blog has a box of objects. A coin that someone left on a windowsill in a mountain temple, a button from a coat that never fit, a page torn from a library book that says “continue on the next leaf.” When I lose the thread, I take one object out and write what it remembers. The coin smells faintly of cedar, the button of wool and cold air, the page of a hand I never met. It seems foolish, and it works.

    I imagine what else it could become. A small book printed on rough paper that stains the fingers faintly grey. A circle of readers who meet once a month to practice noticing. A series of letters mailed in real envelopes to those who prefer to read at kitchen tables rather than on glass. A quiet exhibition of words and photographs in a room that smells of pine, the windows hung with thin, moving curtains. Nothing loud, nothing that needs a stage, only a set of rooms where attention is not a scarce resource.

    There are practical things too. I am learning how to build the site so it feels like a walk, not a maze. The menu is simple. The type has enough air around it. Images open like windows and then close without drama. I choose colors carefully, the way you choose fruit. I keep an index of recurring motifs so I do not repeat myself by accident. Bridges. Warm bread. Cracks that behave like rivers. Trains that arrive on time, or do not. The moon when it gets stuck in a windowframe.

    On Sundays I schedule nothing. I clean the lens of the camera and delete photographs that only look like photographs. I take the tram to the end of the line and walk back. People speak in fragments on Sundays. A child wants to know why pigeons always look like they are thinking. A woman says she is tired in a way that sleep will not fix. A man parks his bike and touches the seat once, the way you might thank a horse. These stray sentences become scaffolding for the week’s post, a way to leave room for other lives inside my own.

    If you have arrived here, reading this, you already know more about what I am making than most. I am building a place that treats attention as sacred and time as slow, where the ordinary is allowed to be miraculous without decoration. I want it to succeed in the only way that feels honest, by reaching the people who need it and letting them keep it.

    I also want to be clear about the size of my hope. It is not small. I want the blog to be a home for thousands, not to impress anyone, but because the world is crowded with hurried rooms and we need more places where a person can set down the bag they carry and sit for a while. I want a long table where readers pass good sentences the way they pass bread, still warm, still steaming in the cold air. I want the posts to outlive the screen, to be printed and folded and forgotten in a coat pocket, then found again on a day that requires a gentler kind of courage.

    Tonight the city is quiet enough that I can hear a train cross the bridge by the river. The sound arrives a few seconds after the light. I think of all the apartments it passes, all the small desks, all the people sitting up late trying to make something that did not exist yesterday. We are invisible to one another, yet we are company. That thought is a kind of reach too.

    I will keep writing. I will keep tending this corner until it grows edges that touch other rooms. If you are here, you are part of that growth. Read when you can. Share what moves you. Tell me what you saw on your way home. If you subscribe, you are not joining a list, you are adding a chair.

    The bridge is not finished, and that is its grace. Every day another board. Every night another nail, set softly so the wood does not split. One morning soon, we will meet at the middle. We will recognize each other by the way we look at the light. And for a moment that is not small, the distance between island and island will feel like something a person can cross.

  • The Thing Most People Don’t Know

    なみのうえ
    みんなおなじく
    ふかくゆれる

    nami no ue / minna onajiku / fukaku yureru
    on the waves / we all sway the same / deep beneath


    Most people think I am fine. I have a polite smile that fits any weather. I know where to stand in a doorway and how long to hold eye contact. I answer messages on time. I ask questions at the right moments. From the outside, that looks like ease. Inside, it is a choreography I memorized to keep from falling apart in public.

    Here is the part almost no one sees.

    There are mornings I wake up with a brick on my chest. No reason, no story, just weight. I lie there staring at the hairline crack in the ceiling that looks like a small river losing patience. My phone buzzes in the kitchen. A tram grinds along the street. Coffee smells like a promise I cannot keep. I fold myself upright anyway and put water on to boil.

    On bad days the tap runs and sounds too loud, like a crowd I cannot leave. I watch the kettle breathe and think, if I can make it to the first cup, maybe the day will soften. The kettle whistles. I pour too fast. The first sip burns my tongue. I pretend that is what I wanted.

    I go outside because walls begin to tilt if I stay in. The city is a wet book. Last night’s rain left a skin on everything, a gloss that makes the street seem new and used at the same time. I walk to the bakery that keeps early hours. The woman behind the counter wears a sweater the color of moss and slides me a paper bag with a nod. The bread is still warm, sighing through the paper. I break the end off and eat it with my fingers as if it might anchor me. It helps a little.

    The truth is I struggle. Most days. Not a dramatic movie kind of struggling, not a single clean arc that ends in triumph. Mine is the quiet kind that leaks into corners. I forget to answer messages because the words feel heavy as coins. I wash the same cup twice because I cannot remember if I already did. In the grocery store I stand too long in front of the tomatoes, not because I care which ones are best, but because choosing anything feels like borrowing a future that is not ready yet.

    Once, I cried in the bathroom at work with the tap running hard. Not loud sobs. A slow spill. My forehead pressed to the cool mirror. I pressed my fingertip to the glass and tried to breathe exactly as long as the red light blinked on the hand dryer. In. Out. In. Out. I walked back to my desk and nobody knew. Someone said a joke about a spreadsheet and I laughed in the correct place, a little too bright, which is how the body keeps a secret.

    I used to think this meant I was broken. I imagined other people as steady ships with good captains, charting clean lines across blue water. I imagined myself as a rowboat with a slow leak. Then I started paying better attention. I saw a man in a suit sitting in a parked car at lunch, both hands on the wheel, eyes closed, mouth moving to a prayer only he could hear. I saw a mother in the pharmacy touch the top of a medicine box with the tenderness you reserve for skin. I saw the barista pause halfway to the grinder and blink hard, like someone turning back from a cliff in her mind. It dawned on me that everyone is rowing. We just learned how to keep our faces dry.

    There is a particular afternoon that keeps returning to me. Winter clutching the last light. I took my laundry to the basement room two streets over because my machine upstairs had given up. The room smelled like warm metal and lemon and a little like sorrow. The washers were old and honest. A sign on the wall said NO DETERGENT IN DRYERS, which felt both obvious and helpful. A boy about eight waited with his grandmother. He kept tapping the glass whenever their machine spun fastest, as if he could drum the clothes into finishing sooner. The grandmother watched me the way old people watch anyone alone, not unkindly. She said something about the weather. I said something about the weather and we both pretended we had said more.

    When my machine finished, the door stuck. I pulled and it resisted. For a moment, ridiculous panic. Trapped socks. Trapped shirts. Trapped me. I put my palm flat to the glass and waited. It gave. Heat breathed out and the steam fogged my glasses. I remember that detail because it made me laugh. Small human held hostage by a door, saved by fog. Sometimes the day gives you a softness when you expect teeth.

    There are other days that are all teeth. I walk home in the rain without an umbrella because the alternative is standing still, and standing still feels like thinking too loudly. I drop a plate. It breaks like it wanted to. I sweep up the pieces and find a sliver ten minutes later glinting under the chair, the way pain hides and waits. I eat ramen over the sink, the burn a clean message. I go to bed early because being horizontal is easier than being brave.

    I am telling you this because I am almost sure it is also your story, just with different scenery. You look steady from far away. Up close, you have your own hairline cracks. You carry small splinters of old afternoons no one else remembers. You forget to breathe when the kettle sings. You have a certain step you take before opening the door to a room where you must be composed. You have learned which coat pocket hides the folded napkin you cry into quietly.

    It took me too long to understand that struggling does not disqualify me from being human. It is the requirement. The secret curriculum. The one subject everyone is enrolled in and nobody posts about. The most common thing we do is carry ourselves through days that are heavier than they look.

    Somewhere along the way I started treating struggle differently. I stopped calling it failure. Names have gravity. I started calling it weather. Weather moves through. Weather returns the sky to itself. When the heaviness comes, I make it tea. I say, sit here, but I will not let you drive. I make small food. Rice. An egg. A pear sliced thin enough to see the light through it. I hand wash a shirt to listen to the water find its own story in the basin. I walk until I forget I am walking. I count the breaths between the tram bell and the doors opening. I go to the river and watch it hold everything without asking where it came from. I sleep with the window open a little so the night can do some work while I am not watching.

    I know this sounds delicate. Some days are not delicate. Some days are rough wood. I have snapped at people I love. I have ignored calls I should have answered. I have scrolled until my eyes hurt because I could not bear my own company. I have said I am fine when what I meant was I am a field that needs rain. I forgive myself slowly, the way winter forgives a stubborn branch.

    There is one evening I keep for courage. Early summer. Heat pressing a thumbprint into the city. I left the apartment because the walls were buzzing. I walked to the park by the river and sat on a bench that had a small brass plaque screwed into it for a man who must have loved this place. A kid was learning to ride a bicycle there, knees skinned, jaw set. He would pedal, steer badly, panic, tip, cry, get up, try again. His father stayed two steps back with open hands, not touching, just a tide ready to catch. After one fall the boy looked at his father and said, voice full of fury, I cannot do this. The father said softly, you already are. The boy got on like the sentence was a key. He wobbled toward a more honest balance and then found it. The river had the courtesy to keep moving like this was the most normal miracle in the world.

    On the walk home I felt something in my chest loosen. It occurred to me that maybe success is exactly that, wobble included. Maybe the life worth trusting is not the one that keeps the bike perfectly upright but the one that forgives the tilt while carried forward anyway.

    I want to end honestly and also with light. Both are possible. The truth is that I still have hard mornings. I still stand in kitchens pressing my palms into the counter as if trying to steady a small earthquake. I still think terrible little thoughts. I still check if the windows are real. I am not cured, because being human is not a sickness. I am practicing.

    Here is what practice looks like.

    I sweep the floor slowly enough to hear the broom. I open the window when the bread is in the oven so the warm air can kiss the cold. I text back, even if I start with I have no words, I just wanted you to know I am here. I keep a towel by the sink that is allowed to be cried into. I put a note on the fridge that says Drink water, take the walk, the sky is different today. I say no when I mean no. I say yes when I mean yes even if it scares me. I let people carry a corner of the weight when my arms are tired. I let them. That is new.

    Most people do not know this about me. They do not have to. You know it now, and maybe that is enough for both of us. You have your own versions, your own brick, your own river in the ceiling. I hope you tell someone. I hope you are met with the kind of listening that does not try to fix you. I hope you eat warm bread with your fingers and let the steam fog your glasses and laugh because it makes you look like proof that softness can still happen to a person.

    Here is the very good news, saved for last because it deserves its own light. The longer I live with the truth that everyone struggles, the less alone I feel, and the more possible this whole thing becomes. We are not failing. We are learning the weather. We are finding the chair inside the day where we can sit and put the brick down for a while. We are letting the bike wobble toward its own kind of grace. We are meeting in small ways. A nod in a laundromat. A pear sliced thin. A door that finally gives.

    This morning I woke before the alarm. The crack in the ceiling looked less like a river and more like a map that was not finished yet. I lay there and heard the kettle even though it had not started. I felt the weight on my chest and it felt lighter, not because it was gone, but because it is not only mine to carry anymore. Somewhere, you are breathing too. Somewhere, someone is counting to ten in a parked car and then going inside and finding the day softer than feared. Somewhere, a child is pedaling toward balance.

    The sun touched the corner of the window. I got up. The water boiled. The air smelled like beginning. I poured, waited, tasted. It was good. Not perfect. Good. That is enough.

    If you felt yourself somewhere in this, stay. We will keep each other company. We will pass the warm bread. We will let the day do some work while we are not looking. And when the weather clears, as it always does, we will go outside, stand in that honest light, and know we did not do this alone.

  • The Quiet Work of Doing Nothing

    あくびして
    なにもせずとも
    いのちうごく

    akubi shite / nanimo sezutomo / inochi ugoku
    yawning softly / even when I do nothing / life moves on

    –––

    It was a Sunday in early spring, the kind of day that feels too quiet for its own good.
    Rain had passed through the city overnight, leaving the streets damp and reflective, like someone had polished them just for the light. I woke up late, made coffee, and realized I had nothing I needed to do.

    No errands. No deadlines. No one waiting for me.
    Just a long, open day—the kind that used to feel like freedom when I was younger, but lately makes me feel strangely adrift.

    I decided to take my laundry to the small self-service place near the station. Not because it needed doing, but because I needed something to do.

    It was almost empty when I arrived. Just one other person—a woman about my age, sitting cross-legged on one of the plastic chairs, reading a paperback that she wasn’t really reading. Outside, the light flickered between clouds, silver one minute and dull grey the next.

    For a while, we sat in silence. The hum of the dryers filled the air—steady, hypnotic. There’s something calming about laundromats: everything spinning, doing its quiet, invisible work. It makes you feel like you can pause for a bit, and the world will keep turning without complaint.

    At some point, she looked up from her book and said,
    “Do lazy days make you feel rested or unproductive?”

    The question caught me off guard. It wasn’t flirtation, or small talk—it felt too direct for that.

    “Unproductive,” I said. “Almost always. I can’t seem to just exist without measuring it.”

    She nodded. “Yeah. I used to think I was the only one who couldn’t rest properly.”

    The dryer beeped, and she didn’t move to open it. We just sat there, listening to the soft tick of the timer resetting itself.

    “I’ve been trying to fight that feeling,” I said. “When I have nothing to do, I try not to fill the space anymore. I let the boredom just… exist. It’s hard. But I think it’s the only way anything actually repairs itself.”

    She tilted her head. “Repairs itself?”

    “Yeah,” I said. “Like regeneration. You don’t see it happening, but something’s rebuilding. You just have to get out of its way.”

    She smiled faintly, the kind of half-smile that says I want to believe that.

    The dryers whirred in steady circles. The air smelled faintly of heat and fabric softener.
    I took a sip from the canned coffee I’d bought from the vending machine outside. It was lukewarm now, but it tasted like the kind of bitterness you make peace with.

    “I had one of those days today,” she said finally. “A nothing day. I woke up, sat on the floor for a while, scrolled through my phone, put it down, picked it up again. It felt like standing still while everyone else was running.”

    “I know that feeling,” I said. “But I think sometimes that’s exactly what the body needs. Stillness. It’s like when the sea looks calm—beneath it, everything’s still moving.”

    She leaned back in her chair, eyes half-closed. “That’s comforting. I always think something’s wrong when I feel like that. Like I should be pushing harder.”

    “I used to think that too,” I said. “Now I think pushing is what breaks us. Rest isn’t doing nothing—it’s the part where things quietly start to work again.”

    She laughed softly. “So you’re saying I’m healing?”

    “Yeah,” I said. “Probably in more ways than you realize.”

    Outside, a tram passed, its bell faint and distant. The windows of the laundromat trembled for a second, then went still again.

    When the machines stopped spinning, we both stood up. The moment felt like waking from a dream—not dramatic, just gently reentering motion.

    I pulled my clothes from the dryer. They were warm, folded by gravity into soft, imperfect shapes. She did the same, careful and quiet.

    At the door, she turned and said,
    “You really think regeneration happens in the background?”

    I nodded. “Yeah. The system fixes itself if you stop trying to fix it.”

    She thought for a moment, then smiled again. “That’s kind of beautiful.”

    And then she was gone—just like that, slipping into the soft grey afternoon, carrying her laundry and her slow repair with her.

    I stood there for a while longer, watching the machines still spin even though they were empty. Maybe it was just momentum, or maybe it was proof that rest doesn’t mean stopping completely—it means trusting that movement continues without you forcing it.

    When I stepped outside, the rain had started again—gentle, almost polite. The air smelled new. I didn’t hurry. For once, I didn’t need to.

    It wasn’t a remarkable day, but it was a real one. The kind of day where nothing happens, and yet something quietly resets.

    And maybe that’s enough.

    –––

    If you’ve been feeling guilty for slowing down,
    if your lazy days leave you restless—
    try not to fill them.

    Let the boredom sit with you.
    Let the silence breathe.

    Something’s working beneath the surface.
    You just need to give it time.

  • The Shape of Success

    しずかなひと
    なにものももたず
    ひかりをもつ

    shizukana hito / nanimono mo motazu / hikari o motsu
    a quiet person / owns nothing / yet carries light

    –––

    When I hear the word “successful,” I don’t think of billionaires, or headlines, or people who seem endlessly certain.
    I think of someone quiet.
    Someone who knows when to stop working, when to look at the sky, when to say “enough.”

    We’re trained to measure success in straight lines—income, followers, deadlines met.
    But the most successful people I’ve met move in circles.
    They return to themselves again and again,
    each time a little softer, a little clearer.

    There was one man who lived in a small town by the sea.
    He restored broken pottery, slowly, without hurry.
    Some days he sold nothing. Other days he gave the bowls away.
    But when you spoke to him, there was this light behind his eyes—
    a steadiness that felt like home.
    He had built a life out of rhythm instead of ambition.

    That, to me, is success.
    To be deeply in sync with your own pulse.
    To live without needing to prove it.
    To have your days shaped not by what the world demands,
    but by what your heart can hold.

    The world loves speed,
    but success might be closer to slowness—
    to waking without alarm,
    to doing one thing at a time,
    to building a life that doesn’t need escaping from.

    Success isn’t the mountain peak.
    It’s the quiet step you take when no one is watching.
    It’s knowing that enough is not a limitation,
    but a kind of freedom.

    When I think of the word successful,
    I think of those who have learned to stay close to what matters—
    the ones who make ordinary things sacred,
    who listen more than they speak,
    who live as if every day were both the first and the last.

    –––

    If this reflection found you at the right moment—
    if part of you is rethinking what success might mean—
    subscribe below.

    These quiet essays explore the space between ambition and stillness,
    for those building lives that feel as beautiful on the inside as they look from afar.

  • The Power of Trying Something New

    Why Being a Beginner Changes Everything

    いまはじめる
    こころのうらで
    かぜがわらう

    ima hajimeru / kokoro no ura de / kaze ga warau
    now I begin / behind the heart / the wind laughs

    –––

    There’s a quiet kind of magic in trying something new for the first time.
    Not the loud, life-changing kind—but the kind that slips in between breath and hesitation.
    That small, uncertain moment when you stop rehearsing and start living again.

    We spend so much of our lives repeating the same familiar motions—
    the same routes, the same conversations, the same digital scroll.
    It feels safe, but slowly it flattens us.
    Familiarity is comfort. But it’s also camouflage.

    To try something new is to wake up from routine.
    The world sharpens again; colors return.
    Time stretches the way it did when you were young.
    You become porous to experience, open again to awe.

    And the beautiful truth is—it doesn’t have to be big.
    Trying something new can be as small as walking without your phone,
    cooking a recipe you can’t pronounce,
    or sitting still long enough to hear your own thoughts again.

    You don’t need a perfect plan.
    You need curiosity.

    Because every time you step into something unfamiliar,
    you reintroduce yourself to the part of you that still believes in wonder.
    You meet your beginner self again—
    clumsy, present, alive.

    Being a beginner is uncomfortable, yes.
    But it’s also sacred.
    It reminds you that growth doesn’t come from knowing; it comes from starting.

    We often think we’re tired,
    but maybe what we really are is under-experienced—
    too shielded from the friction that makes us feel real.

    So what could you try for the first time?
    That thing you’ve postponed because it didn’t fit the plan,
    because you told yourself it wasn’t practical,
    because you might fail?

    Do it anyway.
    Not to succeed.
    But to remember what it feels like to begin.

    Because behind every first time,
    there’s a door half open—
    and a small wind laughing behind your heart.

    –––

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  • The Shortest Break

    いまやすむ
    ひかりがとまり
    じかんわらう

    ima yasumu / hikari ga tomari / jikan warau
    now I rest / the light stands still / time smiles

    –––

    Lately, I keep catching myself mid-motion—
    halfway through brushing my teeth, answering a message, closing the fridge door—
    and realizing I’ve forgotten what day it is.

    Not in a romantic, free-spirited way,
    but in the quiet panic of someone watching life move past like a train whose destination he can’t read.

    There’s this strange tension in me lately: the sense that time is spilling too quickly,
    and I’m too polite to interrupt it.
    I keep telling myself I’ll rest after—after the work, after the noise, after I’ve earned it.
    But “after” never really comes.

    Maybe you know the feeling.
    When the rhythm of your own life grows mechanical,
    and you start mistaking momentum for meaning.
    You wake up, you move, you perform the small rituals of existence—
    coffee, screens, polite conversations—
    and in the gaps between them, a quiet ache blooms.

    I’ve been putting off stopping.
    Not quitting, not escaping—just stopping.
    Even for a breath long enough to notice the dust in a sunbeam,
    or how the kettle hums before it boils,
    or how someone laughs in another room and it feels like proof that time can still be kind.

    Yesterday, I walked without headphones.
    It felt like meeting an old friend.
    The world was painfully beautiful in its ordinariness—
    a loose flyer dancing down the street,
    a child counting steps on the curb,
    a man smoking in the wind, eyes half-closed like he’d forgotten what came before or after.

    There’s a strange mercy in pausing, even when the world doesn’t.
    It’s like letting water refill the shape of your absence.

    The truth is, life doesn’t rush.
    We do.
    Life waits patiently for us to look up,
    but it won’t slow down forever.

    Sometimes I think about how many small moments I’ve missed—
    the quiet ones that could have anchored me if I’d only stayed still long enough.
    Maybe this is what growing older really means:
    not running faster,
    but finally learning how to stop without guilt.

    Tonight, the room smells faintly of rain.
    The city is breathing in the distance, steady and soft.
    I turn off my phone, sit by the window, and watch the light fade.
    There’s no revelation waiting here, no grand solution.
    Just stillness.
    And for the first time in a long while,
    that feels like enough.

    –––

    If this found you at the right time—
    if you’ve felt the days slipping too fast,
    and the silence inside you growing thin—
    you might want to stay awhile.

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    Sometimes the smallest break can save a life from quietly disappearing.

  • The Tide That Gives Back

    Naoshima smelled of rust and salt that afternoon—like a dream left too long in the sun. The air trembled, soft and metallic, and the sea held itself still as if waiting for something unnamed. I sat outside a small café facing the water, the kind built by someone who preferred silence over straight lines. My coffee had gone cold, and a thin crack ran along the rim of the cup like a quiet truth no one bothered to hide.

    The fan above me turned slowly, a wooden whisper marking time. Beyond the glass wall, a fishing boat drifted past the pier—its wake folding the sky into ripples. The island hummed with that strange kind of stillness Japan does so well: full of sound, yet deeply empty.

    He appeared without warning.

    A man, neither young nor old. His shirt had the weary color of washed stone; his face, the calm geometry of someone who’d stopped counting days. He carried a small paper bag that looked as if it contained something fragile—a secret, or fruit. Without asking, he sat beside me, close enough that our shadows blended across the deck.

    “You look like someone thinking about money,” he said.

    I smiled. “I was thinking about the sea.”

    He nodded. “Same thing, in a way. They both come and go.”

    A ferry crossed the horizon, cutting the reflection of the sun into trembling shards. For a long moment, neither of us spoke. The sound of water folding over rock filled the silence like breath.

    “If you had a million dollars to give away,” he said at last, “what would you do with it?”

    I laughed quietly, expecting it to be a joke. But his gaze stayed fixed on the horizon. There was nothing playful in it—only stillness.

    “I’d scatter it,” I said finally. “Like rain. I’d let it find its own gravity.”

    He turned his head toward me. “To who?”

    “To no one,” I said. “Or everyone. Maybe a fisherman fixing his net. A woman sweeping temple steps. A boy sketching stars on a napkin. Anyone the world forgot to look at.”

    He smiled, a faint upward ripple across his face. “Good answer. The moment you try to choose who deserves it, you lose the point.”

    A gust of wind lifted a napkin from the table and sent it spinning toward the sea. It hovered for a second in the light—half bird, half ghost—before landing softly on a rock below.

    “Money,” he said, “is just frozen attention. It’s what happens when the world forgets to move. When you give it away, you remind it how to flow.”

    The light turned amber, and for a second the whole island glowed. His reflection flickered in the café window beside mine—two silhouettes suspended in water and glass.

    He reached into the paper bag and placed something on the table. A smooth stone, pale and round, veined with a thin golden line.

    “I used to think money was weight,” he said. “That it anchored life. But it’s more like the tide—alive only when it moves. When it goes out, what’s left behind is what was true all along.”

    I ran my fingers over the stone. It was warm from the sun, polished by time. “And what do you do when the tide doesn’t come back?”

    He smiled gently. “Then you learn to walk on the sand.”

    The cicadas began again, their hum rising like invisible heat. He closed his eyes for a moment, as if listening to something private and far away.

    “Do you live here?” I asked.

    He opened his eyes. “Sometimes. But living somewhere is a trick of language. The place usually lives in you.”

    When he stood, his shadow folded back into itself. “Most people think giving means losing,” he said. “But the truth is, when you give until it stops hurting, you stop being separate from what you give to.”

    He left the stone on the table and walked down toward the beach. The waves met him halfway.

    By the time I finished my coffee, the chair beside me was empty. Only the stone remained, its golden vein catching the last trace of daylight.

    Later, in my room, I found a small envelope tucked under the cup. Inside was a single note, written in slow, deliberate handwriting:

    “Give until it stops feeling like loss.”

    There was a 10,000 yen bill folded beneath it. Crisp. Unsigned.

    That night I couldn’t sleep. I sat by the window, the stone glowing faintly in the moonlight. The sea whispered against the rocks below—soft, repetitive, patient. When morning came, the tide had risen.

    I walked to the beach and saw dozens of smooth white stones scattered along the shore, half-buried in sand. Each one marked a place the sea had touched.

    Some people stopped to pick them up. Others walked past without noticing.

    I added my stone to the rest and watched as the waves reached for it, slow and deliberate, reclaiming what had always been theirs.

    The water shimmered, then receded. I stood there, shoes soaked, heart strangely light.

    The world hadn’t changed, but something subtle had shifted—like a faint current beneath still water.

    And as the wind moved through the pines behind me, it carried a whisper so soft it might’ve been imagined:

    Keep it moving.

    That’s all.

    The tide giving back what was never ours to keep.

  • The Hardest Goal

    early train window
    fog folding over fields slow
    heart still learning pace

    There are goals that look impressive on paper—career milestones, fitness numbers, things you can track and measure. And then there are the quieter ones. The ones that have no applause built in. The hardest goal I ever set for myself belongs to the second kind.

    It wasn’t to run a marathon or learn another language. It was this: to live at a pace where I could still hear myself think.


    The Noise

    For years I mistook motion for meaning. I packed my days until there was no air left in them—commutes, emails, late-night projects that blurred into early mornings. The reward was exhaustion disguised as progress.

    People would say, “You’re doing great.” But I wasn’t being anything. I was just doing. My thoughts started to sound like traffic—constant, directionless, honking at itself.

    So I made a promise that scared me more than any deadline: to slow down without losing momentum. To move deliberately, not reactively. To be busy only with what mattered.

    That was the hardest goal because it required unlearning almost everything I’d been praised for.


    The Reset

    The first few months were brutal. Stillness felt like failure. When I didn’t fill every hour, guilt crept in. I’d wake up and feel a kind of restlessness that lived in my bones.

    But little by little, I began to notice things I’d lost touch with: the texture of bread crust in the morning, the way sunlight wandered across my desk, the sound of rain becoming percussion on my window.

    At first, these details felt trivial. Then they became anchors.

    Slowing down wasn’t laziness—it was calibration.


    The Discipline of Presence

    We like to think discipline means grinding harder. But I’ve learned that real discipline is restraint—the courage to protect your focus.

    When I began guarding my first hour each day, everything shifted. Before messages, before noise, I would write. Or stretch. Or simply sit by the window watching the fog lift off the Aare River.

    That small ritual became a boundary line between chaos and clarity. It taught me that attention is a resource, not a reflex. Once you spend it on the wrong things, you don’t get it back.

    So the goal wasn’t just to slow down. It was to choose my speed consciously.


    The Mirror

    Hard goals always hold up a mirror. Slowing down forced me to see how much of my ambition was built on fear—fear of missing out, fear of being invisible, fear of not doing enough to matter.

    When you strip away the noise, what’s left is just you and the question: what’s worth your energy?

    The honest answers are rarely glamorous. They’re simple. Family. Health. Craft. Long walks. A cup of coffee with someone who doesn’t need to fill the silence.

    That simplicity is easy to name, hard to live.


    The Setbacks

    Even now, I fail at it. Some weeks I rush again. I check messages before sunlight. I say yes when I mean maybe.

    But the difference is awareness. I can feel when I’ve slipped—my breath shortens, my thoughts scatter, my body tenses as if bracing for an invisible storm. That’s when I stop, take a long walk by the river, and start again.

    This kind of goal has no finish line. It resets every morning.


    What I’ve Learned

    I used to think hard goals were about endurance. Now I think they’re about alignment. The challenge isn’t to go faster, or longer, but truer.

    To align your days with your values. To make your work echo your inner voice instead of drown it. To let your actions match what you quietly believe.

    That’s not a one-time achievement—it’s a lifelong correction.


    A Small Story

    A few winters ago, in a small inn outside Asahikawa, I met an elderly man who used to be a carpenter. He told me, “When I was young, I built fast to prove myself. Now I build slow so the wood can answer back.”

    I wrote that line in my notebook and underlined it three times. Because that’s the whole thing, really. To live in a way that the world can answer back.


    The Practice

    The hardest personal goal isn’t something you cross off a list. It’s something you return to, again and again, until it becomes a kind of rhythm:

    Wake before the world does.
    Move slowly enough to notice light changing.
    Do the real work before you touch the noise.
    Say no to most things, yes to the few that make you feel alive.
    End the day knowing you paid attention.

    That’s it. That’s the goal.

  • My Favorite Artists

    rain on the tram glass
    neon dissolves into veins
    the city exhales

    There’s a small café in Bern I sometimes write in when the world feels too sharp. It’s hidden between an antique shop and a tailor who always leaves his door half open, no matter the season. The tables are uneven, the chairs mismatched. But the light — the light is perfect.

    Last week, as I sat there with a chipped cup of coffee, I thought about my favorite artists. Not the ones who hang in museums or headline festivals. The ones who shape the invisible. The ones who teach me how to see again.


    The Architects of Stillness

    If I close my eyes, I can still see Miyazaki’s worlds moving in slow motion. Steam rising from a pot, wind threading through tall grass, rain washing a street that smells of soy and metal. His films breathe. They remind me that motion doesn’t have to mean rush — it can mean rhythm.

    Kubrick, in contrast, taught me the discipline of vision. His worlds are maps drawn in light and geometry. The silence in his films isn’t empty — it hums, precise as a heartbeat. Every object, every pause, is deliberate. He didn’t tell you what to feel; he built the space where you could feel it yourself.

    Both men built universes that made the ordinary infinite. A teapot. A shadow. A sigh. They turned details into devotion.


    The Listeners

    Then there are artists who work in silence, who listen more than they speak.

    Brian Eno calls his music “gardening.” He plants sounds and waits for them to grow. His songs breathe — soft loops, accidental echoes, light spilling through reverb. They don’t rush to impress. They linger.

    Agnes Martin painted patience. I saw one of her pieces once in Basel. At first it looked like nothing. Faint graphite lines, almost invisible. But if you stay long enough, the canvas begins to hum. The silence grows muscles.

    The world gets louder every year, but these artists remind me: attention is the last form of rebellion.


    The Honest Makers

    A few years ago, in Kurashiki, I met a potter with clay permanently under his fingernails. He sold me a small cup with a gold line running through its side. “The break,” he told me, “is the truth. The repair is the story.”

    Kintsugi isn’t just about pottery. It’s a way of seeing. Cracks don’t ruin things — they reveal the life inside them.

    When I look at that cup on my shelf, I see his hands, steady but rough, turning the imperfect into something holy. And I think: maybe that’s what all good art does. It tells you that the wound was worth surviving.


    The Connectors

    Some artists move like translators between worlds. Björk, for instance. David Byrne. They turn architecture into sound, technology into tenderness. They mix moss and machinery, concrete and rhythm.

    They remind me that creativity is a kind of compost. Everything we experience — heartbreak, laughter, failure — breaks down into material for the next thing. If you feed curiosity enough, it eventually sprouts wonder.


    The Everyday Artists

    The man who cleans the brass rail in Bern Hauptbahnhof at dawn — he’s an artist. The barista who pours a perfect leaf into foam, even when no one’s watching. The woman at the market who stacks oranges like planets, precise and bright.

    They create beauty without a name for it. Their reward is the act itself — the small rightness of doing something well.

    Art isn’t just what we hang on walls. It’s what we do when no one’s grading us.


    The Thread That Connects Them

    All my favorite artists share one trait: they know how to stay.

    Kubrick stayed with light until it confessed its geometry.
    Miyazaki stayed with air until it began to breathe.
    Eno stayed with sound until silence grew texture.
    Martin stayed with lines until they started singing.
    The potter stayed with clay until it remembered its form.

    And the unnamed ones — the janitor, the vendor, the busker — stay with their small rituals until the world feels whole again, if only for a minute.


    What They’ve Taught Me

    Light. After Kubrick, I see the color temperature of every café. Morning blue. Noon white. Evening gold.
    Air. After Miyazaki, I read the wind. The flags, the trees, the kettle steam — all messages from a slower world.
    Sound. After Eno, I hear stairwells differently. Doors closing, rain tapping metal — it’s all rhythm.
    Patience. After Martin, I trust stillness to speak.
    Forgiveness. After kintsugi, I understand that repair is its own art form.

    Art changed how I move through the day. It trained my senses to notice what most people scroll past.


    The Field Guide

    Art isn’t an escape from reality. It’s a return to it.
    You don’t need talent. You need to look.

    Start by fixing one broken thing — even if it’s just gluing a plate or stitching a sleeve.
    Watch a movie with the sound off. Listen to a record in the dark.
    Write one sentence that feels heavier than it should.
    Arrange fruit like a constellation. Sweep a floor with intention.

    Creation begins the moment you pay attention.


    TL;DR

    My favorite artists don’t chase perfection — they reveal presence.
    They remind me that beauty isn’t rare. It’s everywhere: in cracks, in silence, in small acts of care.

    Art isn’t a product. It’s a way of walking through the world.
    And if you slow down enough, you’ll realize —
    you’ve been surrounded by it all along.

  • My Favorite Pastime

    The rain had been falling since morning—thin, deliberate, the kind that doesn’t ask for permission. Bern looked washed clean, its cobblestones slick with reflections of bicycles and yellow trams. You could smell the river from the bridge: cold, mineral, alive. Two people sat outside a café that hadn’t opened yet. The chairs were metal, the kind that keep the chill even after you sit.

    A sign on the window said Kaffee ab 10:00, but the lights were already on. Inside, a barista moved like a ghost between cups. The man on the bench wore a wool coat, frayed at the sleeves. The woman beside him had her hands tucked into her pockets, fingers curling against the fabric for warmth.


    “You walk a lot,” she said, watching a leaf circle the drain. “Is that your hobby?”

    The man smiled, the way people smile when they’ve already heard the question before.
    “Walking, yes,” he said. “But not the kind with destinations. I walk the way some people meditate. Step after step until the noise in my head quiets down.”

    “So not exercise,” she said.

    “No. More like—maintenance.”

    A tram passed, and the sound dissolved into the rain. The air smelled faintly of roasted coffee and wet concrete.

    “What do you think about?” she asked.

    He shrugged. “Everything. Nothing. Sometimes it’s a sentence that won’t leave me alone. Sometimes it’s the way puddles hold the sky like a memory.”

    “Doesn’t that get boring?”

    “That’s when it starts working,” he said. “Boredom is the door you walk through before the world starts talking again.”


    The café door clicked open. Warm air spilled out, carrying the scent of espresso and cardamom. They went inside. The windows fogged quickly, turning the world outside into watercolor.

    The man ordered a black coffee. The woman asked for something with milk. They sat by the window, where the glass trembled each time a bus went by.

    “You always do this alone?” she asked.

    “Mostly. It’s easier to listen when I’m alone.”

    “To what?”

    “The city,” he said. “People’s footsteps. The sound of rain on roofs. The way light shifts when clouds move. It’s like the world’s heartbeat—soft, steady, always there if you stop long enough to notice.”

    She traced a circle on her cup with one finger. “You sound like someone who’s afraid to stop moving.”

    “Maybe,” he said. “But walking isn’t escape. It’s return.”


    The café filled slowly. A student typing on a laptop. A delivery driver reading the sports section. A woman with a dog small enough to fit in her coat. Steam clung to the lamps. Somewhere behind the counter, a radio played an old jazz record, the saxophone threading through the air like smoke.

    “Do you ever write about it?” she asked.

    “Sometimes,” he said. “But I never finish. The walks are the writing. The world edits as I go.”

    “That’s poetic.”

    “It’s survival,” he said.

    “And when you’re not walking?”

    He smiled. “I cook.”

    “Cooking?”

    “Simple things,” he said. “Soup, rice, vegetables. Food that forgives you when you get it wrong. Cooking is like walking in place—you move through sound and smell instead of streets.”


    Outside, the rain softened into mist. Cars left trails of reflected red light on the wet asphalt. A man crossed the bridge carrying an umbrella shaped like a crow’s wing. The city hummed quietly, alive but unhurried.

    “I don’t really have a hobby,” she said. “Work takes up most of it. And when I stop, I just… scroll.”

    “That’s not resting,” he said gently. “That’s drowning slowly in other people’s noise.”

    She laughed, embarrassed. “You make walking sound like enlightenment.”

    “Not enlightenment,” he said. “Maintenance, remember? The mind rusts if you don’t move it.”

    “So what do you get from it?”

    “Perspective,” he said. “When I walk, I move at the speed of ideas. When I run, I move at the speed of my breath. Both are ways of thinking. But walking gives the world time to answer.”


    The café owner turned off the lights above the counter. It was near closing. The last customers zipped their coats, their chairs scraping softly against the floor.

    The woman looked at him. “You make everything sound like it matters.”

    “It does,” he said. “That’s the trick. The world’s full of miracles disguised as errands.”

    “That’s a nice line.”

    “It’s not a line,” he said. “It’s observation.”

    They stepped outside. The rain had stopped, but the air still shimmered. Water dripped from the awning like seconds passing. The man took a deep breath.

    “You smell that?” he asked.

    “Rain?”

    “No,” he said. “Clean slate.”

    They crossed the street. Their reflections followed, rippling in the shallow puddles.


    As they reached the bridge, the woman paused. “Do you ever get tired of it?”

    “Of walking?”

    “Of noticing. Of paying attention to everything.”

    He thought for a moment. The river below carried a sheet of light, the kind that looks almost solid. “Sometimes,” he said. “But then I stop. I look around. And something—a bird, a shadow, the smell of wet stone—reminds me that the world doesn’t owe me beauty. It just offers it. My only job is to be awake enough to see it.”

    She nodded, eyes on the water. “You make me want to walk more.”

    “Then you should.”

    “Where would I start?”

    He smiled. “Anywhere. The moment your feet touch the ground, you’re already there.”


    They walked together in silence, their steps syncing naturally. Behind them, the café turned off its lights. The reflection of the city danced in the wet street like a broken mirror reassembling itself.

    As they reached the end of the bridge, a gust of wind passed between them, sharp and clean. It carried the scent of pine from the hills and something else—something almost metallic, like the first breath before snow.

    The woman closed her eyes. “That smell—what is it?”

    “That,” he said, “is the world remembering it’s still alive.”

  • Life Without a Computer

    ink on my fingers
    letters sleep inside envelopes
    time exhales slowly


    Life without a computer would feel at first like losing a limb. My hands would reach for keys that no longer exist, my eyes searching for a glow that never arrives. Panic, then silence.

    In that silence, mornings would widen. I’d wake not to a screen but to the smell of bread, the sound of a crow shifting on a wire. My work would live inside notebooks stacked like quiet bricks. Ink stains would betray my moods, and every mistake would stay, permanent and honest.

    Answers would come slower. I’d learn the season by touching soil, the news by listening at the café, the weather by watching the cat hesitate at the doorway. Curiosity would grow legs and walk me places.

    Friends would drift. Some would fade into absence, others would deepen through letters that smelled faintly of rain, or through long pauses on the phone when neither of us had much to say but stayed anyway.

    There would be more boredom, but boredom has a way of cracking open into wonder. I’d sand wood, mend jackets, hum half-remembered songs into the evening. The world would shrink in reach but grow in texture.

    Life without a computer wouldn’t erase me. It would simply return me. To paper, to silence, to the unpolished rhythm of days moving like rivers without maps.

  • The Skill I’d Like to Learn

    morning light drifts in
    hands clumsy with the first notes
    silence hums along


    If you ask me what skill I’d like to learn, I could give you a tidy answer—piano, sewing, maybe gardening—but the truth is less clean. The skill I want has less to do with the surface of things and more with the undercurrent. It’s about patience, about returning, about staying inside the rhythm of something until it reveals what it was always trying to say.

    Still, it helps to begin with the tangible.


    The Piano in the Station

    There is a piano in the Zürich train station. It stands near the corner where light falls from the high glass ceiling, a little scuffed, always slightly out of tune. Anyone can sit and play. Sometimes it’s children banging with sticky hands, sometimes a man in a suit loosening his tie, sometimes an old woman whose fingers move like moths across the keys.

    I often stop to watch. The station clock above performs its ritual pause at the 59th second, and while time hesitates, someone plays a fragment of Chopin or a pop song that refuses to die. People walk past without looking, dragging luggage, balancing coffee, whispering into phones. But every so often, one person slows down, caught by a phrase, and stands very still.

    If I could learn a skill, I would learn to play the piano like that—not to entertain, not to perform, but to drop a stone into the current of the day and watch the ripples move outward. To sit down at a public piano with nothing planned, press one key, then another, until a small truth appears.

    But I know myself. My fingers would stumble. My rhythm would betray me. I would hear the wrong notes echo too loudly. And yet—if I stayed, if I returned, if I practiced long enough—the wrongness would turn into honesty. That’s what practice really is: living with wrong notes until they become familiar enough to guide you somewhere else.

    What I want to learn is not piano exactly. It is the willingness to stay with a sound until it teaches me.


    The Jacket with Scars

    In a small shop in Ljubljana, I once saw a jacket with a torn elbow. The owner had repaired it with red thread, deliberately visible, stitches wide enough to look almost careless. It looked like a wound that had chosen to heal loudly.

    I asked about it. The shopkeeper shrugged and said, “Better than throwing away. Clothes should carry their history.”

    That sentence followed me out the door. Clothes should carry their history. I thought of all the shirts I had abandoned at the first rip, the sweaters I’d left in donation bins with loose cuffs, the jeans gone thin at the knees. What if instead of discarding, I had learned the language of repair?

    If I could learn a skill, I would learn to mend properly. To sit at the end of the day with a needle and thread while the kettle hums. To give a garment another chapter. To see a scar not as failure but as character.

    But more than stitches, what I want is the patience behind them. The willingness to slow down, to care for what is already mine instead of reaching for something new.


    The Garden That Refused to Hurry

    A few years ago, I tried planting tomatoes on a balcony in Bern. I bought soil, pots, seeds. I watered, adjusted for sun, read online advice. Days passed. Then weeks. Nothing. The pots looked back at me with the same blank face.

    One morning, when I had almost given up, I found a thin green thread poking from the soil, fragile and ordinary. I remember laughing out loud, surprised at how much joy a stem no longer than my fingernail could bring.

    The tomatoes grew crooked. Some split open. Some never ripened. But I learned that growth has its own tempo, and impatience doesn’t make the stem push faster toward the sky.

    If I could learn a skill, it would be gardening, yes—but more than that, it would be the ability to live inside a rhythm I do not control. To accept that nothing unfolds on my schedule.


    The Deeper Skill

    Piano keys, mended clothes, a garden row—these are just doorways. The deeper skill I want is patience. The patience to show up again, and again, and again, even when the result hides itself. The patience to live with questions that stretch across years. The patience to let silence be silence until it decides to speak.

    I think patience is the parent of all other skills. Without it, nothing survives the long middle—the hours when progress is invisible, when boredom sharpens its teeth, when doubt starts whispering that you should quit.

    The skill I want is to stay. To stay when the melody falters. To stay when the needle slips. To stay when the soil refuses. To stay until the silence opens.


    The Places That Taught Me

    Once, in a laundromat in Lisbon, I heard a man humming to himself while folding towels. Same three notes, over and over. It wasn’t a song I recognized. Maybe it wasn’t a song at all. But as the washers spun and the fluorescent lights flickered, the notes turned the room into something else. Ordinary things do that when repeated with care.

    In Nagasaki, I saw a craftsman carving a mask. His hand moved so slowly I thought he wasn’t working. But when I blinked, the curve of the cheekbone had changed, subtle as a breath. Hours later, I realized he had never once checked a clock.

    In Berlin, a woman at a flea market sold spoons she had carved herself. Each one slightly different, each one flawed in its own direction. She told me she carved when she couldn’t sleep. “The wood teaches you what it wants,” she said, as if the spoons were her teachers and she was only translating.


    What It Would Mean

    If I learned the piano, I would sit in the station and play until one stranger paused. If I learned to mend, I would wear my jacket with red thread at the elbow and not apologize. If I learned gardening, I would measure progress in leaves and failures and the taste of one imperfect tomato.

    But really, what I want is to learn the kind of patience that keeps me there, in the middle of it, when nothing yet looks like success.

    That is the skill I would like to learn: the art of staying.


    TL;DR

    If you asked me what skill I’d like to learn, I might say piano, or mending clothes, or gardening. But really, what I want is patience—the patience to stay, to return, to keep showing up until the silence teaches me something.

    Because the real skill is not in the hands. It’s in the waiting.

  • The First Hour

    A child once asked, “Why do you care so much about mornings? Aren’t all the hours the same?”

    I thought for a while, then told him this story:

    Imagine you have a glass of clear water. If you drop ink into it at the very start, the whole glass turns cloudy. But if you guard it, if you drink the first sip pure, then whatever comes after doesn’t matter as much. You already tasted clarity.

    The first hour of the day is like that glass. If you protect it, the rest of the day bends gently around it. You move your body, you sit in the quiet, you touch the one thing that matters most—the project you believe in, the person who needs your heart, the question that keeps circling in your mind.

    Later, the phone will ring, the world will shout, the weather will change. But you already carried your stone forward. That small victory is yours.

    The child nodded slowly. “So the first hour is like a secret door,” he said.

    Yes. A door no one else can open for you.

  • The Stone Moved Forward

    dusk settles gently
    hands sore, shirt clings, breath steady
    the stone waits, lighter

    Hard work is not the grind that wears you down. Not the fluorescent hum at midnight, the stale coffee that tastes like a dare, the inbox that breeds in the dark. Hard work—the kind you can live with—has a quieter rhythm. You fall into it when you forget the clock. The sweat becomes a kind of prayer. The ache in your hands is a receipt that proves you were here.

    At 5:12 a.m., the baker on the corner unlocks the door with a motion his body knows better than his mind. Flour floats like moths in the beam of a single bulb. He turns on the mixer and it coughs awake. He scratches a date into the dough tub with a fingernail because pens are never where they should be. He does not call this productivity. He calls it morning.

    On the tram, a nurse closes her eyes for four stops and hears the day she just finished echo inside her like a large, quiet room. She still feels the weight of a hand she held that wasn’t hers to keep. When she gets home, she lines her shoes straight on the mat; the order returns something to her no one else can see.

    In a small studio, a painter peels blue tape from the edge of a canvas and listens to the soft rip that means the line is clean. There’s a coffee ring drying into a planet on the work table, a smudge of burnt umber on the wrist bone, a fingernail nicked where the staple slipped. No one is watching. That helps.

    In a kitchen with a loose tile, someone measures beans by feel. The kettle hums. Steam beads on the window and the world outside blurs into a watercolor of roofs. The spoon taps the mug twice, the way it always does, and a list begins on the back of last week’s receipt. The list will be wrong in the details, correct in the direction.

    Hard work is a disappearing act. The richest man, the lonely farmer, the coder wrestling a stubborn loop, the parent soothing a child at 2:17 a.m.—they all vanish into the same silence of doing. Effort and meaning lean against each other like two tired friends. For a while the self thins, and only the task remains, breathing in your shape.

    I have carried notebooks since I was sixteen. At first they held short tempers and long crushes, then maps to places I had not earned. Later, lists of repairs, attempts at recipes, reasons to keep going. The paper remembers better than I do. On one page, a smear where rain found the ink and dragged it sideways. On another, a small oil fingerprint shaped like a comma. The body leaves hints in the margins: coffee tremor, paint, garden dirt, metal dust. Each page is proof that the work touched me back.

    I once helped my uncle lift potatoes from a field that had gone hard under a dry September. The soil broke in plates, heavy and reluctant. We worked in a rhythm older than our names: bend, find, lift, drop. The first blister arrived like an argument; the second finished it. At lunch, we ate bread and cheese on the tractor step, saying nothing. When the wind picked up, the potato plants nodded like they had been right all along. That evening, my sleep was a long dark lake. If you asked what we accomplished, I would say: we counted the day honestly.

    Another time, in a basement that smelled like wood and years, I sanded a table someone else had given up on. The paper sang against the grain, a coarse music that went softer by degrees. Every so often I’d blow the dust and watch a pattern appear that could not be predicted and could not be rushed: rings and rivers, storms in miniature. At dawn, the surface caught a thin band of light like a breath held then released. It wasn’t perfect. Neither was I. We agreed to meet again.

    I’ve learned to protect attention as if it were the last dry match. The modern world is excellent at weather. It can blow on a thought from ten directions until nothing remains. So I set traps for quiet. Walks with no headphones. Airplane mode at noon. Whole chapters read out loud to the walls. A chair by the window where the phone does not live. The first fifteen minutes feel like nothing; the sixteenth turns into work.

    Boredom arrives like an unpleasant relative. If you seat it politely, it starts telling useful stories. On one of those long, empty afternoons I fixed a loose kitchen drawer with a screw one size too short and a splinter that knew where to go. The click as it slid home was nothing and also everything. Small completions tilt the day.

    Hard work needs the hands. Otherwise the mind floats and forgets to come back. I unjammed a heater once with a butter knife and a superstition. The panel came off like a reluctant confession. Inside was a city of dust, living well. I became a broom with knuckles. Three tries and a muttered apology later, the fan agreed to remember its job. When the warm air arrived, it felt like consent. I washed my hands and the water went gray; my shoulders dropped a fraction; the room invented a new temperature.

    Sometimes the work is to hold still. To notice that the second cup will not help. To see the browser tabs forming a lancet arch of avoidance. To close the one that flashes and open the one that stares. To read the error message all the way to the period. To give the sentence a spine and take out the polite words that don’t carry their weight. To admit you are stuck and then make a smaller promise: I will move the stone an inch, and when the inch is true, I will allow it to be the day.

    There are rituals that help. The pencil lined exactly with the notebook’s edge. The rag folded twice, always twice. The cup set on the same pale ring on the desk as if hitting a target that no one else can see. The playlist of rain when the actual sky refuses. The way you say the date under your breath before writing it, as if the day needs to hear its own name.

    Work has seasons. There is the soaking season: reading, walking, asking questions that make you look foolish. The shaping season: choosing a single thread and pulling until it reveals its knot. The sharing season: opening the windows so the air can argue with you. And the quiet season: closing the windows, letting dust settle into facts. People want summer all year. The field has other ideas.

    I keep pocket rules because pockets are where life happens. Simple beats clever. Repetition beats intensity. Direction beats speed. Craft beats hype. Time beats talent. Kindness beats cynicism. Protect attention. Finish the small thing. If you want a different answer, ask a different question. Do not be the best. Be the only.

    The audience for work is sometimes no audience at all. The teacher who writes feedback at 11:03 p.m. that a student will remember for five years. The driver who returns the cart to a corral no one is guarding. The engineer who adds a note in the code a stranger will read in another country in another decade and say thank you to an empty room. The parent who says I am sorry and means it. These are the quiet economies that keep a city from falling apart.

    Details accumulate and decide your day when you are not looking. The bread knife that always wants to fall blade first. The one shirt that smells like cedar instead of detergent. The grocery cart with the front-right wheel that refuses to dream straight. The mailbox that clicks so softly you doubt it closed. The neighbor’s laugh that carries through two walls and a rainstorm. The cat that finds the warm rectangle of sunlight on the floor with the precision of a compass. The floorboard that confesses your arrival even when you wanted to surprise yourself. If you pay attention, these things collaborate with you; if you don’t, they become weather.

    Sometimes the world sends a symbol because words will not obey. I keep seeing a small silver object in certain shop windows: Lisbon, Sapporo, Basel. Smooth, unmarked, humming in the eyes more than the ears. When I turn back, it is gone. I do not chase it anymore. I let it be a promise that work knows how to find me if I keep my hands ready.

    Other times the world uses sound. On a ferry in winter, a woman told me her brother whistled the same three notes before casting his nets. He did not return one year; the notes kept walking without him. Now, in stairwells and radiators and far corners of supermarkets, I sometimes hear three notes and feel the day agree to be serious. I don’t count that as superstition. I count it as a calendar.

    Hard work is not a grind; grinds break teeth. It is a groove, cut slowly, played often, deep enough that when you are tired your feet can still find it. Applause is weather. Money is a score someone else kept. Progress is sometimes invisible until the angle of the light changes and the surface shows you where your hands have been.

    At the end of a day that finally confessed, the room feels tuned. The hum of the fridge is a bass note. The street carries a soft cymbal of tires on wet asphalt. Somewhere a child is practicing a scale with concentration that makes the air behave. Your back hums. Your fingers argue with buttons. You sit. The chair recognizes you and forgives the posture you will choose.

    In that stillness, you know the stone moved forward. Maybe a sentence learned to stand. Maybe a room works that didn’t. Maybe a hinge stopped pretending to be a squeak. Maybe a person felt seen. The world and you lean together for a small, exact moment. Two tired friends, shoulder to shoulder, neither asking the other to carry more than the day.

    Tomorrow the stone will be where stones like to be: slightly in the way, slightly heavier, slightly interesting. You will lace your shoes or lift your pen or warm your hands over the same old kettle. You will forget the clock and remember the groove. The sweat will become a prayer again. The ache will sign your presence again. The page will take the shape of your breathing. The garden will measure your patience in centimeters and birds. The code will accept your truce. The oven will make the house remember childhood. The street will organize footsteps into a pattern you can borrow.

    Hard work is not punishment. It is permission—permission to disappear into the silence of doing until the day reveals what it wanted from you all along. And when you return from that silence, salt dried on your skin, you will have nothing perfect to show. You will have something honest instead.

    The stone moved forward. That is the news. That is enough.

    Daily writing prompt
    In what ways does hard work make you feel fulfilled?

  • Curiosity with Stamina

    night train window
    one question on the glass breath
    then the pane clears

    I used to think the important thing was answers. Now I think the important thing is the question that keeps walking beside you when the answers fall asleep. Curiosity with stamina. Not the spark that burns out in the first gust, not the marathon without a map, but the two braided into something you can build a life around. Curiosity chooses the door. Stamina keeps turning the handle until it opens.

    Once, under the big clock at Zürich Hauptbahnhof, I watched the second hand do its private ritual. It paused. People kept moving. Steam rose from paper cups. A violin practiced something slow. Then the hand jumped, as if time remembered itself. In that small pause the thought arrived: when the scoreboard goes dark—likes, money, applause—what work still calls your name? I didn’t answer. I let the question sit like a coin in my mouth. Metal, specific, a little cold.

    I started to notice that questions prefer to travel. They like to ride ferries, sit in coat pockets, hitchhike on receipts. In a bus shelter outside Kobarid, rain slanting sideways, an old man asked me in careful English: “What do you carry that is not yours?” He didn’t look at me after he said it. He folded his hands like someone finishing a prayer and watched the weather spend itself. Months later I found the same sentence written on the back of a tram ticket in Nagasaki. Same letters. Same tilt to the question mark. The ticket was in my coat, but I don’t remember putting it there.

    Curiosity with stamina is the willingness to keep such sentences, unpolished, unfiled, somewhere close to the heart—and to keep walking while they work on you.

    I protect attention like a candle in wind. The world has learned a thousand ways to blow it out. So I make space that looks empty from the outside. Long walks with no destination. Whole books read at the speed they deserve. Trenches of time where nothing happens until something does. Boredom, it turns out, is the first gate. Most people turn back there. If you stay, the corridor opens.

    On the road outside Matsue I learned the shape of that corridor. Rice fields mirrored sky. A crow landed on a scarecrow’s sleeve as if the joke needed a closing line. My steps repeated until they didn’t, until the rhythm changed on its own, like a song finding its key. I came home with nothing to show but the sense that my questions had grown legs stronger than mine.

    I try to ask better questions. “Why” is impatient; it rushes the witness. “What if” invites the room to breathe. “Who is to blame” closes the door. “What is missing” opens the window. In a Reykjavik library a child asked me why adults walk faster than children. I said, because we think we know where we’re going. She looked at the ceiling and said, “But we don’t.” The librarian stamped a date and smiled without looking up. I wrote the exchange down because some questions become maps only after you fold them twice.

    When the mind gets proud, I bring in the hands. Curiosity must touch wood and metal and soil or it will float away and forget to come back. In Bern my heater died with the logic of a fairy tale: warm, warm, warm, nothing. I opened the panel with a butter knife, found a small city of dust living comfortably where heat used to live, and decided to become a citizen. Three false starts, one cut knuckle, a steadying breath—and the system coughed, complained, agreed. Warmth returned like someone late to dinner, unapologetic, necessary. I didn’t learn everything about heaters. I learned enough to return. Stamina says: again. The hands say: show me.

    I’ve learned to teach as a way to check my pulse. Not by sermon. By example, by artifacts. Leaving a slip of paper in a returned book: What did this change in you? Sending a friend a list of the mistakes it took to fix a small thing. Holding open a door and making sure someone sees it’s possible to hold a door and carry your own bags. Teaching is the checksum of learning. If I can’t explain it simply, I don’t own it yet. And when I can, the knowledge leaves me a little cleaner and goes to build itself in someone else.

    There is a ruthlessness hidden inside this softness. Not toward people. Toward distractions. I say no to most invitations because attention is more finite than time. I say yes to the unlabeled, the odd corner, the conversation without a business card. Originality rarely wears a lanyard. The market will always reward your average. Your soul will not. Curiosity with stamina says: let the applause pass like weather; build the climate yourself.

    Eventually you get lost. That is part of the design. When I am lost I do three things. I move my body until the mind unclenches. I simplify my inputs until the signal grows louder than the noise. I return to the smallest honest step. Wash the cup. Write the sentence. Tighten the screw. Curiosity does not require certainty—only movement. Stamina does not require speed—only return.

    There are seasons. Soaking: read, wander, ask naive questions without apologizing. Shaping: choose one line and push it forward until it pushes back. Sharing: open the windows; let other minds blow through. Silence: close the windows; let the dust settle; listen for the next signal. Respect the seasons. Don’t harvest in winter. Don’t sleep through spring.

    I keep pocket rules because pockets are where real life happens.

    Simple beats clever. Repetition beats intensity. Direction beats speed. Craft beats hype. Time beats talent. Kindness beats cynicism. Curiosity scales. Stamina compounds. If you want a different answer, ask a different question. The only sustainable pace is the one you can keep. Don’t be the best. Be the only. Teach the path you needed last year. Make the tool you wish you had today. Leave room for serendipity to find you working.

    What does any of this look like in a day? Wake before the noise decides your mood. Sit until the breathing finds you. Read something older than your grandparents. Walk while your thoughts loosen one knot on their own. Touch the real project before you open the door to the world. Choose one knot you will untie on purpose. Speak to one stranger and ask them something you cannot predict the answer to. Capture one sentence worth keeping. Repair one small object that would otherwise end up in a bin. Eat with the people who know your first story and your latest. Go to bed before you are tired of the day. Rhythm is a kind of freedom that doesn’t need permission.

    Sometimes I hear a whistle in places that don’t have whistles. On the ferry between Hakodate and Aomori a woman told me her brother whistled before casting the nets. He didn’t return one winter. “The tune walks by itself now,” she said, and looked at the water as if it had a face. Years later the radiator in a Zagreb hotel whistled three notes at dawn and fell silent. I said, I hear you. No one answered. That is fine. Not all lanterns are for you to carry. Some only pass by to show the path exists.

    I keep seeing a small silver object in shop windows across cities. Lisbon. Sapporo. Basel. Smooth, humming without sound, unmarked. Each time I look back it is gone. Curiosity says, name it. Stamina says, let it remain unnamed until it chooses you. Some signals only grow if you stop plucking them for proof.

    If you practice this long enough, the edge where you can be the only becomes visible. Not the only like a crown; the only like a fingerprint. Your loop becomes specific. The question you ask better than most. The repair you can do with your eyes closed. The story you can carry without dropping any of its pieces. Greenlights appear more often for the walker who keeps walking; compounding begins to look like luck to anyone who didn’t see the miles.

    I value curiosity with stamina because it respects the long now. It refuses rented beliefs. It prefers evidence to volume. It changes its mind without losing its character. It makes room for wonder and then asks wonder to sit at a workbench. Prototype. Ship. Review. Begin again, beginner again, a little braver.

    If I could leave my children anything that wouldn’t rot or vanish, it would not be a map. Maps are true until they aren’t. I would leave them a way of traveling: ask, listen, try, return, share, laugh, forgive, keep going. Lose the road and make a small circle with your feet until you feel the earth answer back. That is north enough.

    At the end, when the last light lays its hand on the table, I don’t want a staircase of trophies. I want dog-eared notebooks, a chair repaired until it remembers every palm that steadied it, a handful of students who outgrew me, a set of tools that will be useful to strangers I’ll never meet. That is wealth measured in attention, resilience, patience, long-term growth. The kind that does not need guarding. The kind that does not apologize.

    Sometimes, late, the kitchen clock repeats the Zürich pause. The second hand hovers. A crow lands on the railing outside and tilts its head as if to listen. Somewhere, faint, three notes whistle and then disappear. In that pocket of stillness I feel the sentence arrive with the precision of a well-cut joint:

    Protect your attention. Ask the better question. Touch the work. Teach the path. Walk again.

    Then the hand jumps, time resumes, and the day begins like a door you have opened a thousand times and still love for how it fits the hinge.

  • If Money Drifted Out of the Room

    The question came to me the way certain songs do—quietly at first, then so insistent you can’t hear anything else: If money didn’t matter, what work would still call my name? It sounded like a practical question, but it wasn’t. It was about alignment. About the story you tell yourself when you wake up, before the world speaks.

    Once, standing under the big clock at Zürich Hauptbahnhof, I watched the second hand perform its little ritual—pause, hover, then jump forward all at once. During that pause, people kept moving as if the clock had decided time was a suggestion. Suitcases rolled, coffee steamed, announcements crackled. I felt a pocket of silence open around me, like the inside of a bell, and the question pressed in: When the scoreboard goes dark, what remains worth doing?

    Three shapes stepped out of that silence. Teacher. Maker. Storyteller. Not job titles, exactly—more like postures the body remembers even when the lights are off.

    Teacher

    I learned how teaching works on a wet afternoon in a Slovenian bus shelter. The storm shoved sideways across the valley; the timetable flapped and stuck, flapped and stuck. An old man shared the dry space with me. He smelled of tobacco and something like cedar. We didn’t speak for a long time. Then, looking at the rain, he asked, in careful English: “What do you carry that is not yours?”

    He didn’t look at me after he said it. He didn’t repeat the question. He just let it hover, the way dust hangs in sunlight. My bus came. His did not. I left with the sentence lodged under my ribs.

    Years later I heard the same question on a ferry deck at night, whispered by a woman to no one. Another year, I saw it scratched into frost on a parked car, a sentence that vanished when the glass warmed. In a museum in Berlin I found it on a plaque beside a painting it did not belong to; when I returned with a friend the plaque had different text, something ordinary. The question remained without a place to sit.

    That is what real teaching feels like. Not a transfer of facts, but a sentence that won’t leave you alone. If money were a ghost that had already left the room, I would want to keep sending such questions into the air. Not answers. Not advice. Small currents of attention that turn strangers into students and students into mirrors. A campfire is a classroom. So is a train aisle at dawn. The lesson multiplies when you don’t try to own it.

    Sometimes I practice by writing a single question on a slip of paper and leaving it in a library book: Where were you honest today? What weight isn’t yours? I never know who finds it. I don’t need to. The important thing is that the question walks away without me and keeps walking.

    Maker

    In Bern, one winter, the heater died the way a heart stops in the night—quietly, decisively. I unscrewed the panel with a butter knife and discovered a small city of dust. The manual had diagrams like constellations and words that implied I should not be there. I stayed anyway. My fingers turned black; my breath made a cloud. After three tries the machine shuddered back to life, reluctant but willing. The room warmed slowly, as if the air were remembering how.

    When it finished humming I noticed my hands were steady. There was proof in them: something broken had become something working, and I had been allowed to be the hinge.

    If money had floated away like candle smoke, I would want more of that—hands in the middle of things. Building a chair that wobbles until it learns not to. Cutting dovetails that don’t quite meet, then do. Planting a small tree and visiting it through seasons until we remember each other. Making is not the churn of output. It is the oldest prayer we know: taking what the world offers and returning it as form.

    Once, I carved a spoon from a fallen branch. When I polished it, faint letters rose in the grain, not carved by me—something like a word that almost said my name and then didn’t. I held it up to the light, and the letters faded into wood again. I don’t tell that story often. People think the mind plays tricks. Maybe it does. Maybe the wood had a memory, and for a moment it remembered me back.

    Storyteller

    On a ferry from Hakodate, I sat beside a woman who told me about her brother without introducing herself. He whistled before casting his nets, she said. He did it the same way each morning, a tune no one else could make sound right. One winter he did not return. The whistle has no place to land now, she told me, and smiled in a way that changed the room.

    I still hear that whistle in landlocked places: supermarkets, stairwells, libraries. Once, years later, I heard it when I woke in a hotel in a city I had never visited. It came from the radiator for three notes and then was gone. I sat up and said aloud, “I hear you.” There was no answer. There never is. That’s not how stories work.

    If money were not part of the agreement, I would want to keep a ledger of such threads. You collect them without hunting. You hold them the way a pocket holds warmth. You offer them when the dark asks for light. A story is not a trophy. It’s a lantern you carry until another hand is ready.

    Sometimes I imagine the old man from the bus shelter finding the woman on the ferry and asking her his question. She would shrug and say, the whistle. And then perhaps she would be lighter by exactly that much.

    Practicing Freedom in the Cracks

    There is advice tucked inside all of this and it’s not complicated: don’t wait for the math to change before you change your steps. Practice the work you would do without money in the margins of the work you do with it. Teach without a podium. Make without a deadline. Tell stories without an audience count. The scoreboard you check most often will teach you what you worship. If it’s only money, you will always be hungry.

    There are other scoreboards. Time you inhabit instead of endure. Integrity that stays when the room empties. Joy that arrives mid-task and refills the tank from underneath. Alignment is not a destination. It is the rhythm you move at when no one is timing you.

    In Kyoto, in a room barely wider than the bed, I wrote a paragraph that felt like water finding its level. A neighbor’s radio leaked a song I couldn’t name, then lost the signal to static. The static had a beat, and the paragraph learned it. I read it back and realized the sentences had lined themselves up like birds on a wire—uneven, necessary, watching the same weather.

    In Ljubljana, I once mended a torn sleeve with gold thread after seeing a bowl repaired the same way. The seam was clumsy, then less so. People noticed the mistake more than they would have noticed the perfection. That seemed correct.

    In a small town outside Aomori, a child asked me why adults walk faster than children. I said because we think we know where we’re going. She said, but do you? That was a story wrapped around a question, wrapped around a lesson. The kind that keeps teaching years after the speaker has forgotten speaking.

    If the Scoreboard Goes Dark

    When I try to imagine a life where money has stopped talking, I don’t see fireworks. I see repetition. The good kind. Walking the same path until it learns your name. Asking the same question until the shape of your silence changes. Making the same object until the wood agrees. Telling the same story until it turns into someone else’s memory and comes back to you unannounced.

    I would be a teacher who leaves questions like coins on windowsills. A maker who fixes the small machines that keep rooms warm. A storyteller who listens for whistles that have no boat to return to. Not glamorous forms. True ones.

    Once, in a city I won’t name, I found a note folded into the lining of my coat. The paper was thin, the ink washed until it looked like a bruise. It said, You are allowed to begin again. I do not know who wrote it. I do not know when it was placed there. I keep it with me as if it were currency that only I accept.

    Maybe that is the actual answer to the question. If money drifted out of the room, I would still trade in the same tender: questions, repairs, stories. They do not inflate. They do not expire. They circulate in secret and come back when you need change.

    At night, sometimes, the clock in my kitchen performs the Zürich trick: the second hand pauses and then leaps. In that fraction of stillness, I hear the old man’s voice, the ferry woman’s whistle, the heater breathing back to life. The room is dark except for the stove light. The sentence arrives whole:

    Practice the life you would live if no one were counting.

    I don’t turn on the lamp. I don’t check the time. I let the second hand hover, then jump. And then I begin, again.

  • The Weight of Invisible Inheritances

    lanterns by the gate
    three rivers meet in silence
    each carries its past


    In America, I remember the sound first. Not the land, not the streets, but the sound. Lawnmowers in the distance, garage doors rattling up like iron curtains, radios crackling with guitars that felt too alive to be contained. The suburbs kept expanding, swallowing fields, pressing against the horizon. New houses rose with wooden skeletons that looked fragile until the drywall closed them in.

    Everything smelled of paint and asphalt. Everything hummed with an unfinished quality, as if the whole country were a sketch someone had drawn in pencil but never inked.

    There was freedom in that incompleteness. The sense that nothing was sacred, nothing was fixed, nothing so old it could not be replaced by something improvised. We tinkered, we failed, we started again.

    Curiosity was not taught; it was the air we breathed. You tried, you broke, you rewired. That was the inheritance—an invisible license to experiment without asking permission.


    In Japan, the silence after the war was louder than the noise before it. I imagine walking down a street in the 1950s, the rubble already swept into corners, yet still whispering of what had been lost. Children played among it, their laughter carrying strangely across the empty lots.

    But then, in a side street, a garden. Raked gravel, stones placed as if by intention older than centuries. A woman kneeling, pouring tea. Her hands moved with care, with precision, as though the destruction outside could never penetrate this ritual.

    Resilience here was not about rebuilding taller. It was about refusing to let the quiet crafts dissolve. A garden combed, a tea poured, a pot repaired with gold.

    Culture, I realized, flows underground like water. Even if the surface is scorched, it waits, gathering strength, until it rises again.


    Germany, too, had ruins. But their weight was different—heavier, darker, lodged in silence. Streets where walls still stood, blackened and broken. Windows without glass. The air thick with a history no one dared name.

    I imagine walking those streets in the 1950s, hearing not guitars or laughter, but footsteps echoing against stone. The ruins looked like skeletons, but the true ruins were carried inside the people themselves. Shame is its own architecture.

    What I would be proud of here is not victory, but responsibility. To rebuild not only houses, but conscience. To shift pride into humility, arrogance into accountability. Germany was a place where the word heritage could not be spoken without a shadow behind it. And yet, rebuilding began anyway.


    Sometimes I think these three inheritances—curiosity, resilience, responsibility—are not separate. They braid together like strands of a rope, holding weight you cannot carry alone.

    Pride, if it has any meaning, is not about monuments. It is about survival. It is about the rituals that outlast collapse. It is about the quiet willingness to begin again, even when the beginning feels impossible.

    America says: experiment.
    Japan says: endure.
    Germany says: rebuild.

    Together they whisper: nothing is permanent, not even ruin.


    In Berlin once, in a café that smelled of coffee and old plaster, I overheard an old man tell a child: “We don’t inherit the world. We borrow it.”

    The child didn’t answer. She was too busy drawing on the back of a napkin. I leaned over, curious. Her drawing wasn’t of a flag or a monument. It was of a house, a tree, smoke curling from a chimney.

    That was the inheritance—unspoken, unsentimental. A roof to stand under. A fire to gather around. A tree whose roots hold even when the ground shakes.


    Cultural heritage is not a museum. It is not something framed or preserved. It is the unnoticed scaffolding of daily life. It is how you hold your cup, how you sweep a floor, how you speak to a stranger. It is the rhythm of footsteps in a hallway, the sound of a bell in the distance, the silence after the bell fades.

    Curiosity is not loud—it is the way you ask a question no one else has thought to ask.
    Resilience is not grand—it is the way you repeat a ritual, even when no one is watching.
    Responsibility is not heroic—it is the way you carry shadows without letting them define your steps.

    These are not monuments. They are practices. They do not shine. They endure.


    When I left the café in Berlin that night, the streets were nearly empty. The air was cold, the kind of cold that settles in your collar and follows you home. At the end of the block, a shop window glowed faintly.

    Inside, I thought I saw something strange. A shape, smooth, silver, without name or mark. It hummed faintly, though the street was silent. I stared at it for a long time, trying to decide if it was real or reflection. Then someone walked past, and the object disappeared into the glass.

    I kept walking, but the feeling stayed with me.

    Maybe that is the truest inheritance—the nameless things we carry without knowing. The whispers that teach us even when no one is speaking. The currents beneath the surface, invisible, but always moving, waiting for us to notice.

  • with you?” someone asked.

    It sounded simple, but like most simple questions it opened into something much deeper. I thought at first about objects. But then I realized it wasn’t about objects at all. It was about the memories sewn into them.


    I remembered a storm in the Julian Alps when the sky turned green and the rain hammered sideways across the ridge. My jacket held, but what I carried home wasn’t protection. It was the idea that what lasts deserves repair. That the things which accompany you through storms aren’t disposable. That care extends beyond fabric.

    Years later, when I pulled the jacket from the back of a closet, dried mud still clung to the hem. I realized then that what we carry forward is not things, but promises—small whispers about how to live.


    I thought of Shinjuku, backstreets slick with humidity and neon light. A friend had lent me his camera. Through the lens, the city slowed. Each corner, each shadow, seemed to pause, waiting to be noticed. I took fewer photographs that night than usual. But each one carried weight. It wasn’t about capturing. It was about learning to see what had always been there.

    Sometimes, it takes an unfamiliar tool, or a different frame, to remind you that light itself is alive. That noticing is a kind of prayer.


    Another memory came from Kyoto. A hotel room barely wider than the bed. Outside, cicadas droned like faulty electricity lines. Inside, I sat with a notebook, scribbling in the dim yellow light. For once, the page didn’t resist me. Words fell easily, one by one, as if they had been waiting.

    When tools vanish into silence, what remains is the act itself. When the noise is stripped away, writing becomes less about performance and more about presence.

    Design in life—whether of rooms, objects, or days—at its best, is simply kindness.


    Not all memories arrive through tools. Some arrive through vessels—spaces that teach us how to inhabit time.

    I thought of a long drive through West Texas. The desert unrolled endlessly. Inside the car, silence thickened until it felt like a substance. It wasn’t absence. It was presence. A reminder that not every journey is about speed. Some are about stretching silence wide enough to live inside of.


    Then there was Ljubljana, one winter night. After a long hike, legs still trembling, a friend poured me a drink in mismatched glasses. The burn came first, then the warmth, then the quiet realization: patience has a taste. Character isn’t built in the spotlight. It matures in dark rooms where no one is watching.

    I held the glass in my hand and thought—this is what endurance feels like.


    And in Bavaria, late summer, a silver trailer stood at the edge of a meadow, glowing in the last light like a second moon. Strangers gathered outside it, cooking over a small fire, their laughter rising into the dusk.

    The trailer itself was unremarkable. But what it carried was not. It whispered: the road is open. Home doesn’t have to stand still. Windows can change their view every morning.

    It struck me then that freedom isn’t a location. It’s a way of moving through the world, willing to let the horizon redraw itself again and again.


    What we carry are not objects. They are philosophies, stitched into fabric, pressed into glass, hidden in silence, or lit by fire. They arrive like stray cats—quiet, unannounced—and somehow they stay. They remind us to create instead of consume, to wander instead of settle, to savor instead of rush.

    They are not loud. They whisper. And sometimes, their voices are so soft I forget them—until a smell, a sound, or the weight of an object in my hand calls them back.


    In Palermo, I once met a man who sold shoes on a side street. His shop had no sign, only a bell you had to ring twice. When I asked why, he smiled and said: “Names are just stories repeated until they become truths.”

    I didn’t argue. But I thought of the nameless things I carry. Not repeated in advertisements, but repeated in storms, in photographs, in mismatched glasses, in the laughter of strangers under stars.

    They had become truths not because they were labeled, but because they whispered the right words at the right times.


    What do I carry with me?

    Not the loud names. Not the temporary slogans.

    I carry the ones that wrinkle. The ones that scar. The ones that outlast their shine and still feel alive.

    Because in the end, what you carry is not about what it announces to the world. It is about what it teaches you about yourself.


    When I left that café in Lisbon, the street had grown darker. In one narrow window, I noticed something odd: an object I couldn’t name. Smooth, silver, humming faintly though the air was still. No text, no label, no mark. Just presence.

    For a moment I stood, staring, trying to decide whether it was real or only reflection. Then someone walked past, and the glass showed only the street again. The object was gone.

    Maybe that is what we carry most of all—the nameless things that still manage to whisper, teaching us without needing to be named.

  • What Could I Do More Of?

    rain softens the glass
    footsteps fade along the pier
    silence waits for me


    I ask myself sometimes: What could I do more of? The question comes quietly, usually when I’m waiting for something—waiting for water to boil, waiting for a train to arrive, waiting for the sun to tip behind the rooftops. It’s not the loud kind of question that demands an answer right away. It lingers, like the smell of rain on stone.


    I could do more listening.

    Not just to people, but to everything else that tries to speak when we’re not paying attention. The sea has a voice when it pulls back against the rocks. Old buildings creak differently in the morning than they do at night. Even silence has accents, depending on whether you hear it in a library, in a forest, or in the pause before someone confesses something they weren’t sure they could say.

    Most of us carry the volume too high on our own thoughts, drowning out the world. I think of an evening in Palermo when a group of men sat at a corner table, drinking in near silence. Every so often one would tap a finger against the glass, and the others would nod. I couldn’t understand the code, but I knew it mattered. Listening isn’t passive—it’s a kind of respect. It’s how you let the world teach you without insisting it speak your language first.


    I could do more slowing down.

    Not the kind of slowing that means laziness or idleness, but the slowing that changes how things appear. Once in Bern, I missed a tram and decided not to hurry for the next one. I walked instead. The ten minutes stretched into nearly an hour because I noticed details I’d never seen before—the cracks in the pavement forming patterns like maps, the way ivy had wrapped itself around a bench, the sound of a bicycle bell carrying longer than it should have through the cool air.

    When you move too fast, life blurs like a photograph taken with the wrong setting. You can survive that way, even thrive by certain standards, but you risk missing the small sunrise in your rearview mirror. And sometimes, that’s the only part worth remembering.


    I could do more making.

    Not in the sense of production, not the digital churn of output, but the kind of making where your hands come away stained or tired. In Ljubljana, I stayed in a guesthouse where the owner carved spoons out of fallen wood. Each one was slightly crooked. He gave me one when I left. “It will outlast me,” he said. I still have it. It reminds me that the scale of what you make doesn’t matter. One handmade thing, even a spoon, carries more of you than a thousand things pressed by machines.

    Making anchors you in a way scrolling never can. A garden, a paragraph, a loaf of bread—they resist the slipstream of distraction.


    I could do more teaching by example.

    The best lessons I’ve learned weren’t explained. They were lived. A friend in Tokyo once walked me through the city without checking his phone once. Not even for directions. “If you’re lost,” he said, “look at the people, not the map.” He never framed it as teaching, but I still carry it.

    Words persuade for a moment, but actions endure. If I could do more of anything, it would be living so that others—not just friends or family, but strangers—catch a glimpse of something worth keeping.


    I could do more wondering.

    Wonder isn’t childish. It’s oxygen. Without it, the world gets stale. I remember standing in Helsinki, watching snow fall into the sea. The flakes didn’t melt right away; they floated first, resting a moment before dissolving. I stood there too long, probably looking strange, but it struck me: even snow hesitates before becoming something else.

    That hesitation was wonder, and it made the cold bearable.

    Wonder keeps you alive to mystery. And mystery is the only soil where meaning grows.


    I could do more gratitude.

    In Slovenia, my grandmother once placed a single apple in my hand, one she’d grown in her small orchard. She said nothing. I ate it standing there, and for some reason it felt like the most generous gift I’d ever received. Gratitude is like that—it multiplies quietly. You don’t need more things. You just need more thanks for the things already in your hand.

    When you name what you’re grateful for, life reveals its surplus. It’s like pouring water from a jug and realizing the more you pour, the more it refills.


    I could do more time with family.

    Adventures have their place, but the people around your table become the real map. In Basel, I once cooked a meal for my sister when she visited. Nothing fancy—bread, soup, cheese. We ate slowly, talking about nothing in particular. Later, when she left, I realized the evening had marked me more than any distant horizon ever could.

    Stories aren’t real until they’re shared. Victories aren’t sweet until someone else laughs with you. A life is built from rituals so small they barely seem worth noting—yet when stacked together, they become the architecture of memory.


    I could do more forgiving.

    Not just others. Myself. We live in a culture that worships optimization, as though a human can be debugged like faulty code. But perfection is a trap. Forgiveness is the release valve.

    On a train from Berlin, I once overheard two strangers arguing softly. One of them finally said, “Let’s not carry this into tomorrow.” They both fell silent. It struck me as the simplest definition of forgiveness: the refusal to drag old weight into a new day.

    Without forgiveness, you become a porter carrying bags that aren’t even yours anymore. With it, you move lighter, freer, ready to begin again.


    I could do more being.

    Not doing, not striving, not performing. Just being. Sitting on a porch while evening folds over the land. Watching shadows lengthen until they disappear. Breathing in time with the world.

    This isn’t wasted time. It’s the time that makes all the rest possible. To be is to remember that you are not a résumé, not a machine, not a list of metrics. You are a body, a soul, present in one moment that will never repeat.


    If you put it all together, the answer isn’t about piling more onto the plate. It’s not about busyness. It’s about depth.

    More listening.
    More slowing.
    More making.
    More gratitude.
    More wonder.
    More family.
    More forgiving.
    More being.

    The measure of life isn’t how much you’ve done. It’s how much you’ve noticed while doing it.

    And maybe, if I listen hard enough, the world itself will whisper the next thing I should do more of.

  • The Compass of Difference

    lamp light on the desk
    pages scatter in the breeze
    ink waits for the hand


    Don’t try to be the best—be the only.

    It sounds simple, almost careless, like advice you could scrawl on the back of a receipt. But I keep returning to it, like a stone I find myself picking up each time I walk the river.

    Because being the best is a game you rarely win. The measure shifts, the rules change, the ladder extends further the moment you climb it. To be the best is to chase shadows.

    But to be the only—that’s different. To find the thing you can do that no one else can, not because you work harder, but because it is distinctly yours. That becomes the compass. That becomes the gift.


    I remember sitting once in a café in Porto, early morning, rain sliding down the windows in slow, deliberate drops. The place was nearly empty. A man across from me was sketching in a notebook. His lines were messy, uneven, but alive. I couldn’t tell if he was talented in the way schools define talent. What I saw was something else: the lines were his, so much so that no one else could have drawn them.

    I thought then, the world doesn’t need more copies. It needs originals. It needs the things that are strange and personal, things that don’t fit neatly into categories.


    When I was younger, I tried to be the best. In school, in sports, in the quiet competitions that nobody admits but everyone feels. I learned quickly that the best is temporary. Someone faster will arrive. Someone smarter will pass you. Even your own younger self will outshine you in certain memories. Best is a shifting target, and the chase leaves you hollow.

    But when I look back at the notebooks my mother gave me when I was sixteen, filled with uneven handwriting, half-thought sentences, and sketches that looked nothing like what they were meant to be, I see something else. I see myself, raw and distinct. Not the best. But the only.

    Those early pages had no polish, no thought of audience. They were just attempts to make sense of the world. And in their unevenness, they carried a voice that was mine alone.


    The only is not about comparison. It’s about subtraction.

    Strip away the noise, the borrowed opinions, the gestures imitated from others. What remains—the stubborn core, the crooked handwriting, the rhythm of your breath—is the only.

    It doesn’t arrive clean. It arrives cracked, awkward, half-formed. But that’s the point. That crack is where the light gets in, where the signal comes through.


    Once, in Kyoto, I wandered into a small shop that sold handmade pottery. The shelves were crowded with bowls and cups, some lopsided, some glazed unevenly. At first glance, they looked imperfect compared to the machine-polished sets you see everywhere. But the owner smiled as I picked one up.

    “That one,” she said, “is my favorite. No one could ever make it again. Even me.”

    I turned it in my hands. The glaze bled into unexpected patterns, a fingerprint of fire and chance. It wasn’t the best bowl I had ever seen. But it was the only. And that made it priceless.


    Leaning into what makes you different doesn’t guarantee applause. Sometimes it guarantees silence. Sometimes it guarantees misunderstanding. But over time, that difference becomes your advantage.

    Think of the street musicians who play the same songs you’ve heard a hundred times. They blend into the background. Then think of the one who plays an instrument you don’t recognize, or bends the notes until they sound like something you’ve never heard. You stop. You listen. You remember.

    Originals create pause.

    Copies pass unnoticed.


    A few months ago, I was walking along the Aare in Bern. The river was high, moving fast from the snowmelt. A boy stood at the edge, throwing sticks into the current. Each one spun, caught in the same bend, and disappeared. After a while he stopped, picked up a stone instead, and tossed it in. The splash was messy, uneven, different from the elegant drift of the sticks. But the stone sank straight to the bottom, cutting through the water with weight.

    I thought: that’s the difference between best and only. The stick floats where all others float. The stone sinks to where only it can sink.


    When you lean into your only, it doesn’t just set you apart. It sets you free. Because suddenly you’re no longer running a race whose finish line keeps moving. You’re walking your own path, strange as it may be, with a compass that doesn’t lie.

    And the funny thing is: people sense it. They might not understand why, but they feel the weight, the texture, the presence of something that isn’t borrowed.

    Your originality becomes your signal. Your way of saying, “This is mine. This is me. This is the gift I bring.”


    Being the best is a sprint. Being the only is a pilgrimage.

    And the path of the only is not about achievement. It’s about recognition. Recognition of yourself in the bowl that can’t be remade, in the notebook filled with uneven lines, in the sketch across a rainy café window. Recognition that what makes you different is not a weakness to be trimmed but a compass to be followed.


    The sun had dropped lower in the meadow outside. The bird that had been perched on the rail took flight, vanishing into the tall grass. The jug of water on the table caught the last light and glowed, as if it had been waiting to teach the same lesson all along:

    Best fades.

    Only lasts.

  • The Current We Step Into

    shadows on the deck
    a bird waits at the fence post
    time bends, then resumes


    The deck was old, the wood splintered into soft ridges where countless seasons had pressed down. Beyond it stretched a meadow, long and unbroken, its grass standing in quiet rows like an audience waiting for the next act.

    Late afternoon light had fallen across the field, the kind of light that flattens the horizon but sharpens the mind. A jug of water sweated on the table between them. Two chairs creaked whenever they shifted their weight.

    The air was steady.

    One leaned back, boots crossed, eyes drifting across the clouds as if he had ordered them himself. The other leaned forward, elbows on his knees, restless, alert, as though every silence contained a secret.

    “What gives you energy?” one of them asked.

    The words didn’t sound like a question. They sounded like a doorway.


    The pause stretched long. The man who had leaned forward watched a bird move from fence post to fence post, wings like small black parentheses.

    “Attention,” he said at last. “That’s what charges me. Not caffeine, not sleep. Those matter, but they’re temporary. The real fuel is noticing. The smaller the detail, the greater the spark. The ripple that widens in a puddle. A child inventing a word. The way the shadows shift color when the sun falls lower. If I notice, really notice, I feel plugged into something larger than myself.”

    The other laughed, boots scraping against the deck. His voice was slow, like a song stretched out on a tape.

    “Motion,” he said. “Stillness drains me if it stays too long. But motion—any kind—fills me. Driving without a map. Walking through streets at night with no reason. Letting the wind sketch across my face. Freedom itself pumps the gas.”

    The bird called out once, as if it agreed.


    The first nodded. “Freedom and motion overlap with curiosity. Wandering without knowing, letting the unexpected arrive. That’s the generator. Kids show us this. Their energy runs forever as long as they’re curious. Adults slow down only when they stop asking.”

    “Curiosity needs discipline,” the other replied. “Scatter yourself too wide and you’re lost seed. Energy comes not from what you say yes to, but what you refuse. Cut the noise, trim the fat. Then the current flows.”

    A breeze moved through the meadow. The jug trembled faintly on the table.


    “Subtraction creates energy,” the forward one said. “Everyone thinks more is the answer. More tools, more tricks, more stimulants. But the cleanest fuel is clarity. Strip down. What’s left is already charged.”

    “Pretending drains me,” the other countered. “Acting one way while feeling another—it’s like leaving all the lights on in a house where no one lives. But if I’m aligned—my words, my choices, my gut all singing the same note—it doesn’t matter how tired I am. I’m lit.”

    He slapped the armrest. The sound echoed once, then seemed to hang in the stillness longer than it should have.


    The first smiled. “Alignment is attention’s integrity. When I scatter, I empty. But when I give myself wholly—listening, writing, building—I don’t spend energy. I multiply it.”

    The other tipped his hat back. His eyes squinted at the horizon.

    “Nature,” he said. “That’s my socket. Put me in woods, by the sea, under stars—it doesn’t matter. Cicadas at dusk. Waves hammering the sand. A desert night where the silence folds over itself. All of it. Plug straight into the wall of the universe.”

    The first man’s eyes softened. “Nature, yes. But for me, it’s not the spectacle. It’s the small designs. Moss threading over stone. Ants carrying impossible burdens. Bees weaving a moving net of order. Each pattern is endless. Awe regenerates. The more you notice, the more it grows.”

    “Awe,” the other said, letting the word linger. “That’s the juice. You can’t bottle it. You can only put yourself where it might sneak up on you. Strange roads. New faces. Places that bend your sense of home. Wonder scrapes the dust off. Wonder resets the bones.”


    The shadows lengthened. The bird returned, this time landing on the rail. Its head tilted, eyes sharp, as if it too wanted to know the answer.

    “People matter,” the first added. “Especially the young. They see without filters. Being near them reboots me. Their laughter, their questions—they remind me how much I’ve stopped noticing. Their honesty is contagious.”

    The other hummed. “My children do that. They burn bright, then collapse. No pacing. That honesty itself is electric.”

    The meadow stirred as if some invisible hand had brushed its surface.


    “So energy,” the first said, voice low now, “isn’t stored like money in a bank. It’s relational. It flows. Between us and the world. When we connect—with people, with nature, with curiosity—it moves. When we disconnect—pretend, scatter, isolate—it drains.”

    “It’s a river,” the other answered. “Not a wallet. You don’t hoard it. You step into the current. Flow feeds itself. The river moves, and you move with it.”

    They both leaned back now. Two chairs creaked in rhythm.

    “Energy is attention,” the first murmured. “Energy is awe. Energy is alignment. Energy is connection. Presence is the plug.”

    The other grinned into the horizon. “That’ll do. You keep watching moss. I’ll keep chasing roads. Same current.”


    The sun lowered until the field was one flat band of gold. The bird spread its wings, then vanished into the tall grass, leaving only the empty rail. The jug of water caught the last light and glowed like glass on fire.

    For a long while, neither spoke.

    The silence wasn’t empty. It was charged.

    And when they finally rose from their chairs, the meadow seemed to rise too, as though it had been listening the entire time.

  • The Album You Carry

    rain moved across the street.
    a chair scraped the floor.
    the café breathed in the heat.

    I stepped inside to get away from the Lisbon sun. It pushed on the cobblestones like a hand on the back of my neck. Inside, the light was thinner. The espresso machine coughed and rattled. Tables leaned on uneven legs. A ceiling fan turned slow circles, moving air without cooling it. I ordered a coffee I didn’t need and sat at a small table near the window.

    At the next table sat a man. Thin. Older. Jacket too big for his bones. His fingers were stained yellow at the tips, a shade tobacco leaves would understand. In front of him: a little speaker, silent, the size and weight of a brick in a pocket. He watched the street without moving his head. People climbed the hill like notes on a staff.

    He turned to me with no preface. “What’s your favorite album?”

    No hello. No smile. The question fell between us like a coin.

    “That word is slippery,” I said.

    He lifted his eyebrows, as if to say, go on.

    “Albums are time capsules,” I said. “Not absolutes. Each one matters because of who you were when you first heard it. The measure isn’t just the songs, but the way they reorganized your brain.”

    He stirred his coffee once. Metal against porcelain. Then he smiled with one side of his mouth.

    “Alright, alright, alright,” he said. “Don’t overthink it. Music’s a gut thing. The album that grabs your chest, makes you roll the windows down, makes the day taste juicier. That’s the one.”

    Outside, a gull cut the sky with a single sound. A boy pushed a soccer ball uphill and laughed when it rolled back down. The smell of sardines drifted through the open door and vanished.

    “Maybe the best album,” I said, “is the one that made you see the world differently. Even if you don’t play it now.”

    “The favorite ain’t fixed,” he said. “It’s the one that scores your season. The one keeping time with your heartbeat.”

    He told me about nights in Porto. A printing press that shook the floor. Ink under his nails no soap could remove. He carried a cassette player home at dawn, the same tape turning, the same sequence, every day for months. “Kept me awake,” he said. “But more than that—gave the light a spine. Without it, the morning was gray spread thin. With it, the morning had edges.”

    He asked me for mine. I told him about a night train from Munich to Ljubljana. The corridor smelled of metal and tired bodies. I had found an album in a download folder, unheard until then, and pressed it to my ears like a warm cloth. By the time we crossed the border the songs had fused with the city’s sleep. Even now, when the first track starts, I smell diesel and rain. I see the river lifting fog like a curtain. I hear doors slam with a practiced certainty.

    “Exactly,” he said, tapping his spoon against the saucer to make a small bell. “It’s glue. It binds the hours.”

    The café filled slowly. Two tourists asked about pasteis and pointed at the glass case. A woman traced her finger along the menu as if reading braille. But around our table the pace changed. Words landed like stones in water and sank to where we could feel them with our feet.

    “What about silence?” I asked. “If music is glue, what holds when you remove it?”

    He looked at me for a long moment, then nodded, like a fisherman judging the weight of a net he has not yet lifted. “Silence has its own albums,” he said. “They just don’t get pressed. Rain on the roof. The hinge of a door at midnight. Your breath when you run too far. They don’t reorganize your brain. They reorganize your body.”

    He turned the speaker on. A song came out. Old. Dusty. The kind where you hear the room around the instruments—the air, the floorboards, the patience. The trumpet cracked once on a high note and kept going. The bass lagged and then caught up like a friend who had stopped to tie a shoe. Nobody in the café turned to look. Still, the sound stitched the tables together for three minutes and twenty-two seconds.

    When the track ended he stood, put coins beside the saucer, and pushed the chair in so it wouldn’t wobble. “Favorites change,” he said, almost to himself. “Stay long enough and yours will, too.” He walked into the light without looking back. The door closed and the gulls took the rest of the heat with them.

    I finished my coffee. The bitterness said, stay.

    I left with the sun lower, the hill steeper, the shadow of the tram wires stretching like staff lines over the street. The city felt tuned, as if some invisible hand had tightened a peg.

    I walked without a plan. Past laundry tilted on balconies, socks pinned like naïve flags. Past a woman hosing down the step in front of her door, water pushing dust into obedient rivers. Past a man repairing shoes, the hammer speaking a language he didn’t have to translate. I didn’t play anything. I let the afternoon hum. Silence made a track of its own; the beat was my feet on stone.

    Near the miradouro a young couple argued softly, and then one of them laughed and the argument softened too. A taxi climbed the hill and stalled. The driver put his forehead to the wheel and waited for the engine to forgive him. I stood at the wall and watched the Tagus carry light like a mirror with a pulse. A singer below in Alfama lifted her voice to test the air. It was not a song I knew, and yet this was the hook: a note bending around the curve of a lane I couldn’t see.

    The city kept arranging itself into verses—tram bell, fork on plate, door latch, wind. The chorus was heat leaving the stones at last.

    At dusk I drifted into a small record shop because the door was open and the light was honest. The owner wore a T-shirt so washed it had lost its letters. He pointed me toward the Portuguese section without speaking. I ran fingers over spines and stopped at one sleeve with a photo of a street that could have been the one outside. I asked if it was good. He shrugged. “Depends on your season,” he said. I smiled because the phrase had walked in from the café and sat on the counter.

    I didn’t buy it. The cover felt like a promise meant for someone else. I bought a blank cassette instead, because sometimes you have to carry room instead of content.

    On the way back to the hotel the wind turned. The streets cooled. The city loosened its jaw. I passed a bar with a single bulb and three stools. The door was half open. From inside, a trumpet cracked the same way the café trumpet had cracked. I stopped. The street smelled like fried garlic and dishwater. A cat watched me from under a car and decided not to care.

    I listened. The phrase resolved differently. The bass caught sooner. Maybe it was the same track. Maybe it was every track with breath caught in its throat. I stood there until someone passed me from behind and said desculpa without hurry or apology. The moment folded in on itself like paper.

    Back in the room, I put the cassette on the desk. The window wouldn’t close all the way. The city came in whether it was invited or not.

    I lay on the bed with my shoes still on and stared at the ceiling fan turning its slow, inaccurate circles. A radio somewhere in the building clicked on and then off. I heard water travel through pipes in a wall and felt it in my teeth. I thought about the man from the café and the tape in Porto and the dawn that needed edges. It made sense. Sometimes the day requires a spine. Sometimes it requires a dissolving.

    I must have slept. When I woke, midnight sat on the room like a cat that had decided to live there. The trumpet cracked again. Not loud, not near, but exact. Three notes, a breath, a fourth. I held my breath to count the space between. The space was the same as before. The fan turned and missed a beat like a drummer with a stitched finger.

    I got up, barefoot, and walked to the window. The street crouched beneath me. A man pushed a cart of bottles and the cart responded in glass syllables. No open windows, no lit rooms, no bar, no player. Only the sound. I put my ear to the air and listened until it thinned into something that might have been memory. Or an error the night had chosen to keep.

    The next morning I walked down to the river before the heat could remember its job. Fishermen already had their lines in the water. A woman ran with a steady face and those long, purposeful breaths that turn a body into a metronome. A tram lifted its bell gently, the way a teacher clears a room. I thought, if music is glue, maybe silence is primer. You lay it down, and anything that comes next holds better.

    I stopped at the café because I wanted to see if the man would be there again. He wasn’t. The chair had been moved to the far corner, the wobble cured by a sugar packet folded under one leg. The waitress wiped the table with a cloth that smelled like lemons. I sat where I had sat before and ordered the same unnecessary coffee. The speaker was not on the table. The room felt unthreaded for a moment and then began stitching itself with the sound of cups and shoes and the small cough of the machine.

    The waitress set down the coffee and said, “You look like a person who listens to their drink.” It was not a question. I asked her what her favorite album was. She laughed. “Depends on the bus I catch,” she said. “If I sit backward, it’s different.” She tapped the table twice with a fingernail and moved on, two beats and a rest.

    I left the café and walked uphill to the place where the view makes the city hold its breath. A street musician was setting up slowly, coiling a cable with care as if it were a sleeping animal. He looked at the sky, made a small decision with his mouth, and played the first note. The note hung, found a wall, climbed it, and came back changed.

    I didn’t stay for the second note. I had enough glue for the morning.

    Later, at the airport, I sat near a window where the planes taxied like thoughts deciding whether to become action. A boy in a yellow shirt wore headphones too big for his head and danced without standing. His mother read a page of something that seemed to weigh her down and lift her up at the same time. A man in a suit tapped a rhythm into his thigh that made no sense until you realized it was a song played for himself. The departure board changed with a sound like a flock of cards.

    Somebody somewhere asked someone else for their favorite album. I didn’t hear it, but it happened. It always happens. The answer moved through the air and attached itself to a seat, or a sleeve, or a thought that had been waiting for an excuse to return.

    On the flight I put the blank cassette in my hand and turned it over like a talisman from a religion invented five minutes ago. The steward passed with a tray of cups and looked at me as if to ask whether I needed anything I could name. I shook my head and he kept going, a metronome in a narrow aisle.

    When the wheels lifted, Lisbon slid away like a record sleeve pulled back into a crate. I closed my eyes and counted four bars of silence. The silence lined up like obedient bricks. In the fifth bar, a trumpet cracked, the same way, the way it had to crack to be itself. I didn’t open my eyes. I let the note attach to the wing, to the cloud, to the thin line where the sky divides itself into shades only pilots and insomniacs learn by heart.

    Favorites aren’t fixed. Seasons change. People slide in and out of frames like careful thieves borrowing time. The album you carry isn’t the greatest. It is the one that keeps your hour from falling apart. It is the one that puts a spine in the morning, or makes the night feel like a room with furniture you recognize in the dark.

    If anyone asks now, I say this: the best album is the one that reorganizes your view. The one that makes a hill lean differently, makes a door weigh less, makes a city hand you its key and trust you to return it. Today it is this. Tomorrow it will be another. That is not disloyalty. That is breath.

    I landed. The seatbelt light flicked off. People reached for bags that had grown heavier in the overhead compartments. The aisle filled with elbows and polite impatience. I waited. I prefer to leave a room last when I can. The quiet after the crowd carries a different arrangement of notes.

    When I stood, the cassette slipped from my pocket and fell to the floor. It made a small, perfect sound. A steward picked it up and placed it in my hand like a coin. “You dropped your silence,” he said, not joking. I thanked him and stepped into a corridor that didn’t know yet what song it would need.

    Outside the gate a man in a jacket too big for his shoulders walked past with a small speaker in his palm. He didn’t look at me, and I didn’t speak to him. The speaker was quiet, but anyone could tell it was already playing.

  • The Lessons We Scroll Past

    dawn leans on the glass
    the street hums with quiet steps
    patterns wait unseen


    I’d like to be more informed about the things that are timeless yet invisible. Not the noise of headlines or the metrics that disappear overnight, but the deeper structures that hold everything together — the patterns under our feet and above our heads.

    How rivers design their bends without asking permission. How birds find their way back each year across impossible distances. How silence itself can become a language if you’re patient enough to listen.

    The world keeps offering these lessons, but most of us are too busy scrolling past them. I’d like to stay awake enough to catch more of them.


    I remember sitting once in Istanbul, at a café near the Bosphorus. The tea came in a glass so thin it almost seemed breakable with a thought. Around me, people were speaking in different languages, yet the pauses carried more meaning than the words. Laughter would rise from one table, silence would hover at another, and across both, connection pulsed. That day I realized conversation is not just built from speech. It’s built from air, timing, rhythm — the unspoken agreements of when to lean forward, when to lean back.

    These are the deeper languages that carry us forward. Story. Rhythm. Myth. They exist under the surface of words, like currents beneath a river’s skin.


    In Kyoto, walking through a bamboo grove at dusk, I noticed how the stalks bent with the wind but never broke. Their rhythm was not hurried, not chaotic, but patterned. Each sway seemed connected to the next, like a conversation between plants. Standing there, surrounded by the shifting sound of leaves, I thought: nature has already figured out everything about balance, endurance, and design. We just rarely stop long enough to study it.

    The same patterns appear above our heads. Stars scattered across the sky, galaxies spun into spirals. We give them names — Orion, Cassiopeia — as if naming them could capture their meaning. But they were stories long before we arrived, myths told in the silent grammar of light.


    I’ve met people who speak these deeper languages without even trying.

    In Palermo, I stayed with an older couple who ran a small guesthouse. The husband never spoke much English, but he would communicate with gestures, laughter, the rhythm of how he set plates on the table. His wife hummed softly as she cooked, the tune always changing but always steady, like a heartbeat. By the time I left, I felt as though I had known them for years. Our connection was built less on vocabulary than on presence.

    In Ljubljana, a stranger once walked with me for half an hour after I had asked for directions. He didn’t need to. But we fell into step together, speaking only occasionally, pointing out buildings, pausing to admire the river. By the end, I realized the gift wasn’t the directions — it was the silence between us, the rhythm of footsteps side by side.


    But it isn’t only myth and silence that keep life steady. There is also the practical side.

    How to care for the body so it lasts. How to treat it not as a machine to be pushed until it breaks, but as the vessel that carries every thought, every memory. I learned this late — only after I ignored it long enough to collapse. Now I try to listen more carefully. Sleep when I’m tired. Eat food that remembers where it came from. Stretch before I walk too far.

    How to travel lighter, too. I once boarded a train in Nagasaki with a bag so heavy I could barely lift it into the overhead rack. I carried books I never read, clothes I never wore, items I thought I needed but never touched. By the time I reached Fukuoka, my shoulders ached, and I understood something obvious: weight slows the journey. Not just physical weight, but emotional, mental, digital. The lighter you travel, the smoother the ride.

    And perhaps most importantly, how to notice beauty in the ordinary. The way steam curls from a cup of tea in the morning. The way a child balances on the curb, arms out like wings. The way laundry sways on a balcony, telling you the weather better than any forecast. These are not spectacular. But they are enough to remind you you’re alive.


    Once, in Helsinki, I sat in a nearly empty tram at night. Snow drifted past the windows in soft waves. A man across from me pulled a violin from its case and began to play, softly, not for the passengers but for himself. The melody filled the carriage, turning it into something sacred. None of us spoke. We just listened.

    That moment was timeless and invisible. No one recorded it. No one posted it. It existed only for those of us awake enough to notice.


    I don’t want to miss these things. I don’t want to live in a world where my eyes are on a screen while the river is bending, the bamboo is swaying, the tram is filling with violin.

    The world keeps offering lessons: in silence, in rhythm, in story, in myth, in the body, in travel, in the ordinary. Most of us scroll past them.

    But I would like to stay awake long enough to catch more of them. To learn not just how to pass through time, but how to inhabit it.

    Because life isn’t measured by the calendar. It’s measured by how many invisible patterns you manage to notice before they disappear again.

  • The Hollow Without Music

    rain threads on the glass
    an empty chair leans forward
    the song never comes


    Life without music would still carry rhythm. The steady percussion of the heart. The restless tapping of rain against the roof. The groan of an old chair shifting in the night. The world would not go silent. But it would feel hollow, as though someone had reached inside and quietly erased an essential layer.

    Days would still arrive. The sun would rise and fall, trains would rumble into stations, conversations would unfold in cafés. Yet without the melodies that wrap themselves around memory, without the music that gives shape to joy and sorrow, time would flatten. It would be like a photograph with the contrast drained, or a painting without shadows. You would recognize the outlines, but the depth would be gone.


    I once drove across Slovenia on a highway that stretched endlessly, the horizon always just out of reach. The road hummed beneath the tires, steady, repetitive. The sky above was enormous, too large for the small cabin of the car. The radio was broken that day. Silence filled the vehicle like a fog.

    I could still see, still move, still breathe. But nothing tied the experience together. The miles became abstract, unanchored, as if I were floating forward without ever arriving. I realized it wasn’t the road that felt endless. It was the absence of music—the missing thread that might have bound the sky, the horizon, and my restless body into something unforgettable.


    Music is not required for survival in the same way food or water is. You can live without it. But without music, you begin to sense that survival is not enough.

    When I walk through Bern on quiet evenings, I sometimes notice how certain songs have fused themselves to specific streets. A jazz tune leaking from a basement bar in Tokyo. A folk song drifting through a window in Lisbon. An accordion played by a stranger on a Paris bridge. These songs are not merely sounds. They are memory’s scaffolding. Later, when they return to me—on a radio, in a café—I am transported not just to a place, but to a feeling, a season, even the smell of the air. Without music, those memories would still exist, but they would be pale, flattened into something two-dimensional.


    In my old notebooks, I find clues of this over and over. Billie Holiday in a café, rain starting right after. Bach on the train between Kyoto and Hiroshima, mountains flashing like chords. The music is always there, holding the moment in place like pins on a map. Without it, the entries would be little more than logistics. With it, they are alive.


    Imagine love without music. The first time you fall, no song to carry it. Imagine heartbreak without the melody that absorbs the silence. Imagine travel without the background hum of discovery, no song to mark the first glimpse of a new city.

    The story of life would still unfold. The chapters would remain. But the soul between the lines—the soundtrack that makes the words tremble—would drift away.


    I once sat in a tiny bar in Palermo, long past midnight. Only three of us were there: the bartender, myself, and a man half-asleep in the corner. On an old turntable, a record spun, scratched and imperfect. The horn player’s breath was tangled with dust, the trumpet almost breaking into static. None of us spoke. And yet, for those few minutes, the room was not empty. The music bound us together. Without it, we would have been three strangers in silence. With it, we became a kind of temporary family, stitched by rhythm.

    That night I understood: music doesn’t just accompany life. It creates the illusion of belonging where none exists.


    Even the simplest sounds—a child humming, a pencil tapping against a desk, the steady sweep of a broom—become music if you let them. Take them away, and the world would still function. But it would lose its warmth. Sorrow would last longer. Joy would fade more quickly. Both would lose their echoes.


    The absence of music would not feel like silence. It would feel like disconnection.

    Think of walking through rain. Without music, it is only rain. With music, it becomes cinema, a scene stitched into something larger. Think of sitting with friends. Without music, it is only conversation. With music, it becomes ritual. Music does not create life, but it amplifies it, transforming the ordinary into something that lingers.


    And yet, perhaps, this thought experiment is its own lesson. To imagine the hollow is to recognize the fullness. To realize how unbearable a life without music would feel is to understand how deeply it threads itself through us, how invisibly it works.

    So when I hear the first notes of a song drifting from a passing car, or the faint voice of someone singing to themselves on a tram, I pause. I let it reach me. Because I know the alternative.

    And I know I don’t want to live in that version of the world.


    Last night, walking home after the rain, I passed an alley I’d never noticed before. At the far end, a light glowed. And though no one was there, I swear I heard faint music—something between a piano and a heartbeat, slow and uncertain. I stood there for a while, listening. Then I kept walking, unsure if the sound was memory, imagination, or something the night itself was playing.

    Perhaps that is what music is. Not something we create, but something that creates us—appearing at the edge of silence, reminding us we are still alive.

  • How I Celebrate

    steam curls from the pot
    hands pass bowls across the table
    time rests for a while


    I don’t celebrate holidays in the conventional sense. Not the way calendars demand, not the way shops decorate windows weeks in advance, not the way clocks strike midnight as if change can be forced by a number. I’ve never cared much for the assigned dates.

    What I celebrate, instead, are people.

    A holiday, for me, is simply an excuse to pause. To gather. To remember.


    I’ve come to realize that ritual is less about the day itself and more about the company. The calendar doesn’t matter. What matters is the small reminders that we belong to one another.

    Sometimes that means cooking a simple meal together. A pot of soup shared between friends on a rainy night. Bread torn with hands, not knives. Steam rising, fogging the windows, the warmth of the room making the cold outside bearable. These are the kinds of meals I remember more vividly than grand feasts. Because it isn’t the food that makes it special, but the presence of someone on the other side of the table.


    I think of a winter in Ljubljana, years ago. Snow had fallen heavy overnight, and by morning the city was muffled into silence. A friend invited me into her apartment, where she had baked a loaf of bread. The oven warmed the whole room. We ate slices with butter that melted before it reached the crust. We spoke little. The bread was enough.

    That day wasn’t marked on any calendar. But it remains a holiday in my memory.


    Other times, celebration means walking. Long walks with no purpose but to move side by side, speaking when words arrive, remaining quiet when they don’t. In Bern, I often walk the loop along the Aare with my sister when she visits. The path curves with the river, the water green and insistent, the air filled with the smell of wet leaves. We don’t exchange gifts. We exchange footsteps. The walk itself becomes the ritual.


    I once celebrated with strangers in Palermo. It was midsummer, the streets alive with heat. A group of neighbors gathered in a courtyard, passing plates of pasta, pouring wine into mismatched glasses. I had wandered in by accident, drawn by the smell of garlic and tomatoes. Someone pressed a plate into my hands. I didn’t know their names, and they didn’t know mine. But for that evening, we belonged to each other.

    Holidays, I realized then, don’t require explanation. They require participation.


    Making things by hand is another form of celebration. I remember repairing a broken ceramic cup with gold, the slow work of kintsugi. The crack became the decoration, the scar became the story. Sharing that cup of tea later with a friend felt like a holiday, though the calendar said otherwise. Because the act of mending — of taking time to restore rather than discard — carried the same weight as lighting a candle or singing a song.


    Sometimes I wonder if conventional holidays, with their schedules and expectations, make us forget what celebration is supposed to be. We wait for a certain day to tell people we love them. We buy gifts because a season commands it. We rush to fit meaning into twenty-four hours, forgetting that meaning doesn’t follow the clock.

    What I have learned is simpler: you can create holidays anywhere. They can last five minutes or five hours. They can begin with a shared coffee or a phone call or a walk in the rain. They don’t need permission. They only need intention.


    A few months ago, I cooked dinner for a friend who had just returned from a long trip. Nothing fancy: rice, vegetables, fish. We ate slowly, talking about the places he had seen, the people he had met. At one point, the conversation paused, and we both sat quietly, listening to the rain against the window. That silence was as much a part of the celebration as the food itself.

    Later, when he left, I washed the dishes and thought: this was a holiday. Not because the calendar said so, but because time had paused, and I had shared it with someone I cared about.


    In Japan, I once stayed in a small inn near the coast. The owner prepared breakfast every morning — miso soup, rice, grilled fish, pickles. It was the same meal each day, unchanged, unceremonious. But by the third morning, I realized the repetition itself was the ritual. Her quiet presence, the careful placement of dishes, the way she bowed slightly as she set the tray down. That breakfast became more sacred than any festival.

    Sometimes celebration is simply doing something with care, again and again, until it gathers meaning like dust on a windowsill.


    I don’t celebrate holidays the way most people do. But I celebrate people.

    I celebrate them with food cooked and shared, with long walks, with the making and mending of small things by hand. I celebrate them in moments that are not marked on calendars but are written in memory.

    And I think, perhaps, that is all we need. Not grand events, not expensive gestures, but rituals that remind us quietly, consistently, that we belong to each other.

    Because in the end, the dates will fade. But the taste of bread in a warm room, the sound of footsteps beside you, the presence of someone across the table — these are the holidays that endure.

  • The Lesson I Learned Too Late

    rain falls on the glass
    a faint echo in the chest
    life opens, then waits


    If I could share one lesson I wish I had learned earlier in life, it is this: everything you are is a combination of two forces — what you’ve absorbed from others who came before you, and the endless biology that hums beneath your skin. The books you’ve read, the voices you’ve listened to, the gestures you’ve copied without knowing. And at the same time, the rhythm of your blood, the chemicals of your brain, the silent architecture of your cells.

    Which means something simple but sharp: you must choose wisely who you spend time with, and you must keep exposing yourself to new things.

    This came to me not as a neat philosophy, but during a moment I wasn’t sure I would survive.


    When I was twenty-five, I had what I can only describe as a near-death experience. The details aren’t spectacular. No bright tunnels, no divine voices. It was quieter than that.

    It happened in a hospital, under fluorescent light that hummed like a dying insect. I had been careless with my health — too much travel, too little sleep, too much ignoring the signals the body sends when it is tired of being ignored. My body had finally called its debt.

    I remember lying on the bed, the white sheets smelling faintly of bleach, listening to the slow beep of the monitor. Each beep was a reminder that biology had the first and final word. I had thought of myself as a mind floating above the body. That illusion dissolved. I was chemistry, electricity, fragile tissue stitched together by chance.

    And at the same time, as I looked back, I saw how much of myself had been borrowed. The music I loved was introduced by a friend. The books that had shaped me came from a teacher’s hand. The way I gestured when I spoke was stolen from someone I once admired. Even my laughter had an accent I had picked up without knowing.

    Everything was learned or inherited. Nothing stood alone.


    I remember closing my eyes, not sure if I would wake again, and realizing how foolish I had been to treat life as if it were self-made.

    If you are built from the fragments of others, then the choice of who you let close is the choice of who you become. If you are bound by biology, then ignoring the body is ignoring the vessel of every possibility.

    It sounds obvious. But at twenty-five, in that sterile room, it felt like revelation.


    When I recovered, the world looked slightly altered. The lesson stayed with me, not as a constant philosophy but as a rhythm, surfacing when I least expect it.

    I think of it when I walk through Bern on rainy mornings, the streets slick with reflections, my shoes tapping against the cobblestones. Each step is mine, but each rhythm belongs also to the footsteps I once followed: my father on a forest path, my friends on city nights, the strangers I imitated without noticing.

    I think of it when I eat a meal in a new place. The flavors are not mine, yet they become part of me. A soup in Kyoto, spiced bread in Palermo, fruit in Slovenia. They fold into memory, changing who I am in ways I can’t predict.

    I think of it when I sit with someone whose presence expands my horizon, reminding me that exposure is not optional. Without new input, life calcifies. Without new hands to learn from, without new places to dissolve into, you repeat the same old loops.


    The near-death moment taught me something else: time is short. It is not enough to simply inherit. You must curate. You must decide what stays and what doesn’t.

    A friend once told me: you are the average of the five people you spend the most time with. I laughed then, dismissing it as cliché. But in the hospital bed, it no longer seemed like a joke. It was arithmetic. I had been careless in my social diet. I had let myself consume whatever was near, without noticing how it shaped me.

    Since then, I’ve tried — imperfectly — to be deliberate. To spend time with people who expand rather than shrink, who question rather than dictate, who live as explorers rather than passengers.

    It isn’t easy. The inertia of habit is heavy. But I’ve learned that the company you keep is not decoration. It is architecture.


    Sometimes, at night, I remember the beep of that hospital machine. The sound was both terrifying and strangely reassuring. Terrifying because it reminded me of fragility. Reassuring because it proved I was still alive.

    I carry that sound with me now like a metronome. A reminder to pick carefully, to keep learning, to never let my biology be forgotten, and to never let my social world become stagnant.


    The strange thing is: the moment that almost ended me is the one that gave me the clearest perspective.

    It told me that life is borrowed, patched together from fragments of others and the raw material of flesh. It told me that each choice — of food, of books, of friends, of habits — is a way of programming who I will become. It told me that exposure is survival, that novelty is not luxury but necessity.

    It told me that to live wisely, I must live deliberately.


    I wish I had learned this earlier. But perhaps that is how lessons work. They arrive late, when you are ready.

    Still, sometimes I imagine whispering to my younger self: Be careful with who you keep close. Be reckless in what you expose yourself to. Your body is finite. Your mind is porous. Choose well, and often.


    Last week, while walking home late, I passed a small café I had never noticed before. The door was ajar. Inside, a single light glowed. I paused, hearing faint music, though I couldn’t place the song. For a moment I considered going in. But something in me hesitated. I walked on.

    Even now, I wonder: had I stepped inside, whose story would I have carried away with me? Whose fragment would I have added to my own?

    Because everything we are is made of such choices. And sometimes, the ones we miss haunt us most of all.

  • The Taste That Proves You’re Alive

    steam curls from the pot
    knife scratches a wooden board
    memory seasons


    My favorite foods are the ones that remind me I’m alive. Not alive in the biological sense — anyone can breathe and keep going — but alive in the way a meal opens the senses, connects you to a place, and ties you to someone else’s hands.

    I don’t crave luxury. I crave stories.


    I once ate cheese in Slovenia that had been aged in a cave. The farmer led me down a damp stone passage, the air cool and musty, the smell of earth pressing against my lungs. He lifted a wheel from a wooden shelf, brushed off a thin film of mold, and cut into it with a knife that looked older than both of us.

    The taste was sharp, alive, with a tang that carried the darkness of the cave itself. When I ate it, I felt the time, the patience, the waiting. That cheese was not a product; it was a story told through months of silence underground.


    Bread has a similar power. In a small village near Palermo, I once bought bread from a woman who baked in a clay oven behind her house. The loaves were uneven, some darker at the edges, some split in the middle. She wrapped mine in paper with a smile that carried generations of practice. When I tore it open, the crust cracked loudly, releasing steam into the morning air.

    It wasn’t perfect bread. But it was true bread. And I realized then that I would take imperfect bread with a story over flawless bread from a factory any day.


    Fruit can be even more fleeting. In Japan, on a July afternoon, I bought a handful of tiny plums from an old man selling them on the roadside. He told me they only appeared for a week each summer. The skin was tight, the flesh sour-sweet, the juice staining my fingers. By the time I finished eating, I already knew I might never taste them again.

    That’s the kind of food I love most. The kind that insists on presence. The kind that says: you are here, now, alive, because this flavor will not return in the same way twice.


    I don’t chase luxury because luxury often hides the hands that made the food. It polishes away the fingerprints, sterilizes the imperfections, erases the story.

    I prefer to know where the meal came from. To see the oven, the knife, the dirt on the hands that picked the fruit. Food is at its best when it reveals its origins, not when it hides them.


    In Bern, I sometimes buy vegetables from a farmer’s market near the station. The carrots still carry clumps of soil. The apples are lopsided, speckled. Once I asked the farmer if the apples were organic. He shrugged and said, “They are just apples.” That answer was better than any certification. When I ate one later, biting into the uneven skin, it tasted of rain and sun more than polish.


    One of the strangest meals I ever had was in Lisbon. I walked into a tiny restaurant with no sign, only a door left half-open. Inside, the owner’s grandmother was cooking fish in a pan blackened from decades of use. There was no menu. She served what she had: sardines, bread, olives. The fish tasted smoky, salty, alive with the sea.

    When I finished, she poured me a small glass of homemade wine without asking, as if she had already decided what I needed. I sat there long after the food was gone, listening to her hum as she cleaned the pan. That meal didn’t feel like dining. It felt like entering someone’s memory.


    Sometimes I think food is the most honest way of traveling. The sights can be curated, the monuments preserved, the history retold through polished plaques. But food resists curation. You taste the weather of that year, the soil, the hand that stirred the pot. A strawberry in Switzerland is not the same as a strawberry in Japan, even if they look identical. Each one carries its place. Each one is alive in its own geography.


    At home, I cook simply. Rice, vegetables, soup, bread. Nothing complicated, nothing ornate. I don’t measure much. I let the ingredients decide their own rhythm. When the soup simmers and the room fills with steam, I sometimes think of all the places I’ve eaten, all the hands I’ve watched preparing food. Each spoonful is a reminder that survival can be more than mechanical. It can be art.


    The best meal I ever had was not in a restaurant at all. It was on a mountain in Slovenia. I had packed bread, cheese, and an apple in my bag. After hours of climbing, I sat on a rock overlooking a valley. The air was cold, the wind sharp. I tore the bread with my hands, ate the cheese in rough slices, bit into the apple.

    It was the same bread and cheese I could have eaten at home. But there, on the mountain, after the climb, it tasted alive. Because I was alive. Because the effort of reaching that spot flavored the food in a way no seasoning could.


    I like food that insists on being present. A cheese aged in a cave. Bread baked in someone’s backyard oven. Fruit that only appears for a week in summer. These are not luxuries. They are reminders.

    A meal tastes best when you can see the hands that made it.

    Because in those moments — sitting on a mountain, in a backstreet kitchen, by a river, at a market — food is no longer just food. It is proof that you are here, that you are part of the chain that connects earth to hand to mouth to memory.

    Food, at its best, is not sustenance. It is presence. It is story. It is life.

  • The Speed of Ideas, The Speed of Breath

    a shoe scuffs the dust
    echo of thought in the street
    sky folds into stride


    I walk every day. Sometimes for hours, sometimes only for a few minutes between places. The important part isn’t the distance, or the speed, or even the destination. The important part is that my feet touch the ground, and in that simple act, my mind is given permission to wander.

    Walking is not exercise for me. It is a form of thinking. A way of loosening the knots that tighten invisibly throughout the day. My steps are the metronome, my thoughts the melody.


    When I walk, I move at the speed of ideas.

    I remember a long walk in Kyoto. It was autumn. The air smelled faintly of roasted chestnuts and damp leaves. The city was alive with motion—bicycles clattering past, shopkeepers sweeping fallen leaves from their thresholds, schoolchildren running in loose lines toward the station. I wandered without a plan, following alleys that turned and narrowed, and with each step, new thoughts appeared. Some were trivial: what to eat for dinner, which train to take tomorrow. Others arrived heavier, older: questions about why I write, about what it means to live a life worth remembering.

    The streets themselves seemed to think with me. The shuffle of my shoes echoed against stone walls, and each echo opened a door inside my head.

    Walking is not about moving forward so much as moving inward.


    Running, on the other hand, is different.

    I don’t run for exercise. I run for perspective.

    When I run, I move at the speed of my breath. Each inhale and exhale sets the rhythm. Thoughts don’t sprawl the way they do when I walk. They compress. They sharpen. The mind narrows to the body: to the ache in the legs, the beating heart, the burning lungs. Ideas come too, but not in the leisurely drift of a stroll. They arrive like sparks, quick and insistent, born of the urgency of motion.

    I remember a run along the Isar River in Munich, the water pale and fast beside me, the cold air stinging my lungs. My thoughts were not about distant dreams. They were about survival, rhythm, the next step. And yet in that compression, clarity appeared. I realized something about myself then: that perspective doesn’t always come from expanding outward. Sometimes it comes from narrowing down, from focusing so tightly that the noise falls away.


    Both walking and running are forms of thinking. They simply follow different rhythms.

    When I walk, ideas drift into view like clouds. When I run, insights flash like lightning. Walking is a river. Running is a storm.


    In Bern, where I live, I often walk along the Aare. The river moves quickly, especially in spring when the snowmelt arrives, but my steps remain slow. Tourists float downstream in inflatable boats, laughing, carried by the current. I watch them while I walk upstream, my body stubborn against the flow. It feels like a metaphor for the mind: sometimes carried, sometimes resisting, but always in motion.

    A few weeks ago, while walking there, I noticed an old man standing by the water. He wasn’t moving. Just standing, cane in hand, staring at the current. For a moment, I thought about stopping too, letting my walk end there. But something in me wanted to keep going, to let the rhythm of steps continue. Later, as I turned back, the man was gone. The river remained.

    That is the thing about walking. It connects you to what continues, whether you stop or not.


    Running has its own memories. In Slovenia, I once ran through a forest path early in the morning. The air was cold, mist curling low to the ground. My breath turned white with each exhale, clouds dissolving behind me. I remember thinking, absurdly, that I was being chased—not by a person, but by my own thoughts, pushed forward by everything I didn’t want to dwell on. The faster I ran, the quieter they became, until finally all that existed was the sound of my feet pounding against the earth.

    I slowed eventually, bent over, lungs searing, and in that exhaustion there was release. The thoughts I had been running from no longer mattered. The rhythm had burned them away.

    Perspective through compression.


    There is no right way to move through the world. Some days call for the slow unraveling of a walk, some for the sharp urgency of a run. Both are ways of aligning body and mind, of syncing inner rhythm with the outer world.

    Walking reminds me that thoughts need space. That ideas come when the pace is human, when the feet shuffle against pavement, when there is time to pause and notice the angle of the light.

    Running reminds me that clarity sometimes comes only when there is no room for wandering. When the body demands attention, and the mind is forced into stillness by speed.

    Both are forms of meditation, though I never call them that. They are simply how I think.


    Sometimes at night, when I can’t sleep, I imagine myself walking. The sound of my steps in the dark, the rhythm of breath, the slow unfolding of ideas. Other nights, I imagine running, the world rushing past, my lungs filling and emptying until there is nothing left but the rhythm itself. In both cases, the imagination is enough to bring calm.

    It makes me believe that the body carries these rhythms even when still. That walking and running leave imprints deeper than muscle, etched into the mind’s circuitry.


    Life, I think, is not about speed, but about rhythm. Walking, running, pausing, breathing—they all tune us differently.

    When I walk, I am moving at the speed of ideas.
    When I run, I am moving at the speed of my breath.

    Both are ways of listening. To the world. To myself. To the hidden spaces between thought and motion.

    And perhaps that is the only real goal: not to arrive, but to keep moving. To let the rhythm of steps, slow or fast, remind you that perspective is always waiting, just a few strides ahead.

  • Walking Ahead with a Lantern

    a small flame sways slow
    steps scatter on empty roads
    shadows stretch behind


    I have never thought of myself as a leader. The word feels too heavy, too full of ceremony and posture. Leaders stand on platforms, raise their voices, point in fixed directions. They speak in absolutes, as if the world were waiting for their orders.

    I have only ever thought of myself as someone walking a little ahead, holding a lantern. Not because I know where the road leads. Not because I have a map. But because I happen to be curious enough—or restless enough—to take a few steps into the dark.

    If the light from my lantern helps others see their own way, that is enough.


    I remember a night in Kyoto, years ago, when I wandered along the Kamogawa River after midnight. The city was quiet. Neon signs still glowed in the distance, but here by the water the world seemed half-asleep. I carried a small flashlight in my hand, though the batteries were dying. The beam flickered weakly on the stones beneath my feet.

    Behind me, two students followed at a distance. I hadn’t noticed them at first, but when I paused, they paused. When I crossed to a different path, they crossed too. For a while I felt strange—why were they following me? Then I realized: they weren’t following me. They were following the light.

    That was when I understood: carrying light doesn’t make you important. It only makes you visible.


    Leadership, if I can use the word at all, is not about commanding others. It is about showing possibilities.

    I think of it as being a guide, or an explorer, or perhaps a senior scout on a trail. Not someone who dictates the route, but someone who says: I’ve been a little further ahead. I don’t know everything, but I can tell you what I’ve seen. If it helps, take it. If not, find your own path.

    In Slovenia, I once hiked with a group of friends up a mountain trail near Triglav. The path was narrow, the rocks slick with mist. I happened to be in front. At each bend I called back, “It’s safe here,” or “Watch your step.” I wasn’t leading them. I was simply reporting what I had already encountered. A guide, not a commander. That day I realized how different the two feel.


    The future, too, is a kind of trail. Unknown, foggy, littered with stones. You can’t pull people into line and march them toward it. But you can point, lantern in hand, and say: Look—there’s a path here. I don’t know where it ends, but I’ve walked a few steps. You’re welcome to join me if you like.

    I often think of life as a lantern-lit walk through a foggy village. You can only see a few meters ahead. The rest is hidden. If others walk with you, their shadows stretch and bend, merging with your own. And perhaps that is what people mistake for leadership—the simple act of not stopping when the road vanishes into mist.


    Once, on a ferry crossing from Kagoshima to Yakushima, I stood outside on the deck, wind cutting against my face. The sea was black, restless, unbroken. A small boy beside me clutched his father’s hand. The boy asked where the island was. The father pointed into the darkness and said, “It’s there.” The boy looked and saw nothing, but he nodded. He believed the gesture more than the proof.

    That moment stays with me. Leadership is not showing certainty. It is pointing into the unknown with enough quiet conviction that others feel brave enough to keep looking.


    I’ve noticed that true guides rarely raise their voices. They walk a little ahead, carry their lanterns, and let the light speak for itself.

    In Tokyo once, I met an old man in a second-hand bookstore. He wore a faded hat and moved slowly, almost invisibly, among the shelves. At the counter he noticed the book I was buying—a volume of essays by a writer I had never heard of. He tapped the cover with one finger and said, “This one… will change the way you notice rain.” Then he left, disappearing into the street.

    He wasn’t trying to lead me anywhere. But his lantern glowed for a moment, and it lit my path. Years later, in the rain, I still think of him.


    I do not believe in leaders who march at the front of armies. I believe in lantern-carriers. People who explore quietly, who illuminate possibilities, who remind us that the road extends further than we can see.

    Sometimes I walk ahead with a lantern. Sometimes I walk behind, watching the light of someone else. Both roles feel the same: necessary, temporary, human.

    The world is too wide for commands. Too unpredictable for orders. But it is just wide enough for lanterns, scattered across the dark, each one casting a circle of light into the fog.

    And maybe, if you look closely, you will see that the lantern you thought was lighting your way was only showing you your own reflection, already waiting at the edge of the path.

  • Between Days

    steam lingers at dusk
    a train slides beyond the hills
    footsteps fade in rain


    Not every day carries a grand story. Some days are only fragments—loose threads, half-finished notes, a quiet drift from morning to evening. They don’t always deserve their own page, and yet they accumulate, forming the background against which brighter days stand out.

    I’ve been thinking about these in-between days lately. The days when nothing happens, and everything happens anyway.


    In Bern, where I live, there’s a bench near the river that I pass often. It isn’t in a remarkable spot. The wood is cracked, the paint chipped, the view half-obstructed by trees. But I always notice that the bench is occupied. Someone reading, someone resting, someone eating their lunch. The place itself doesn’t demand attention. It simply offers a rhythm, a pause between destinations.

    Maybe that’s what filler days are: the benches of our lives. Unremarkable until you sit down, and then you realize how much you needed the rest.


    This morning I cycled to the edge of the city. The air was still heavy from last night’s rain, the pavement dark, reflecting patches of sky. I wasn’t in a hurry. My legs turned the pedals almost on their own. A man walked his dog along the roadside, the leash slack, both of them moving at the same unhurried pace. I thought about how often I fill days with tasks, as if activity alone could justify their passing. But today I let myself simply ride, noticing the small things: the smell of wet soil, the rhythm of gears clicking, the way my breath fogged faintly in the cool air.

    It struck me then that relaxation doesn’t always come in grand gestures. Sometimes it is in the ordinary acts—the daily walk, the slow ride, the page turned in a quiet room.


    On my desk sits a small pile of notebooks. I’ve been writing in them since I was sixteen. Most of the entries aren’t remarkable. Notes about weather, about how tired I felt, about what I ate for lunch. But when I flip through them years later, these fragments open doorways. The rain in Lisbon in 2009. The hum of an air conditioner in Shinjuku. The taste of soup on a ferry deck to Yakushima. Details too small to matter, too vivid to forget.

    It makes me wonder if life is mostly filler, and that the filler is what shapes us.


    One afternoon in Ljubljana, years ago, I sat in a park watching children chase pigeons. The air smelled of roasted chestnuts from a vendor’s cart. Nothing extraordinary happened. I didn’t meet anyone. I didn’t write anything worth keeping. But when I think back now, that day feels alive. Maybe because it carried no pressure to mean something. It simply was.

    There is a wabi-sabi truth here: imperfection and transience aren’t exceptions to life, they are life. The cracked bench. The half-empty page. The filler day between two more dramatic ones.


    When I travel, I notice these days most clearly. In Nagasaki, I once wandered streets without a plan. The weather was heavy, damp. I ducked into a small shop selling old postcards and vinyl records. I spent an hour flipping through objects I didn’t buy, listening to the shopkeeper hum to himself. Later, I sat on a low wall, eating bread from a paper bag, watching the clouds roll in from the harbor. Nothing more happened. And yet, when I think of that trip, that filler day is what I remember first.

    Perhaps filler days aren’t filler at all. Perhaps they’re the foundation.


    Tonight, sitting at my kitchen table, I hear the refrigerator hum, the faint rush of cars outside, the muted tap of rain against glass. The lamp above me casts a circle of light, and the rest of the room fades into shadow. I think about how often I chase after meaning, when meaning is already here, hidden in the ordinary details of the day.

    Tomorrow will bring something else. A new task, a journey, a conversation. But tonight belongs to nothing in particular. And that is enough.


    Life is not built only of highlights. It is built of benches by the river, of slow rides on damp mornings, of soup eaten alone, of notebooks filled with weather reports. These are the fragments that hold everything together.

    So I will not hurry to explain them. I will let them sit, imperfect and ordinary, between the days that carry headlines. Because sometimes the most important rhythm is not in the crescendos, but in the pauses.


    If you find yourself in such a day—tired, ordinary, without a clear story—don’t rush past it. Sit with it. Notice the sound of your footsteps, the smell of the air, the hum of the machines around you. Write it down, even if only a sentence. Years from now, you might return to that page and realize it held more than you thought.

    Between days are not empty. They are the space where life breathes.

  • Relaxation as Alignment

    steam curls from the cup
    the fan hums in a still room
    the world keeps its time


    When most people speak of relaxation, they mean escape. A retreat, a numbing, a shutting down of systems. To relax, in the ordinary sense, is to unplug. Yet I’ve never found real rest in absence. I’ve found it in presence. In alignment.

    Relaxation, for me, is not turning off. It is turning with.

    I think about this often on long walks. In Bern, where the river bends green and fast through the city, I sometimes follow the path along the water. The rhythm of my steps gradually finds the rhythm of the current. At first I walk quickly, impatient. Then I slow, not by choice but by sync, my breathing matching the pace of the river’s surface. After twenty minutes, I am no longer trying. Effort has fallen away. The body walks itself. The mind flows where the water goes. This, I realize, is relaxation: not resistance, but harmonizing with the tempo already there.


    Cycling is the same. There was a morning in Slovenia, along the gravel roads near Lake Bohinj, when my legs were heavy from the start. I thought I was too tired to ride. But as the kilometers passed, I noticed something peculiar: the fatigue didn’t vanish, but it ceased to matter. The gravel’s crunch became the metronome, the spin of the wheels the baseline. I wasn’t escaping myself; I was aligning with the cadence of the road, each turn absorbed into the body’s silent arithmetic. When I stopped, leaning against a wooden fence, I felt lighter than when I began. The ride hadn’t drained me. It had restored me.

    Relaxation, I thought then, is not about stillness. It is about flow.


    There is a quiet form of it in reading. Not the anxious reading done with one eye on the clock, skimming for conclusions. But the deep kind, when time dissolves and sentences move like a current pulling you further in. I remember reading on a train between Kyoto and Hiroshima, a book balanced on my knees. The carriage swayed, mountains flickered by, and the words seemed less like print on paper and more like another rhythm in the long chain of rhythms: the train, the landscape, my breath, the turning pages. I don’t remember the book. I remember the flow.

    That is the kind of relaxation I trust.


    Sometimes I find it in tinkering. Fixing a lamp. Sharpening a knife. Restoring an old clay pot with kintsugi. At first it feels like work, requiring patience, demanding concentration. But somewhere in the middle, the task becomes its own reward. The hand moves without instruction. The mind narrows to the crack, the wire, the edge. The room grows silent even if it is not. And when I finish, whether the lamp glows or the pot gleams with golden veins, I realize the act itself was the relaxation.

    The alignment of hand and purpose.


    The most restorative state I know is curiosity. It doesn’t drain me; it fills me. To walk in a forest and notice not just “trees,” but the variations in bark. To hear not just “birds,” but the difference in their calls. To wander a flea market and see not only objects but the hands that once used them. Curiosity is alignment with detail. And detail is the language the world speaks when you slow enough to listen.

    One afternoon in Fukuoka, rain forced me into a small electronics shop. The shelves were crowded with obsolete gadgets: tape recorders, handheld radios, keyboards missing keys. I should have been tired—I had been walking since morning—but instead I felt more alive with each object I examined. None of it had practical use for me. Yet each piece stirred a small question, and each question drew me further into alignment with the place, the moment, the rain outside. By the time I left, the fatigue was gone. Curiosity had replaced it.


    Relaxation, I’ve come to see, is not about withdrawal. It is about rhythm. It is low-friction alignment with reality.

    Walking until the body moves without thought. Reading until words become current. Cycling until fatigue turns to cadence. Fixing a small thing until hands and purpose fuse. Listening until curiosity remakes the world.

    None of these states erase effort. They dissolve it into something larger. They do not require stillness; they require flow.


    Sometimes at night, lying awake, I hear the hum of the refrigerator in the next room. At first it irritates me. Another reminder of sleeplessness. But if I let the sound in—if I listen not as to an intruder but as to a rhythm—I begin to breathe with it. The hum becomes a tide. My chest rises with the machine’s cycle, falls with its pause. And slowly, my thoughts, too, begin to sync. Not turned off. Turned with.

    And there, in the middle of the night, I find relaxation.


    What restores us is not escape. It is harmony. Not the denial of effort, but the erasure of friction.

    To relax is to align with something already flowing. A river, a road, a page, a song, a tool, a hum. To fall into rhythm so natural that the question of effort disappears.

    Relaxation, then, is not stillness. It is participation.

    It is the world’s way of reminding you: you were never meant to fight the tempo. You were meant to find it, and follow.

  • The Word I Decided to Lose

    steam drifts from a cup
    a word dissolves on my tongue
    rain against the glass


    There is a word I once carried everywhere. Small, common, invisible as lint. I didn’t think much about it until one day I noticed how heavy it had become. The word was should.

    It arrived in sentences like tiny ghosts: I should write more. I should call. I should save money. I should learn Japanese. It never shouted, it whispered. But the whispers grew constant, like static under every conversation.


    Years ago, on a gray morning in Berlin, I sat at the corner table of a café that smelled of wet coats and burned espresso. I had filled a notebook with lines that all began with should. A list that looked like it had been written by someone else.

    I read them aloud, softly, and felt like a fraud. None of them were mine. Each one belonged to some invisible committee: parents, teachers, culture, the soft algorithms of other people’s expectations. I realized I had become fluent in a borrowed voice.

    I closed the notebook, left the café, and walked aimlessly through the drizzle. By the time I reached Alexanderplatz, I had decided to give the word up. To delete it.


    At first, the absence felt strange, like losing a tooth and pressing your tongue into the new hollow. Conversations turned awkward. Sentences tripped. I caught myself reaching for should again and again, like returning to a pocket where you know the key is missing.

    “I should exercise,” I nearly said to a friend. Instead I swallowed, then forced another phrase out: “I will walk after lunch.” The words felt heavier, but they held. A commitment, not a fog.

    That was the beginning.


    Deleting a word is not simple. Language is habit, and habits nest in muscle. It took time, and the time was sometimes embarrassing. I replaced sentences one by one, debugging myself aloud.

    “I should learn Japanese.”
    No—“I want to learn Japanese.”
    Better—“I will do fifteen minutes tomorrow morning.”

    Each correction sounded clumsy, but each one pulled me closer to clarity. I was no longer speaking in debts. I was speaking in choices.


    I remember once in Tokyo, late night, wandering Shinjuku with neon buzzing above me and rain slicking the streets like black lacquer. I passed a shop window where a sign in English read: YOU WILL FIND WHAT YOU WANT. The phrasing was wrong, but it pierced me.

    Not should. Not must. Simply: you will.

    I thought about how many nights I had sat at my desk, weighed down by the phrase I should write, and how different the room felt when I replaced it with I will write two hundred words before I sleep. The former chained me to guilt; the latter opened a door.


    There are edge cases, of course. Times when should pretends to be useful. Ethics, aspirations, advice.

    But precision always beats piety. You don’t should your sister a phone call. You promised. You owe. You don’t should yourself toward health. You decide. You will. Or you won’t. Trade-offs explicit, not hidden.

    I learned this on a ferry between Kagoshima and Yakushima. The sea was rough, the deck slick. A man beside me muttered, “I should quit smoking.” He coughed, lit another cigarette, and kept staring into the waves. That was the thing about should: it fed procrastination, looping without end. “I will quit,” he might never say, because “I should” had already given him a way to delay.


    One summer in Ljubljana, I tried a small experiment. A seven-day deletion protocol. Every time should rose in my mouth, I stopped and swapped it: want, will, won’t, could, owe, intend. At first the pauses felt ridiculous, as if I were performing for no one. But by the third day I noticed something odd: my journal began to change.

    The entries no longer read like apologies. They read like maps.

    I will. I won’t. I want. I intend.

    Each phrase carried not guilt, but direction.


    Language is an operating system. We rarely think of it that way. But every word is code, and code runs whether you notice it or not.

    For years I had been running should in the background. It consumed bandwidth, drained energy, crashed processes before they finished. When I deleted it, the system sped up. It wasn’t dramatic. It was subtle, the way a room feels brighter after you clean the dust from the window.


    Sometimes I still relapse. I catch myself writing I should call her in a text, or I should go for a run in my head. And each time I feel the old heaviness returning, like slipping on a wet coat you thought you’d thrown away.

    But then I stop, erase, and rewrite. I want. I will. I won’t. I intend.

    And I feel lighter.


    Not long ago, while cleaning my apartment, I found an old scrap of paper folded into the lining of a winter coat. On it was a list of things beginning with should: I should travel more. I should work harder. I should be better. The handwriting was mine, but the voice felt foreign, as if a stranger had slipped the note into my pocket years earlier.

    I burned the paper in a ceramic bowl. The ash rose and scattered like a language finally retired.


    A fit body, a calm mind, a house full of love—these are not bought. They are built in increments. The same is true of words. You build your world from the sentences you repeat.

    Delete should. Replace it with wants and wills, with won’ts and intends. Each swap is a small firmware upgrade for your life. What you lose in guilt, you gain in clarity, momentum, sovereignty.

    And maybe, someday, when you check the pockets of your old coats, you’ll find nothing hidden there. Just space. Just air.

  • The Weight You Carry for Free

    steam rises from tea
    a window left half-open
    a debt in the air

    The other night, over a bottle of wine, a friend asked me if I still held grudges. He didn’t say it like an accusation. He didn’t mean it in a moral sense. He asked the way you ask if someone still keeps an old coat in their closet, heavy, out of style, but never thrown away. I told him no, but even as I said it I knew it wasn’t true. Because the truth is: sometimes I do. Quietly. In pockets I forget to check.

    I once walked through Lisbon in late summer, climbing narrow cobbled streets that seemed to rise forever, twisting upward as though they were trying to escape the city itself. The air was thick with salt and grilled sardines, the balconies above me heavy with drying laundry that snapped and fluttered in the hot wind. I was carrying a resentment then, the memory of an argument that had ended with words sharp enough to cut. For weeks I had replayed that fight in my head, polishing each sentence until it gleamed with self-justification. But on that climb, my shirt sticking to my back, sweat blurring my eyes, the thought struck me suddenly and absurdly: the person I hated wasn’t there. They weren’t sweating. They weren’t climbing. The weight was mine alone. I stopped in the middle of the street and laughed, a dry laugh that startled a woman carrying groceries. Because I realized that in my head I had been paying rent for someone else to live there, and they didn’t even know it.

    Years later, on a train between Kraków and Warsaw, I sat across from a man with a violin case. He was older, with hair the color of ash and a jacket that didn’t quite fit his thin shoulders. He told me, in broken English, that he hadn’t spoken to his brother in twenty years. “We had a fight,” he said, and then he shrugged as though that were enough to explain a silence that had lasted half a lifetime. The violin case sat on the seat between us like a small coffin. I stared at it as the train rattled through the countryside, thinking of the music he must have played with that absence beside him, every note carrying the weight of someone who wasn’t listening. When he stepped off at his stop, disappearing into the crowd, I couldn’t shake the image of him carrying not just the violin but also his brother’s silence from station to station, city to city, as though the grudge had become part of the instrument itself.

    In Porto, on a humid afternoon, I sat in a café with chipped porcelain cups and ceiling fans that turned lazily overhead, moving the air but never cooling it. I opened my notebook and wrote down the name of the person I resented most at the time. Just the name. I stared at the letters until they blurred on the page, and then I closed the book. Nothing dramatic happened. The city did not change. The fan kept spinning. But something shifted inside me, a small but noticeable shift, as though a radio that had been buzzing in the background for months had suddenly been switched off. The silence startled me. That day I realized forgiveness has nothing to do with fairness or kindness. It is not a gift to another person. It is simply the refusal to keep spending your life on stale data, the decision to stop burning energy on something that no longer serves you.

    In Palermo I once stopped to watch an old cobbler working in a narrow alley. The air smelled of leather and glue. His fingers moved slowly but with the precision of someone who has repeated the same motion for sixty years. I asked him how long he had been repairing shoes. He held up six fingers and then pointed at his gray hair. Sixty years, I guessed. I imagined the lives that had passed through his shop, the shoes worn thin by countless grudges, countless reconciliations, countless journeys that had nothing to do with me. I doubted he had time to carry old debts in his head. His life had been bent over leather and thread, year after year. The lesson seemed clear: every year compounds. Small kindnesses add up. So do small poisons. Resentment compounds in reverse—each time you replay it, the weight grows heavier, not lighter.

    On a rainy afternoon in Helsinki I ducked into a record shop to get out of the weather. The air inside smelled of cardboard sleeves and dust. The man behind the counter was playing jazz on an old record player, the sound distorted by static so that it felt like the horn player was breathing through gravel. He told me he never upgraded his system. “I like the imperfections,” he said, running his fingers over the cracked wooden case. That made sense for music. But for memory, for pain, you have to upgrade. You have to let go of the old software. Otherwise the system keeps crashing on the same errors, again and again.

    Once, while cleaning my apartment, I pulled an old winter coat from the back of the closet. It was heavier than I remembered. When I reached into the pocket, I found a folded scrap of paper, yellowed and brittle with time. On it was a single word. A name. Someone I had resented long ago, though I hadn’t thought of them in years. I couldn’t remember ever writing it, couldn’t remember slipping it into that coat, and yet there it was, proof that I had carried them with me, literally against my body, for who knows how long. I burned the paper in a ceramic bowl, watching the ash scatter like a debt finally paid.

    The furthest distance you can travel is not across oceans. It is the distance between yourself and the old debts you finally decide to leave behind.

    I don’t always succeed. I still pick up stones I don’t need. I still find pockets heavy with forgotten names. But when I notice, when I remember, I try to put them down. Not for the other person. For myself. Because every grudge shrinks the future. Every forgiveness makes the horizon wider.

    Life is short. The room inside you is small. Don’t let ghosts keep the lease.

    Last week, while walking home after midnight, I passed a man sitting alone on a bench beneath a flickering streetlight. He was humming softly to himself, a tune I couldn’t place. As I walked by, he stopped humming and looked up at me. In the half-light his face was hard to read, but his lips moved and I thought I saw him mouth my name. I kept walking, the sound of his humming resuming behind me, the notes carried away by the night air. When I reached my apartment, I checked my pockets out of habit. They were empty. For once, there was nothing left to carry.

  • The Furthest I’ve Ever Traveled from Home

    steam curls from coffee
    a bird drifts across the sky
    nowhere feels the same


    The furthest I’ve ever traveled from home was Japan. Not simply in terms of miles, though the numbers themselves were vast, stretching across oceans and continents, but in the way the air itself seemed to belong to another dimension.

    I remember stepping out of Narita Airport for the first time. The heat clung to my skin, humid and thick, the air tinged with something metallic, as if electricity had been dissolved into it. Taxis lined up with precision, drivers in white gloves, engines idling softly. Back home, nothing lined up so neatly. It was in that small detail—a row of taxis obedient to an unseen order—that I first realized I had entered another system entirely.

    The city unfolded around me like a dream both familiar and alien. Neon signs glowed in languages I couldn’t read. They weren’t just advertisements; they were constellations in a new sky. I ate noodles in shops so narrow it felt as if they had been designed for a single person. I sat in a jazz bar where the bartender polished glasses as though preparing them for a ritual. I wandered through arcades where men in suits played video games at midnight, their faces illuminated by the glow of machines.

    It didn’t feel like tourism. It felt like being slowly rewritten.


    The language barrier should have silenced me, yet it didn’t. Gestures carried weight. A bow, a smile, the pause before speaking—these became their own vocabulary. And in that silence, I discovered something unexpected: sometimes you understand more when you cannot speak. Words get in the way. Without them, the world arrives sharper.

    On the train from Tokyo to Kyoto, I stared through the window for hours. Mountains appeared and dissolved. Villages flashed by in fragments: laundry drying on balconies, bicycles parked neatly under staircases, vending machines glowing in the dusk. Each glimpse felt complete, as if every passing moment was a self-contained story I would never read again. I thought: perhaps the furthest we ever travel is not measured in geography, but in how much of ourselves we leave behind in each of these unfinished scenes.


    One night in Kyoto, I walked along the Kamo River at two in the morning. The streets were empty except for the river’s steady voice. Lanterns flickered on the banks, their light trembling on the water. A man stood fishing in the dark. For what, I couldn’t say. He didn’t look at me. I didn’t look at him. We occupied parallel worlds for a few minutes, silent and unconnected, and yet I felt something pass between us. A recognition. A reminder that even on the far side of the world, loneliness is not unique.

    In that moment, I felt both utterly alone and profoundly connected. The paradox tightened my chest, and tears threatened, though I blamed the wind.


    The furthest I’ve ever traveled from home is not a line on a map. It is the distance between who I was when I boarded the plane and who I was when I returned.

    In Fukuoka, I once walked through a rainstorm that soaked me completely. My shoes filled with water, my notebook blurred into unreadable ink. I should have been miserable. But I wasn’t. I laughed out loud, alone in the street, because I realized no one knew me there. I could vanish into that city and the world would continue unchanged. There was freedom in that thought, a fragile joy in realizing how small I was.

    In Nagasaki, I stood on a hillside overlooking the port. Ships moved in silence. The city stretched below, its history heavy but invisible in the everyday lives unfolding there. I thought of the notebooks I had filled back home—pages of weather reports, fragments of hope, lessons half learned. Standing there, I understood that each place carries its own invisible notebooks, filled with lives that had nothing to do with mine, yet somehow echoed against my own.


    Coming home was stranger than leaving. After weeks of trains, temples, rain, and silence, I stepped back into my apartment. Everything was as I had left it: the shoes by the door, the unwashed dishes, the plant leaning toward the window. And yet I was not the same.

    The distance had settled inside me.

    The furthest I had traveled was not measured by oceans crossed or cities named. It was measured in how my mind had been dismantled and rearranged by the simple act of being elsewhere. The taxis lined up in Tokyo, the hum of the air conditioner in Shinjuku, the soup in Kyoto, the rain in Fukuoka, the silence of a fisherman by the river—all of it had entered me. And once inside, it refused to leave.


    When I think about it now, I realize distance is a trick. You can go twelve time zones away and still carry the same heaviness, the same restless noise, the same loneliness. Or you can walk five minutes from your home, sit on a bench, and suddenly feel as if you’ve crossed into another universe.

    The furthest I have traveled from home is not a point I can mark on a map. It is the quiet dismantling of the idea that home is fixed.

    Because if you pay attention, home is not a place you return to. It is something you build wherever your body and mind finally agree to rest.

  • A Fit Body, A Calm Mind, and a House Full of Love

    steam rises from soup
    a window open at dusk
    the moth finds its way


    A fit body, a calm mind, and a house full of love. Three simple things. The kind of words you might overhear in passing, forget for years, and then suddenly remember when you need them most. They cannot be bought—they must be earned.

    I think about this sentence often. Not in a lofty way, but in the small hours when the city feels half-asleep and I am caught somewhere between memory and the present. Tonight, writing to you feels like sitting across a table in a kitchen where the light is too yellow, the dishes haven’t been washed, and the clock ticks just a little too loudly.


    A Fit Body

    Bodies have always been a mystery to me. They hold us, betray us, carry us, collapse on us.

    I remember a morning in Basel, running along the river just before dawn. The air was so cold it burned my lungs, and the cobblestones were slick with last night’s rain. At first, everything hurt. My legs felt heavy, my chest was tight, and my breath sounded like sandpaper. But after some invisible threshold, the resistance gave way. My body moved as if it belonged to someone else—lighter, freer, less demanding.

    That moment reminded me: strength isn’t a sudden gift, but something you earn by returning, again and again, even when you don’t want to. You can buy the shoes, the watch, the protein drink. But the body only answers to effort. And to patience.

    The truth is, most days I fail. I stay inside. I cut corners. I let fatigue win. But the body, in its stubborn generosity, remembers even small kindnesses. A walk at dusk. A stretch after waking. It whispers: give me enough of these and I will carry you.


    A Calm Mind

    If the body can be coaxed, the mind is wilder.

    I’ve tried forcing it quiet, but thoughts scatter like startled birds, impossible to catch. Calm, I’ve learned, arrives sideways. It sneaks in when I stop looking.

    Once, on a ferry across the Adriatic, I stood at the railing watching the sea. The horizon was gray, featureless, without beginning or end. For several minutes, my mind stopped speaking. I wasn’t thinking about the future or regretting the past. I was simply there, with water, with wind, with nothing. When I noticed the stillness, it startled me, like realizing you’ve been holding your breath.

    Another time, in a small hotel room in Shinjuku, I couldn’t sleep. The walls were thin, the hum of the air conditioner persistent. I stared at the ceiling, restless, until finally I gave up on sleep and just listened. The rhythm of the machine was steady, almost like breathing. Slowly, I felt myself sink. Calm came not because I sought it, but because I stopped fighting.

    A calm mind cannot be bought. It is earned in these ordinary moments—standing at railings, listening to machines, noticing air and silence. The lesson is always the same: you don’t conquer calm. You allow it.


    A House Full of Love

    Love is the strangest of the three. It doesn’t behave like the body or the mind. It is not coaxed. It is not surrendered to. It is lived in.

    I think of my grandmother’s house in Slovenia. The floorboards creaked. The wallpaper peeled in the corners. In summer, the flies hummed against the window glass. Yet I never doubted it was a house full of love. It wasn’t the meals on the table, though they mattered. It wasn’t the warmth of the stove in winter, though I remember that clearly. It was the way her presence filled every empty space. It was how, no matter how uneven the walls, I always felt safe sitting at that table.

    A house full of love isn’t perfect. It doesn’t look like the glossy photographs in furniture catalogues. It smells of laundry drying in the hallway. It sounds like someone humming in the kitchen while stirring soup. It holds traces of laughter even after the people have gone to bed.

    And you can’t buy that. You can’t order it from a catalogue. You earn it—through patience, through care, through the willingness to let someone else see you when you are tired, or angry, or not enough.


    The Circle

    These three things are never separate. They move in a circle. A fit body steadies the mind. A calm mind makes space for love. A house full of love gives you strength to return to the body when it falters.

    Break one, and the others weaken. Strengthen one, and the others begin to grow.

    It sounds simple when written down. Living it is not simple at all. Life interrupts. Jobs exhaust. Love frays. The body resists. But that is the quiet work of life: to return again and again, even when we fail.


    A Night I Remember

    There was a night once in Milan. I had been working too hard, eating badly, sleeping little. My body ached. My mind was frantic. The apartment I was staying in felt empty and cold, a house without love. I sat on the floor, my back against the wall, and cried.

    It wasn’t sadness, not exactly. It was the exhaustion of carrying myself badly for too long.

    Eventually, I stood. I drank water. I ate the last piece of bread I had. I pulled a blanket around me and slept. The next day, I walked slowly through the streets. I noticed the smell of espresso drifting out of cafés, the laundry lines strung between buildings, the sound of church bells in the distance. My body softened. My mind stilled. Later that evening, I called someone I loved, and their voice filled the empty apartment.

    Nothing dramatic. But in that small sequence—body, mind, love—the circle turned again. And for the first time in weeks, I felt whole.


    What I Want to Tell You

    If I were keeping this only for myself, I might stop here. But since you are reading, I want to give you something to carry.

    A fit body is not made in gyms but in small repeated kindnesses: the walk after dinner, the stretch before bed, the run on a damp morning when you’d rather stay inside.

    A calm mind is not won in battles but in listening: the hum of machines, the silence of water, the pause in your own breathing when you forget to chase.

    A house full of love is not built with walls but with presence: the chipped mug that still holds coffee, the sigh of someone falling asleep beside you, the way laughter lingers in the corners.

    None of this can be bought. That’s what makes them worth something.


    So when I think about what I want from life, it isn’t wealth, or certainty, or recognition. It is this: a body that carries me lightly, a mind that doesn’t drown me, a house where love lingers even when the lights are off.

    They cannot be bought. They must be earned.

    And perhaps that is the only lesson that matters.

  • What Brings a Tear of Joy to My Eye

    rain falls without pause
    heavy eyes forget the sun
    still, the earth exhales


    It never arrives where I expect it. Not at the end of a long journey. Not after a victory. Not in the middle of a celebration. The tears of joy that matter to me come in quieter, rougher moments—moments when I have gone too far, slept too little, and carried more than my body and mind were ever built to hold.

    They arrive on mornings when I wake already tired, with a headache that seems stitched into the fabric of my skull. The sun rises, but instead of warmth it brings a heaviness, the kind that makes you want to crawl back under the blanket and let the world run without you. Or they arrive in the late hours of a night when work, worries, and stray thoughts collide into a restless storm. My chest tightens, my breath shortens, and even the sound of the clock feels like a reprimand.

    There are days when nothing lines up anymore. My body aches, my patience cracks, my mind trips over itself. The smallest things tip me over the edge: a missed train, a rude reply, the stubborn pile of dishes in the sink. In those moments, my eyes blur without warning. And I cry.

    But it isn’t sadness. It isn’t despair. It is something else.


    There is a strange relief in those tears, because they carry with them a reminder I keep forgetting. A reminder that whispers: you must care for yourself first.

    It sounds obvious, but in practice, it’s the first truth I neglect. I run until the engine smokes. I carry until my arms collapse. I tell myself I can rest later, tomorrow, after the next task, after the next season. And then I break in small ways: a cold that lingers, a mood that sours, a body that protests.

    The tear of joy comes at the exact moment of collapse—not because breaking feels good, but because in that breaking, I remember the most basic lesson: if I do not take care of myself, I cannot take care of anyone else.


    I remember once in Kyoto, years ago, wandering through the streets after too little sleep. I had walked all day in the heat, carrying a backpack that grew heavier with every step. By evening, my legs trembled. My chest ached. My mind felt fogged over. I ducked into a small shop, ordered a bowl of miso soup, and sat in silence. The steam rose and blurred my vision, and before I knew it, I felt tears rolling down my cheeks. Not from sadness, not even from exhaustion alone, but from the relief of being still. From the kindness of warm broth when my body had asked for nothing more.

    That small act—sitting down, eating slowly, letting myself breathe—felt like salvation. And I realized again that joy does not always come from abundance. Sometimes it comes from giving yourself the smallest permission: to rest, to eat, to stop carrying everything for a while.


    Another time, on a mountain trail in Slovenia, I had been hiking too hard, too fast, pushing myself out of some stubborn need to prove something. The path wound steeply upward, the sun burned my skin, and sweat dripped into my eyes. Halfway up, I stopped, leaned against a rock, and felt the tremor in my legs. I was too tired to go on, but too far to turn back.

    I sat down in the dirt and for the first time in hours, I listened. The forest was full of sound—wind moving through leaves, insects buzzing, the distant rush of water I hadn’t noticed before. My breath slowed. My body eased. Tears stung my eyes again, but this time they weren’t only about exhaustion. They were about gratitude—gratitude for the reminder that I didn’t need to conquer the mountain in that moment. I only needed to sit, to let the forest hold me, to take care of myself.

    The tear of joy, I’ve learned, comes when I allow myself to stop pretending I am unbreakable.


    These moments have repeated through the years. Sleepless nights in unfamiliar cities. Days when my body refused to follow my ambition. Weeks when stress carved its mark across my face. Each time, the tears come when I finally remember that I am not infinite. Each time, the tears carry the same soft lesson: take care of yourself.

    And here’s the part that still surprises me—when I listen, when I rest, when I feed my body and soften my mind, I can give more to others. I can show up with patience. I can love more gently. I can work with clearer focus. The act of self-care is not selfishness; it is preparation. It is the first gift you give before you can give anything else.


    I used to resist this truth. I thought strength was measured by how much I could endure without breaking. I thought joy would come at the finish line, after I had given everything away. But joy does not wait at the end. It slips in through the cracks when you let yourself pause.

    Sometimes it’s in a cup of tea, its steam rising like a small fog in the room. Sometimes it’s in a quiet nap on an afternoon you thought you couldn’t spare. Sometimes it’s in stepping outside just to feel the wind brush your face, reminding you that the world is larger than your to-do list.

    It is always small. It is always enough.


    What brings a tear of joy to my eye is not triumph. It is not the world falling into perfect order. It is the opposite: when nothing lines up anymore, when sleep is scarce, when stress digs in, when the body says no. Because in those moments, the reminder comes. The reminder that life begins again with rest. That caring for myself is not an escape but a responsibility.

    I still forget. I still push too hard, too long. But the tears always return, to remind me. And in those moments—fragile, blurred, humbled—I feel the smallest, deepest joy.

    Because I remember that taking care of myself is the first way of taking care of the world.

  • Why I Write Here

    steam curls from green tea
    quiet chairs in empty room
    old friends take their seats


    When I was sixteen, my mother handed me a notebook. She didn’t dress it up as a gift. She didn’t call it special. She just placed it on the table, the way someone might set down bread or fruit. The cover was a plain brown, the color of autumn dirt, soft and fragile at the corners.

    “Maybe you should write things down before they disappear,” she said.

    That was all.

    I didn’t know what she meant. At sixteen, you don’t think anything will disappear. You think every day is endless, that nothing important could possibly slip away. But I opened the notebook anyway.

    At first, I wrote about the weather. The rain that drummed on my window before school. The fog that swallowed the lamp posts and made them look like trees. The sunlight that broke through just before dinner, staining everything gold. Then I wrote about myself. About how tired I felt after cycling too far. About the way exhaustion could make your body ache and your thoughts blur. About the strange hunger that came after exams, not for food, but for silence.

    Soon the pages filled with more fragile things. My girlfriends. The excitement of holding a hand for the first time. The disappointment when words didn’t come out the way I meant them. The awkwardness of being noticed. The loneliness of being invisible. The troubles at school—the teachers who didn’t understand, the friends who slipped away.

    And then, quietly, something shifted. I began writing not only about what had happened, but what I wanted to happen. Little things. Hopes. Secret wishes I would never say aloud. A trip, a conversation, a chance. And sometimes—more often than I expected—those things arrived. Not like lightning, not instantly, but gradually, as if writing them kept them alive long enough to take root in the world.

    It felt private. Sacred. Mysterious in a way I couldn’t explain. So I kept writing.


    The notebooks multiplied. By my twenties, they were everywhere—piled in drawers, stacked in boxes, each one heavy with years that no one else had seen. Some pages were messy, scrawled in a hurry. Others were careful, written with a hand that wanted the words to last. They contained my loves, my failures, my wishes, my fears, my weather, my fatigue. They became a mirror, though I rarely looked back at them.

    Travel deepened the habit. Japan, Slovenia, Switzerland. Trains sliding through the night. Ferries rocking on dark water. Mountain paths dissolving into fog. Each journey filled more pages. Some with landscapes: volcanic craters glowing at dawn, rice fields buzzing with insects, mountains breathing in their mist. Some with smaller moments: the taste of soup when I was too tired to stand, the sound of jazz leaking from a basement bar, the smell of rain on my jacket.

    And still, hidden among them, the future appeared. Hopes I scribbled half seriously, and years later, I’d find myself living them. It wasn’t magic. But it wasn’t coincidence either.


    One day I looked at the stack of notebooks and felt a kind of sadness. I had been writing for almost two decades. But no one had ever read a word. All those fragments of my life, all that weather and fatigue and love and disappointment, were locked away in paper. It felt like I had pressed entire years into flowers no one would ever touch.

    That’s why I began this blog.

    Not because I thought the words were important. Not because I believed the world needed them. But because they deserved to breathe. Because I wanted to see what happened when the fragments stepped outside of their boxes.


    What you’ll find here is simple.

    Travel stories, but not polished itineraries—snapshots, fragments, half-moments. A station at dawn. A room with a single cracked window. A temple so quiet it made me hold my breath. Reflections on walking until my legs turned to stone. Observations on weather—the kind of rain that forces you into shelter, the sunlight that arrives just as you are about to give up, the wind that reminds you how fragile you are. Lessons, too, though I don’t like to call them that—things I once wrote to myself as reminders. Notes about patience. About persistence. About paying attention.

    I don’t live them perfectly. Most days I forget. But writing them down means they don’t vanish. Writing them down means they can come back.


    Sometimes I wonder why I still write. Why I keep going. The answer is small but steady: because it changes me. Because the act of writing is itself a kind of living. Once something is written, it can’t be taken away. Once a thought has shape, it can guide you, or haunt you, or wait patiently until you are ready.

    And sometimes, when I write something I want to happen, the world tilts. Slowly. Subtly. And years later I realize I’ve walked into the very scene I once scribbled in the margin of a notebook.

    It doesn’t happen every time. It doesn’t obey rules. But it happens often enough to leave me humbled.


    I think about my mother sometimes, the way she handed me that first notebook as if it were nothing. As if she had no idea what she was giving me. Or maybe she knew exactly. She never asked to read a page. She never pried. She just smiled when she saw me writing, as though that was enough.

    And maybe it was.

    Now, when I travel, I carry a notebook the way others carry cameras. I scribble on trains about the color of a stranger’s coat, the murmur of half-heard voices, the rhythm of the tracks beneath my feet. I write in cafés about cracked glass, about music that floats too softly to catch, about how fatigue makes even ordinary tea feel like medicine. I write on mountains about humidity, about silence, about the way the air becomes heavier as the body slows.

    Each scribble feels small, but together they form a life.


    This blog is not perfect. It is not complete. It is a mosaic of fragments: foggy mornings on ferry decks, the taste of miso soup when I hadn’t slept, the quiet of an empty street in Ljubljana, the sting of failure, the softness of love. Notes about weather. Notes about fatigue. Notes about lessons I found along the way. Some of them are practical, some are hopeful, some are simply there because I needed them.

    That is enough.

    This is what wabi-sabi means to me. Not perfection. Not a flawless story. But the acceptance that cracks are proof of life, that imperfection is the only true record of time.


    So this is why I write here.

    Because my mother once placed a notebook in my hand. Because I once thought words were too small to matter, and now I know they are the only way to keep anything from disappearing. Because travel, love, fatigue, weather, and memory are not trivial. They are everything.

    This blog is my way of holding those things to the light.

    If you read, I hope you find something here that speaks to you. Not in grand revelations, not in polished wisdom, but in fragments. Because fragments are all we truly have.

    And if, someday, you open a drawer and find a line you wrote long ago suddenly alive in your life—don’t be surprised. It happens. Quietly. Almost always when you’re not looking.

  • The Committee in the Quiet Room

    steam curls from green tea
    quiet chairs in empty room
    old friends take their seats


    One evening, at a kitchen table with chipped edges, I asked an old friend a question I couldn’t quite phrase. The kettle clicked off, releasing steam that curled like a half-forgotten memory. We poured cups of green tea, too bitter, and I told him about an idea that had followed me for months: the imaginary committee.

    He didn’t look surprised. “It’s the people you call when you’re alone,” he said, tapping his finger against the wood. “Not in flesh, but in thought. You gather them in an empty room inside your head. You sit them down and ask: what should I do with this mess of mine?

    I liked the honesty of that—mess of mine. Life is rarely tidy. It’s a series of half-built bridges and rooms we forgot to furnish. Yet this invisible council offers something solid. A way of testing your choices against the voices you trust most.

    Not everyone is blessed with mentors. But inside, if you listen, you already carry them. A grandmother who stretched coins across seven mouths. A teacher who pressed the weight of language into your palm. A friend who laughed at your excuses. A stranger whose single sentence outlived the book it came from.

    They gather without invitation.


    Walking home later, the street was wet with rain. Neon fractured in the puddles, as if the city itself had split into pieces and had to live with the cracks. I tried to picture my own committee.

    I saw my grandmother first. Her voice, blunt as the worn blade of a kitchen knife. She never spoke of wealth, only of enough. Enough was her kingdom.

    Then came my literature teacher, who still whispers that words are dangerous tools, sharp enough to wound their owners.

    In the corner sat a novelist I’ve never met, silent, almost indifferent, reminding me that mystery has its place. Not everything should be solved.

    And there was the boy I used to be, barefoot in Slovenian fields, cupping fireflies in his hands, asking me whether I still remembered how to look at the world without fear.

    That was my committee. Not tycoons, not polished executives. Just ghosts stitched into memory.


    Travel plants new chairs at the table. A market in Fukuoka, the call of a vendor. A bus ride through mist-draped mountains in Kyushu. The rhythm of a stranger’s voice in Ljubljana. Later, when decisions arrive, those voices return. They argue, they tease, they warn, and sometimes they comfort.

    Reading does the same. Each book opens another doorway into the room. A warrior sharpening his blade, reminding you that discipline is freedom. A poet describing rivers that forget their beginnings, nudging you not to cling too tightly. A philosopher who refuses easy answers, forcing you to walk the longer path.

    This is why we read. This is why we move through unfamiliar streets. Not for souvenirs or photographs but because every encounter becomes another thread in the invisible fabric, another voice on the council that shapes us.

    The room inside grows crowded. Sometimes the voices clash. They argue like old rivals. But even in the argument, there is clarity. You are reminded to test your instincts, to step back from the easy lie of self-certainty. Alone, we are too quick to forgive our own laziness. Surrounded by the voices of those we respect, even in imagination, excuses crumble.


    I asked my friend about his own committee. He hesitated, then spoke softly.

    “My mother,” he said. “She worked in silence. She never asked for recognition, but everything I am rests on her shoulders. She’s there to tell me if I’m being lazy.”

    “Who else?” I asked.

    “A poet I read once. I don’t even remember his name. He wrote about rivers forgetting their beginnings. That one line has followed me for years. He’s there too.”

    “And anyone alive?”

    “Yes,” he said, looking at me. “You.”

    The words startled me. I laughed, embarrassed, and asked why.

    “Because you remind me not to take myself too seriously,” he said. “Every committee needs a voice like that.”

    The thought stayed with me. That we are all unknowingly sitting on each other’s councils. That we walk through the world leaving echoes behind, and those echoes live on as someone else’s compass. It made me wonder whose quiet room I inhabited. What decisions my ghost might be shaping when I wasn’t looking.


    Later that night, back in my own room, I tried the ritual. I closed my eyes, pictured the committee gathered, and placed a question before them.

    Should I keep writing these strange essays? Or surrender to the practical demands that press like heavy hands against my back?

    The committee listened. My grandmother spoke first, her tone brisk and unforgiving. “Do not waste time doubting. You already know.”

    My teacher leaned forward, eyes stern. “Words are work, not decoration. Treat them with care, or not at all.”

    The novelist said nothing, his silence somehow louder than words. Mystery, he reminded me, doesn’t need explanation.

    And the barefoot boy grinned. “You’re asking the wrong question. Stop pretending you don’t know.”

    When I opened my eyes, the room was empty again. Empty, but not empty.


    The trick is not to ask whether the committee is real. The trick is to accept that it already exists. Every person we love, every book we read, every journey we take—each one leaves behind a fragment. Together, those fragments gather, waiting to be called upon.

    And when the silence grows too heavy, when the decision feels unbearable, you can summon them. They will sit with you. They will hold your fear to the light.

    This is why reading matters. This is why travel matters. They plant new voices in the room, new perspectives to test your instincts against. A crowded committee is not confusion. It is wealth. It is survival. It is remembering that you are never truly alone.

    The world tells us to chase wealth, recognition, certainty. But judgment is the real treasure. The ability to hear the voices that challenge you, not flatter you. Judgment does not come from isolation. It comes from the council we assemble without realizing it. From the grandmother with her frugal wisdom, from the poet whose words outlast his name, from the teacher who warned you to respect the weight of language.

    And maybe, if you listen closely enough, you’ll hear yourself speaking on someone else’s committee too.

  • Weather in the Mind

    mist lifts off the stone
    a bus hums past quiet fields
    clouds forget your name


    There was a night in Ljubljana, sometime in my twenties, when I worked at a Deadmau5 concert. Not because I was a fan — though I remember the bass shaking the concrete floors like tectonic plates — but because I needed money. The job came through a friend of a friend, a temporary position at a temporary bar, the kind that disappears the moment the music stops.

    They gave me a red T-shirt with a logo I never wore again, a stack of vouchers, and pointed me toward the counter. “Pour beer. Pour vodka with Red Bull. Keep the line moving.” That was it. For hours my hands were sticky, my shirt damp, my ears ringing with the kind of beats that flatten thought. The salary was bad, a handful of euros for an entire night, but I told myself the music was payment enough.

    Beside me worked another temp. He was thin, serious, older than me by a few years, maybe early thirties. He moved with precision, pouring drinks like he had done it many times before. His English was halting, broken, but enough to pass the hours. He told me he was from China, though he didn’t say why he was in Slovenia. Maybe he was studying. Maybe working. Maybe just drifting. Some people you meet only at the edge of their stories.

    We didn’t talk much during the chaos. Just nods, short words, shrugs when the beer ran out. But when the lights dimmed and the crowd began to thin, we finally sat on empty crates behind the bar, sweat cooling on our skin. The hall was filled with silence and the sour smell of spilled alcohol. My ears buzzed with phantom beats. He lit a cigarette, drew in deeply, exhaled.

    Then he said something I’ve never forgotten.

    “Feelings… they are like weather. Passing through the mind.”

    He spoke slowly, choosing words as if testing each before releasing it. His grammar was rough, but the meaning was sharp. He flicked ash onto the floor.

    “Now calm. Now restless. Now nothing. But… not me. Just happening. The question is not: how do I feel? The question is: can I see it? Not fight. Not hold.”

    I nodded, though I didn’t really understand at the time. We didn’t speak much after that. We cleaned up, stacked the crates, threw out empty cans. By the time we left the hall, the sky was pale with dawn. I never saw him again.


    I caught the first bus out of Ljubljana central. It was half empty, rattling along narrow roads toward the outskirts. My body was exhausted, my clothes smelled of sugar and smoke, my mind dulled from the hours of noise. I leaned against the window, watching fields blur by, the mist lifting slowly from the ground.

    I was heading to my girlfriend’s place, a small flat in another town. The relationship was young, fragile, beautiful in the way early relationships often are. I thought it might last forever. It didn’t. It ended the way many things end in your twenties — with confusion, silence, and the gradual realization that what feels eternal can be as brief as morning fog.

    But I remember that bus ride more than I remember the relationship itself. The empty seats. The slow hum of the engine. The way the sunlight began to edge its way over the horizon. And most of all, the words of that stranger in broken English echoing in my head: feelings are weather.


    I carried that phrase with me without knowing why. It surfaced years later, in Basel, when I found myself unable to focus. I sat at my desk, staring at half-written notes, restless without reason. Normally I would push against it — try to distract myself, drink another coffee, force myself into clarity. But that day, for the first time, I didn’t. I simply watched. Restlessness, like a summer storm, came, thundered for a while, and then passed.

    Another time, in Shinjuku, I was walking alone at night. Neon flickered in puddles, crowds moved around me in waves, and inside I felt nothing in particular. An emptiness that might have unsettled me before. But I remembered his words. This too is weather. Clouds covering a sky that is still there, even when you can’t see it.

    The lesson wasn’t to escape feelings. It wasn’t about pretending calm when there was none. It was about remembering they were not permanent, not defining. Just weather. Passing.


    When I think of that stranger now, I realize his English, broken as it was, carried something whole. Maybe he had read it somewhere. Maybe it was his own discovery. Maybe it was just the way he made sense of a difficult life far from home. But it stayed with me more than anything else from those years.

    It taught me to stop asking “How do I feel?” as if the answer mattered more than everything else. Feelings shift. They always do. The better question is, “Can I watch them move without clinging or resisting?”

    It’s not easy. There are storms that feel endless — grief, anger, longing. But even the longest storm eventually passes. And when it does, you realize the sky was never gone. Only hidden.


    That girlfriend in Slovenia? We ended, as expected. But when I think of her now, it isn’t with regret. She was part of that season of my life, as fleeting and necessary as rain. Without her, I wouldn’t have learned what it meant to lose something important and still continue. Without her, I wouldn’t know how to let certain things go without clinging.

    The stranger from China? I never saw him again. But I’ve carried his words longer than I carried entire friendships. Maybe that was his role: to pass through, like weather, leaving behind a trace of clarity.

    And myself? I am still learning. Some mornings I wake restless, some calm, some empty. But I no longer confuse those states with who I am. They are weather, moving across the mind’s sky.

    The bed remains. The sky remains. And I remain, watching.

  • The Smallest Victories

    folded sheets whisper
    a morning breath of order
    the day aligns slow


    There’s a room I used to rent in Basel, a small corner apartment above a bakery. The smell of bread rose through the windows every morning, and if you opened them wide enough, it was like waking inside an oven. The walls were damp in winter, the ceiling cracked, and the radiator only worked when it felt like it. But I remember that room clearly because of one thing: I began making my bed every morning.

    It sounds like nothing, but at the time it was everything. The bed was a simple futon mattress on a wooden frame, the kind you could carry alone if you balanced it right. I’d fold the blanket neatly, smooth the pillow, tuck the corners in so it looked almost military. It wasn’t about neatness. It was about momentum. Before breakfast, before work, before I faced anyone else, I had already done something with order.

    Some days that was the only order I made. The world outside remained as chaotic as ever: missed trams, long lines at the post office, lectures that stretched too long. But that small act meant I had already won once. I could come home tired, defeated, and the bed would still be waiting, tidy, as if to remind me: you managed at least this.


    Years later, in Tokyo, I met a man who taught me the second habit — not directly, but by how he lived. His name was Sakamoto, though everyone just called him “Saka.” He ran a second-hand jazz bar in Nishi-Ogikubo, where the walls were lined with records stacked so precariously you felt one wrong move might bring them down. I went there often during a humid summer, mostly to sit in the cool dark with a drink in my hand.

    One evening, when the cicadas outside were shrieking loud enough to cut through Coltrane’s sax, I asked him why he never put up posters or menus.

    He shrugged. “Because then I’d be lying. I don’t know what I’ll play tomorrow, or what I’ll serve. If I tell the truth, I don’t have to remember anything.”

    At first it seemed like a joke, but the more I sat in that bar, the more I realized he lived entirely in line with that rule. He didn’t promise, he didn’t exaggerate, he didn’t sell. He simply told you what was real in that moment. If he had whisky, you got whisky. If he was out, he poured you beer. If he wasn’t in the mood for conversation, he said so.

    That habit stuck with me more than any lecture. I began to see how every small lie I told — to others, to myself — created a crack I had to keep patching. When you tell the truth, even in the smallest ways, you don’t need to patch anything. The words match the world, and the world doesn’t fight back.

    It’s not always easy. Sometimes the truth comes out awkward, or heavy, or risks losing something you’d prefer to keep. But once you get used to the discipline of aligning words with reality, you can’t go back. The bar in Nishi-Ogikubo closed years ago. Sakamoto must be older now, maybe retired, maybe gone. But every time I struggle to phrase something clearly, I hear him: “If I tell the truth, I don’t have to remember anything.”


    The third habit is quieter, harder to explain. It’s the habit of taking responsibility for one thing each day. Not everything. Just one.

    I began this in Ljubljana, during a summer when I was a student and living alone for the first time. My apartment was messy, the kind of mess that accumulates when you don’t notice small things — socks in corners, dishes stacked too long in the sink, notes scattered on the desk like autumn leaves. I felt paralyzed, like I could never catch up.

    Then one evening, after a long day of lectures, I told myself: just wash the dishes. That’s all. And so I did. It took fifteen minutes. The next day, I threw out the garbage. The day after, I swept the floor. Slowly, almost without noticing, the room transformed. The mess shrank, the air felt lighter, and I realized something important: life feels impossible when you try to carry it whole. But if you pick up one piece each day, it becomes something you can manage.

    I’ve carried that habit since. Even now, on days when nothing else seems within my reach, I look for one thing. Pay a bill. Answer a letter. Fix the handle of a drawer that’s been sticking. Each act is small, but the accumulation changes everything.


    Making a bed in Basel. Listening to Sakamoto tell the truth in a bar in Nishi-Ogikubo. Washing dishes in Ljubljana. Three habits, three different lives.

    The habits themselves aren’t extraordinary. Anyone could do them. But what they gave me was something larger than the actions themselves: a rhythm, a compass, a reminder that control, clarity, and responsibility don’t arrive as grand gestures. They come as small repetitions.

    And maybe that’s the real lesson. Not to search for the perfect system or the grand routine, but to notice the modest things that align with you, and repeat them until they form the scaffolding of a life.

    When I think back on those rooms — the damp bakery apartment in Basel, the smoky bar in Tokyo, the messy student flat in Ljubljana — I realize that what I really remember isn’t the walls or the furniture or the noise outside. It’s the habits. The small victories that shaped the air inside.

  • The Shape of Consistency

    steam on window glass
    hands repeat a quiet task
    time becomes a friend

    The best book is not the one that appears in curated lists or glossy interviews. It is the one you reach for when the laundry cycle is still spinning and the floor hums beneath your shoes.

    I learned this once in Geneva. The laundromat was narrow, fluorescent lights buzzing above cracked tiles, detergent smell floating somewhere between citrus and nothing. I had brought with me a heavy book a colleague had insisted I must read, something intellectual enough to impress, but the words slid past me like rain down glass. My eyes moved but nothing stayed. Then, on the shelf where people leave behind what they no longer need, I noticed a battered crime novel, its spine bent, its cover curling at the edges. I picked it up. Two hours passed without me noticing the machines had stopped.

    That was the first lesson. Consistency doesn’t come from the things you think you should do, but from the ones that catch you almost against your will.

    I have failed enough times to know the difference. In Zurich, one summer, I bought new running shoes, shorts, and even one of those digital watches that measured everything. I decided this would be my routine: morning runs along the lake. For two weeks I forced myself into it. But each run was an argument with my body, a negotiation I never fully won. Then one afternoon a friend lent me an old road bike, handlebar tape fraying, chain a little stiff. I rode toward Kilchberg with no plan. The rhythm of pedaling, the wind in my ears, the quiet sense of covering distance without punishment — it felt like something that belonged. The next day I rode again. And again. Consistency doesn’t feel like discipline. It feels like return.

    Food teaches this as well. During my student years in Ljubljana, I tried for a time to eat what I thought counted as healthy: complicated salads, quinoa bowls, bland lentils seasoned with guilt. They never lasted. What stayed were the simple things I wanted without effort: polenta with butter, bread still warm from the bakery, burek at four in the morning after nights out. I’ve since eaten in expensive places where plates resembled museum exhibits, but the meals I return to are humble, repetitive, and alive. The best food is not the most fashionable. It’s the one you reach for again and again without thinking.

    Work follows the same thread. The most meaningful work I’ve done came in a second-floor room in Reykjavik, above a record shop where the radiator clicked all day. The sky stayed dim for weeks at a time, never quite waking. No deadlines, no money on the line, just notes I wanted to write, ideas I needed to see outside my head. I would have paid to sit there. Hours slipped and reassembled themselves. That work was consistent because it wasn’t borrowed from someone else’s ambition. It was mine.

    I have tried the other way. I’ve copied habits from books, podcasts, clever strangers. The perfect morning routine with lemon water, ice baths, affirmation journals. Those mornings felt like borrowed clothing two sizes too small. I wore them for a week, maybe two, and then the fabric tore. What stayed, in the end, were the quiet things: sharpening knives every Sunday, cycling familiar routes until they became maps in my legs, rereading books I thought I’d outgrown.

    Consistency doesn’t shout. It lives in the modest rhythms that disguise themselves as nothing.

    I once sat in a café in Porto, windows fogged in winter, the clock on the wall five minutes slow. Every morning the same man came in, ordered a coffee and a glass of water, and copied a poem by hand into a notebook. He dated the page, closed the book, sat for a moment watching the street, then left. The ritual looked like almost nothing. But one year of that is a collection. Ten years is a life with shape.

    In Oaxaca I met a printmaker who told me sharpening was most of his work. He pulled leather across the edge of a chisel again and again, holding it against the light until it glinted the way he wanted. “The print is the shadow,” he said. “The real work is the repetition with steel.” Consistency isn’t repetition of boredom. It’s repetition of attention.

    I’ve seen the opposite. A friend in Seoul forced himself into a strict schedule because a podcast told him to. Wake at five, drink bitter tea, cold showers, affirmations that read like auditions for a role in someone else’s life. In three weeks he collapsed, angry at himself for failing. Months later he joined a neighborhood swimming group that met after work. They swam laps slowly, mostly for the steam room talk afterward. He’s been going for years now. Consistency thrives when it attaches itself to joy, to community, not to self-flagellation.

    Small frictions matter too. I leave my guitar out on a stand, because if I had to unzip a case every time, I wouldn’t play. Apples stay in a bowl on the counter, because if I put them in the fridge drawer they disappear. A pen I like rests on a notebook that always sits on the kitchen table. These things aren’t about discipline. They’re about removing the small reasons not to begin.

    The fanciest version of a habit almost never survives. The perfect gym across the city fails against the small, sweaty one down the street. The expensive leather notebook gathers dust, while the cheap Moleskine fills with words. The elaborate recipe never becomes tradition, but the bread with tomatoes and oil does.

    Shame kills more habits than laziness. People abandon simple routines because they look modest compared to someone else’s grand rituals. But modest done daily is better than grand done briefly. I had a neighbor in Vienna who did pushups every evening while waiting for water to boil. He never talked about fitness. He never bought equipment. He looked the same for years, which is to say, steady.

    I think often of the small rituals that have carried me quietly: sharpening knives with the radio on, cycling familiar roads until the bends became part of my body, rereading Darwin’s On the Origin of Species slowly, not to learn new facts but to feel how patient observation builds truth. Returning to the basics doesn’t feel like progress, but it builds the deepest grooves.

    If you need a test for whether a habit belongs to you, try this: do it every day for a week in the smallest way possible. Ten minutes instead of an hour. Five pages instead of fifty. If, on the eighth day, you reach for it automatically, keep it. If relief floods you when you stop, let it go.

    Another test: ask whether you’d keep the habit if no one knew. No tracking apps, no posts, no audience. If the answer is yes, you’ve found something close to real consistency.

    The man in Geneva who left behind that crime novel never knew he started a chain for me. Since then I always carry a book I actually want to read, not one that looks good on a table. I read in train stations, on benches, in lines where time is wasted anyway. One small decision, repeated, has become the longest shelf in my life.

    And maybe that’s all consistency really is. The willingness to let modest repetitions build until they change the texture of your days. Water wearing stone. Pages turning into chapters. Beans simmering into weeks.

    Consistency isn’t discipline in a uniform. It’s attention given permission to return.

  • The Last Search

    paper spine worn thin
    old words shift in quiet rooms
    answers wait in dust

    I can’t remember the last thing I searched for online. Not because I don’t search — I do, every day, like everyone else — but because the act itself has no weight. You type, you click, you skim, you close the tab. By the end of the day, it’s all dissolved into static, like the faint hiss of a radio left on in another room.

    What I do remember are the things I’ve returned to instead.

    On my desk in Basel sits an old paperback. Its cover is frayed, the corners soft and bent, the kind of book that feels like it has lived through more than one owner. The pages are yellowed, the font a little too small, but the smell is familiar — the dry, dusty smell of paper that has soaked up years of silence.

    I’ve been rereading the basics lately. Not the modern interpretations or the glossy summaries that condense ideas into something quick, but the roots themselves. Darwin’s books, with their patient observations of pigeons and finches. The sentences move slowly, circling, repeating — but in that slowness, there’s a kind of clarity. You begin to see how science wasn’t born in bursts of genius but in long afternoons of looking closely at what was already there.

    The same with the first biology texts I once thought too simple. I read them now not for information, but for grounding. There’s a strange comfort in reading how life begins, how cells divide, how breath itself is exchanged. These things haven’t changed, but the act of returning changes me.

    The internet doesn’t give me that. Search engines offer answers, but answers are cheap. What I’ve come to want isn’t an answer, but a depth. And depth doesn’t come from constant searching. It comes from returning.

    In Basel, during a wet spring, I would take long walks along the Rhine. The river was always the same, and yet never the same. The water moved differently with the weather, with the light, with my own mood. I never tired of it. Every walk was a kind of rereading.

    One evening in Shinjuku I felt the same thing. I was staying in a hotel above a convenience store, a narrow room with a single lamp and a window that caught the neon from across the street. I had a book with me I’d already read twice, one of those slim novels that seems almost too simple at first. I opened it again, not because I needed to, but because the streets outside felt overwhelming. I read the first chapter, and the words were different. Or maybe I was. Either way, they slowed me down, grounded me in the way a search result never could.

    In Slovenia, the same lesson came another way. Summers there stretched endlessly when I was a child, but as an adult, I returned with less time. One afternoon, I sat under a fig tree my father had planted from a branch he once carried back from the Adriatic. I watched the way the leaves shifted in the breeze, the way the light changed shape as the day moved. Nothing extraordinary happened. But in that stillness, I understood something I had missed: peace isn’t found in novelty. It’s found in noticing what’s already here.

    When I think about the last thing I searched for online, I can’t recall it. But I can recall that fig tree, the smell of the soil, the sound of cicadas in the distance. I can recall the lines of Darwin circling the shape of an idea, or the simple biology diagrams I once skipped over as too obvious. I can recall the steady flow of the Rhine and the neon glow on a Shinjuku window. These are the searches that last — the ones that require no browser.

    Sometimes I think the internet is like a broken faucet. It gushes endlessly, spraying information in every direction, but leaves you unsatisfied, still thirsty. Returning to basics — the book, the river, the tree — is like drinking from a well. Clear. Slow. Enough.

    I don’t mean to abandon technology. Maps are useful. So are train timetables, weather forecasts, and messages from people far away. But the deeper search — the one that matters — doesn’t happen in a search bar. It happens when you circle back to the foundations, the things that have been waiting quietly all along.

    That’s why lately, instead of chasing the next answer online, I’ve been rereading old books. Cooking simple meals. Listening to records that skip slightly at the edges. Walking paths I’ve walked a hundred times before. Each return reveals something different, not because the thing has changed, but because I have.

    And that, I think, is the only real search worth making: not for more, but for enough.

  • The Sharpness of Joy

    It was one of those afternoons in Sapporo when the light seems slightly off-kilter, as though the sun had chosen to lean against a different corner of the sky. I hadn’t planned on getting a haircut. In fact, I hadn’t planned much of anything that day. But when you travel long enough, you realize that some of the most necessary things happen only by accident.

    I had walked past two barbershops already. Both were full. Their chairs occupied by men staring blankly into mirrors while clumps of dark hair fell like soft punctuation marks around their shoes. I was about to give up when I noticed a narrow shop tucked between a bakery and a place that sold second-hand jazz records. The glass door carried a hand-painted sign: Nori’s.

    I slid the door open and stepped into the scent of sandalwood and something metallic, sharp, like fresh rain against stone. A man looked up from polishing a pair of scissors. He was lean, wearing a black apron, his hair tied back in a way that was both casual and deliberate.

    “Do you have time for a cut?” I asked, half expecting him to shake his head like the others.

    He smiled, easy and warm. “You’re in luck. Everyone else seems to be busy today, but I’ve got time. Take a seat.”

    His name was Nori. I asked him once, between the quiet snips of his scissors, what it meant. He laughed softly and said, “It’s short for Noriyuki. But you can think of it like seaweed. Something simple, always there in Japanese life, holding things together.”

    There was something grounding about that explanation. Seaweed is never the main dish, but it binds, balances, gives depth without asking for attention. In a way, that was Nori himself.

    As he wrapped the cape around me, we began to talk. His English was flawless, not the cautious rhythm of someone who studied from textbooks, but alive, quick, with the easy slouch of someone who had lived inside the language.

    “I was born in Chicago,” he said, running a comb through my hair with an almost meditative precision. “Then moved to Philadelphia when I was still young. Spent most of my childhood there. But my grandmother lived here, in Hokkaido. After college, I came back to see her. And I never left.”

    I asked him why. He paused, razor glinting in his hand.

    “Because when you’re young, you think the world is measured in how far you can go. But sometimes the most meaningful thing is going back. My grandmother was getting older. She cooked miso soup every morning. She had this way of humming old songs while hanging laundry. I realized that if I didn’t return, I’d miss all of it. And missing it would be permanent.”

    He met his wife here, he said, not long after. She was from a nearby town. They had a daughter now, still small enough to think the world was no larger than the park outside their home.

    “I wanted to start a business,” Nori continued. “Something honest. Something with craft. I learned that in Japan, only Japanese citizens can hold a barber’s license. Maybe it’s protectionist, maybe it’s tradition, but it meant that I had a kind of luck. I studied, practiced, and here I am.”

    His razor moved along the curve of my neck with a calm confidence that made me think of a calligrapher’s brushstroke. He explained his philosophy as he worked.

    “A barbershop isn’t just about hair. People come in with their heads heavy. They sit down, and suddenly they have permission to let go of things they’d been holding in. I’ve heard confessions, heartbreak, joy, fear — all while cutting hair. My tools are sharp, but the space I want to create here is soft. A place where people feel lighter when they leave. Not just because their hair is shorter.”

    I thought about that as he worked. The hum of the clippers, the low music from a radio on the shelf, the faint creak of the old wooden floor beneath the chair. Everything conspired to create an atmosphere where time moved differently.

    At one point, he asked me: “What’s the emotion you feel most often?”

    The question hung there, suspended like the strands of hair drifting down around me.

    For a long time, I would have answered with something less flattering: restlessness, maybe. A constant pull to be somewhere else, to do something different, to escape the feeling of standing still. But lately, I’ve realized the emotion I return to, the one that threads itself through my days more than anything else, is joy. Not the loud kind, not fireworks or applause. The quiet joy of a warm bowl of ramen after cycling under the August sun. The joy of a 50-cent burek eaten on the streets of Ljubljana at four in the morning. The joy of listening, really listening, to a stranger’s story while the scissors whisper close to your ear.

    Joy, I’ve learned, is not about scale. It doesn’t ask for grandness. It asks for presence.

    fresh cut in the light
    strangers share unguarded words —
    joy hums like a blade

    When Nori finished, he brushed the last stray hairs from my shoulders and turned the chair toward the mirror. The cut was sharp, deliberate, balanced — but more than that, I noticed I felt lighter. Not just on my head, but in the way I carried myself.

    Maybe that’s what joy really is: not something you chase, but something you allow. A state you return to, again and again, like the simple taste of seaweed in miso soup, or the steady hand of a barber who knows that his craft is more than a craft.

    Outside, the Sapporo air was still strange with light. I carried the feeling with me as I walked, sharper than the razor, softer than the cape that had rested on my shoulders.

    And I thought — joy, the emotion I feel most often, isn’t just mine. It’s something shared, like a story told over a haircut, or a smile across the barber’s chair.

  • The Shape of a Goal

    It was late summer in Asahikawa, the kind of August where the air carries a faint heaviness, as if the mountains had exhaled and decided not to breathe in again for a while. I had been wandering for most of the day, letting the streets decide my direction. The light was slow, stretched out, and the smell of grilled corn from a street stall followed me for blocks.

    That’s when I stepped into the café. Not because I was looking for coffee — I’d already had too much — but because it was there, narrow and quiet, with just enough space between the tables to imagine that the outside world didn’t exist. Inside, an Italian man sat near the back, his table crowded with strange, unassuming objects. A rusted key, a weathered train station stamp book, a kokeshi doll with a cracked face.

    We spoke because I commented on the enamel sign leaning against his chair. He told me he was traveling through Japan, collecting what he called “objects with memory.” He didn’t buy them from antique shops. He found them in corners no one looked at anymore — abandoned fishing shacks, half-collapsed farmhouses, the back shelves of shops run by people too old to care about selling anything.

    That evening we met again, in a bar hidden behind a liquor store, the kind you’d miss unless you knew where to push the sliding door. It was dim and cool inside, the kind of place where Guinness somehow tasted as though it had been poured from a dream. Over the second round, he told me about a friend of his, another traveler, whose singular goal was to stand on the easternmost point of Japan and watch the first sunrise in the world.

    He described it like a pilgrimage — the long trains, the buses that only came twice a day, the small towns where the vending machines hummed louder than the streets. I imagined this friend standing there, the Pacific wind pushing against him, knowing he was the first person to see that day’s light. There’s a quiet seduction in being first, in believing you’ve reached something before the rest of the world can catch up.

    But I also knew, without even thinking, that I’d never want that to be my goal.

    For a long time, my own ambitions were hand-me-downs. I picked them up from people I admired, from conversations that stuck in my head long after they ended. I tried them on the way you try on clothes that look good on someone else. They almost never fit. And even when I reached them, there was an empty aftertaste, like tea brewed too long.

    These days I plan differently. I start from where I’m standing. My goals aren’t measured by how they look from a distance, but by how they feel on an ordinary Tuesday when no one’s watching. They have to match the rhythm of my days, not the imagined applause of strangers.

    The Italian man’s friend made it, eventually. I saw a photograph later — the two of them holding paper cups of coffee, the ocean behind them a sheet of hammered copper under the new light. It was beautiful, in that way certain photographs are beautiful precisely because you weren’t there.

    But I thought about the hours after. The buses back through quiet fishing villages. The convenience stores selling the same triangle sandwiches, the same bottled tea. The way achievement dissolves into routine as the day moves on. And I knew — if you don’t enjoy the road to the goal, the goal itself will never be enough.

    I’ve learned something that feels almost like a rule: you should only envy someone if you’d trade for their entire life, not just the part they show you. If you wouldn’t take all of it — the mundane, the lonely, the uncertain — then the envy is only static.

    My own goals are smaller now. Finishing a piece of writing that feels alive. Cycling a route until every bend feels familiar. Learning to repair something until my hands remember the movements on their own. They don’t make for impressive stories. They won’t be printed on postcards. But they make the days feel lived in.

    Once, in a damp dormitory in Basel, I wrote down every goal I thought I had. The page was crowded with things that didn’t belong to me — things I wanted only because other people seemed to want them. It took years to understand that the most valuable thing I carried wasn’t ambition, but the ability to decide which dreams were mine and which were borrowed.

    Sometimes, letting go of a goal feels like failure. But there’s a wabi-sabi kind of peace in accepting that not every sunrise is meant for you. The world is too wide, and life too short, to chase light that was never supposed to fall on your face.

    The Italian man still writes me sometimes, from places I’ve never been. And maybe his friend still talks about that morning at the edge of Japan, the way the sea looked like it could hold the sun without spilling a drop. I hope he does. For him, it was the right goal.

    And that’s the truth of it: the shape of a goal is personal. It should fit like a well-used cup in your hand — not because it’s perfect, but because it’s yours.

  • What Brings Me Peace

    the quiet settles
    in a way rain never does
    slow but permanent

    I’ve spent most of my life without knowing what peace really was. Not the absence of noise — that’s too easy — but the kind where your mind finally stops pacing the corridors of itself.

    For years, I thought the restlessness was just part of who I was. A faint hum under the surface that never left. Some days it was a quiet static. Other days it was like being trapped in a crowded train car with too many people talking at once. I never thought to question it. You learn to move through the world in the way you’ve always moved.

    It wasn’t until I started writing things down that I noticed certain places, certain moments, made that hum fade. I’d return to them without understanding why. Now, looking back, I see the pattern.

    The first time was in a small apartment in Basel, early spring. I’d cleared out most of the furniture after a move, and for weeks the only things in the room were a table, a chair, and a plant that looked half asleep. There was nothing to straighten, nothing to fix. I remember sitting there with a cup of coffee, noticing how my thoughts seemed to find their own order. The space wasn’t beautiful. It was just… absent of friction.

    I’ve found the same feeling on a long walk, when my legs find a rhythm that doesn’t need my attention anymore. Or cycling along the Rhine when the air is neither cold nor warm, just the temperature of moving water. In those moments, the mind stops scanning for what’s next and settles into what’s here.

    I’ve noticed it in small anchors, too. The way kneading clay pulls my focus through my hands. The soft thud of bread dough folding over itself. Even writing by hand in a notebook — the scratch of the pen is enough to keep the rest of me tethered.

    There was a winter in Shinjuku when I stayed in a hotel near a back street of izakayas. At night, the air smelled of grilled fish and wood smoke. My room was small enough that I could reach the desk from the bed without standing up. I had a single lamp with a warm bulb, a stack of books, and a window that caught the neon from across the street. Outside was chaos, but inside was a contained world. I didn’t realize it at the time, but that was peace too — not because it was silent, but because nothing inside the room was pulling at me.

    It’s taken me most of my life to see that peace isn’t something you build in a single sweep. It’s a thousand small adjustments. Less noise. Fewer open tabs, in the mind and on the screen. Enough light to see without squinting. Objects where they belong. The right amount of movement, the kind that doesn’t demand attention.

    And maybe most important — letting go of the running commentary that plays in the background. I’ve been my own harshest critic for as long as I can remember. That voice never built anything for me. The times I’ve managed to replace it with something gentler, or with silence, are the times I’ve felt most whole.

    Some of this I learned by accident. Some I wrote down before I understood its value. And now, when I feel the static rising again, I know where to look: toward spaces that give more than they take, rhythms that carry me without effort, and people who see my edges and don’t try to sand them down.

    Maybe peace was never meant to be chased. Maybe it was always meant to be noticed.

  • The Shop That Might Exist

    cedar scent drifts in
    dust settling on an old shelf
    light moves without sound

    There’s a street in my head that I can never place on a map. It could be in Europe, or somewhere in Japan, or somewhere in between. Cobbled, narrow, the kind of street you only find after getting lost. I don’t go there often, but when I do, it’s always late afternoon. The light is low, heavy in the way it falls.

    Halfway along is a door. It’s not an interesting door. The frame leans slightly to the left. The paint is chipped. You could walk past it a hundred times and never notice. But I’ve stepped inside.

    It smells faintly of damp wood and tea that’s been steeped too long. The shelves are uneven, not by design, just from years of standing there. Nothing is arranged in order. A ceramic cup with a crack that looks like a thin bolt of lightning. A fishing knife from Kyushu, the blade dulled to the point where it’s more memory than tool. A noren from Takayama, its colors faded by more than just the sun.

    None of these things would sell for much. But I know exactly where each came from. The cup from a rainy morning in Naples, when the streets felt like they belonged to no one. The knife from a shop that only opened when the owner felt like it. The noren from a woman whose hands shook when she painted, but whose lines never wavered.

    I don’t imagine customers coming here for bargains. If they come at all, it’s because they see something they can’t quite name but recognize all the same. The object itself matters less than the path it took to arrive.

    It took me years to understand that the same rule applies outside of any shop. People spend their lives trying to be the best at something big, something crowded. But the space that’s truly yours is the one built out of the strange mix only you could have arrived at—places you’ve stood, skills you’ve stacked, moments you’ve carried without realizing.

    In Basel, I once saw a man in his seventies repair a cracked enamel bowl at a flea market. He told me it had been in his family for decades, used for holding Christmas cookies. He didn’t repair it to sell it. He repaired it because it was still useful. That’s the kind of thinking I’ve tried to keep. Not polishing things until they’re unrecognizable, but keeping the marks that prove they’ve been used.

    Shinjuku gave me another reminder. I bought a second-hand jacket there once, from a shop wedged between a bar and a shuttered video rental store. The shopkeeper didn’t say much, just wrapped it neatly and nodded. It fit perfectly, but more than that, it carried the weight of whoever had worn it before. I never learned who. I didn’t need to.

    Maybe I’ll open the shop one day. Maybe it will stay in my head. Either way, I’ve already been stocking the shelves, even if I didn’t realize it. Every place, every object, every conversation leaves something behind. The trick is noticing when it’s worth keeping.

  • The One Thing You Carry


    pockets feel lighter
    when the weight is in the mind—
    stone worn smooth by years


    It’s the kind of question that invites quick answers.
    What’s the most important thing to carry with you all the time?

    You could say your phone, your keys, your wallet. Maybe hope, courage, or some equally polished word that sits well on a coffee mug. But I’ve learned that for me, the answer isn’t an object or even a feeling. It’s something quieter, less visible, but far heavier when you don’t have it.

    It’s the pause.


    I didn’t always carry it.
    In my twenties, I moved too quickly through conversations, decisions, nights out. I said things without thinking. I agreed to things without knowing why. There was no gap between impulse and action—no space for reflection. And inevitably, the regret came trailing after, like a stray dog that always knew where to find me.

    The first time I noticed the pause was in Basel, on a day so ordinary it should have disappeared into the cracks of memory. Rain fell steady, turning the cobblestones slick and dark. I was walking back from Marktplatz with a bag of vegetables from the Saturday market. My hands were cold. I was tired. And there it was—this urge to say something sharp to someone who didn’t deserve it.

    In the space of a heartbeat, I stopped. I didn’t say it. The thought dissolved like a sugar cube in coffee, disappearing without leaving a trace. The air felt lighter. My chest felt lighter. And I realized: this wasn’t just self-control. This was a compass pointing away from the territory where regret grows.


    I carried that compass into other places—into other versions of myself.
    Years later, I found myself in Shinjuku, walking under the glowing kanji signs that blinked in the humid summer night. The air smelled like rain on asphalt, soy sauce, and cigarette smoke. I’d been in Tokyo for a week, drifting between late-night ramen counters and bars small enough that you had to duck to enter.

    One night, outside a place tucked under the railway tracks, a stranger invited me in. The beer was cold, the light golden, the kind of night where temptation walks easily through the door. A younger version of me would have gone without thinking. But somewhere in the folds of memory, I reached for that same pause I’d picked up in Basel. I let it sit in my palm, heavy and familiar. And I walked away.

    It didn’t feel like missing out. It felt like keeping something.


    The pause became a habit the way a river becomes a canyon—slowly, by wearing down the rough edges. And like any good habit, it’s not about perfection. I still fail. I still say things I wish I hadn’t. But the number of times I fail is less, and that’s enough.

    I’ve learned that flaws aren’t always meant to be fixed. Some are temporary—born from fatigue, hunger, or mood. Others are permanent, carved deep by years of habit or by forces we never controlled: genetics, accidents, sheer chance. You can’t sand away every imperfection any more than you can glue a cracked teacup into something flawless. But you can choose not to pour boiling water into it.

    That’s the wabi-sabi truth: restraint isn’t denial—it’s care. It’s the quiet decision to live alongside the crack without making it worse.


    I think often about my old mentor from Birmingham.
    We met when I was staying at Aston University, in a damp dormitory where moisture gathered at the windows like thoughts you couldn’t shake off. He was a pharmacist by training, but he’d lived many other lives before that. A former cyclist, sun-browned and wiry, the kind of man who seemed tethered to nothing but his own curiosity.

    One afternoon, we sat under a tree near the edge of campus, the kind of day when the wind carries both the smell of rain and the warmth of sun. He told me something I didn’t understand until much later: Everyone you’re sitting with right now will stay with you—some as colleagues, some as friends, and some as memories.

    I carry him with me still. A couple of years later, he stopped replying to emails. Only later did I learn he’d died of spinal cancer. It struck me that the pause is also a way of carrying people. When you stop before speaking, before acting, you make room for all the voices and lessons you’ve collected over the years to speak up.


    Modern life doesn’t make pausing easy. The world is engineered for speed. Instant replies, instant purchases, instant reactions. And yet, the best choices I’ve made have come from resisting that design—creating my own gap between the urge and the act.

    The pause has saved me from more than just awkward conversations or impulsive “yeses.” It has kept me from sinking into habits I knew would cost me. Some urges promise pleasure now and regret later. That pause is the one tool that lets you see past the first half of the equation.

    It’s not about self-denial. It’s about self-respect. The most important thing you can carry isn’t the thing that helps you move faster—it’s the thing that lets you decide when not to move at all.


    In Basel, I sometimes sit by the Mittlere Brücke, watching the river slip past in shades of brown and green. I think of Shinjuku’s neon, of the damp dormitory in Birmingham, of my mentor’s voice under the leaves. I think about how life is less about what we accumulate and more about what we choose to keep—and what we choose to set down.

    Keys can be lost. Phones can break. Wallets can be stolen. But the pause, once you learn to carry it, is yours alone. It weighs nothing and yet holds the shape of your entire life.

    If you ask me now what the most important thing to carry is, I won’t hand you an object. I’ll hand you a breath between the urge and the act, the stillness that lets you walk away from regret before it takes root.

    Keep it with you. Always.

    And if you forget it—well—just pause, and pick it up again.

  • The Quiet Between the Urge and the Act


    rain-streaked windows glow
    in the pause before the step—
    regret walks slower

    I used to think the biggest change I could make in the world would come from something grand.
    A book written.
    A business built.
    A movement started.

    The kinds of changes people point to in newspapers and say, “That’s what mattered.”

    But I’ve started to believe the most meaningful change might be much smaller.
    It began the first time I admitted—quietly, without excuse—that I have flaws.
    Not just the charming, harmless kind. The real ones.
    The kind that feel like they’re stitched into your nervous system, always ready to tug you off course.

    And more importantly, I learned not to engage with them when I can see—really see—that the outcome will be the same old pattern of regret.


    Basel

    Basel in late autumn has a particular stillness to it.
    The trams pass like slow-moving rivers of light, the old town smells faintly of roasted chestnuts, and the Rhine curls its green-grey body around the city as if it’s keeping a secret.
    I’d been back from Japan for only a few days, still half-jetlagged, drifting through my own city like a guest.

    One cold Tuesday evening, I stopped by a café near Wettsteinplatz. I’d been working all day, staring at the screen until my eyes stung, when the familiar itch came—the desire to take the edge off.
    Nothing dramatic. Just a drink, maybe two. The sort of thing you convince yourself you deserve.

    I almost went.
    I could picture it: walking into a warm bar, the easy hum of conversation, that first smooth swallow.
    But I’d been here before. I knew the line between taking the edge off and tipping over it.

    Instead, I walked along the Rhine until my ears burned from the cold, then went home and made tea.
    It didn’t feel noble. It felt strange.
    But the next morning, I woke without the quiet fog that used to trail me for hours after those nights.

    It struck me then: sometimes the biggest change is not what you start doing—it’s what you stop doing.


    Shinjuku

    A few months before that, I had been in Shinjuku during one of those unbearable August nights when the air feels too thick to breathe.
    I’d ducked into a bar the size of a walk-in closet, no more than four stools pressed to a narrow counter. A woman in her fifties stood behind it, pouring highballs with the precision of a surgeon.

    Outside, the city buzzed with its endless, electric urgency.
    Inside, time moved like syrup.

    I’d planned on staying for two drinks.
    That was always the plan.
    But I knew myself too well. I knew that somewhere between the second and third glass, my internal compass would shift—not toward adventure, but toward that particular brand of aimless wandering that always ends in the kind of morning where the only thing you accomplish is a slow, steady regret.

    So I left after one.
    Not because I didn’t want another, but because I’d started to recognize that moment between the urge and the act—and how much could be saved by simply sitting in it, letting the itch fade.


    Flaws You Can’t Negotiate

    It’s taken me years to understand that not all flaws are the same.

    Some are beyond our control:
    Genetics that hand you a weaker heart.
    An accident that leaves you with pain you didn’t earn.
    The slow attrition of age, joints creaking like old wood.

    You carry those differently. Not with the guilt of having chosen them, but with the quiet work of living around them.

    But the other kind—dopamine-driven, impulse-fed, pleasure-chasing flaws—are different.
    They thrive in the world we live in now, where every pocket buzz and glowing screen is a little tap on the glass of your attention.

    In Shinjuku, neon makes it feel like nothing bad can happen as long as you keep moving.
    In Basel, the quiet can trick you into thinking you’ve outgrown certain mistakes—until you’re two steps away from making them again.


    The Pause

    The older I get, the more I’ve come to value the pause.
    That narrow gap between wanting and doing.
    It’s not dramatic. No one claps for you when you choose tea over another drink, or when you turn off your phone instead of scrolling yourself numb.
    But over time, those small refusals stack into something that changes the texture of your days.

    One evening in Basel, I sat by the Mittlere Brücke and watched the current push against the bridge’s stone pillars. The river didn’t rush. It didn’t need to. It simply moved, carrying leaves, stray twigs, a plastic bottle someone had let slip.

    It felt like a lesson in itself: you don’t have to fight every current—just the ones that pull you somewhere you don’t want to go.


    Parallel Nights

    Another night in Basel, late spring, I found myself wandering back from a friend’s flat in St. Johann.
    The streets were nearly empty, the warm air holding the faint scent of wisteria from a nearby garden.
    I passed by a bar whose open windows spilled laughter into the street. For a moment, I slowed. I could almost see myself inside, leaning into the easy anonymity of strangers, riding that quick lift of alcohol-induced warmth.

    But I kept walking. I stopped at the kiosk instead, bought a cold mineral water, and drank it while leaning against the rail above the Rhine.

    Months later, in Shinjuku, I had a near-identical moment.
    It was well past midnight, and I’d been walking aimlessly after leaving Golden Gai. I stopped outside a late-night izakaya, the smell of grilled yakitori thick in the air, the sound of voices rising in waves from inside.
    I thought of Basel. I thought of how good it had felt to wake clear-headed the next morning. And I turned away, letting the street swallow me back into its maze.


    What Remains

    If I’m honest, I don’t know if this practice—of pausing, of declining—will ever change the world in any measurable way.
    It’s not the kind of thing you can photograph or write a headline about.

    But it has changed my world.

    Fewer mornings spent in that low-grade shame you can’t quite explain.
    More nights ending in quiet satisfaction instead of restless searching.
    More moments that feel lived-in, rather than consumed.


    The Wabi-Sabi of It

    Wabi-sabi teaches that imperfection is not only inevitable, but beautiful.
    You accept the cracks that can’t be mended.
    But you also take care not to make new ones with your own hands.

    Some flaws you carry.
    Some flaws you refuse to feed.

    And maybe that’s all we can hope for—that in the space between the two, there’s room for a life you can stand to live with.

  • My Life in an Alternate Universe

    wabisabi of human life


    Other world, same eyes—
    every soul a distant star,
    each story, its own


    If my life unfolded in an alternate universe, I like to think I’d recognize it by a certain slant of afternoon light—a shade just unfamiliar enough to feel like a dream. Maybe in that world, I live in a quiet port town on a different sea. Or I teach at a windswept school perched on a cliff, the sky wider, the air saltier, the questions my students ask even stranger than the ones that kept me up at night in this world.

    But no matter where I end up, the thing I cannot unsee, after so many crossings and conversations, is this: every person lives in their own, unrepeatable universe. No two people see the same world, even if they stand side by side on the same balcony, drinking the same bitter coffee, watching the same clouds scud over the city.

    I didn’t know this as a child. Back then, I believed the world was a single, solid thing—one set of rules, one story, one sun. My universe was the sum of what I knew: the language at my dinner table, the streets I rode my bike through, the rhythms of my parents’ laughter and arguments. I thought other people’s lives were just distant variations, minor edits on my own script.

    It took years, and the slow patience of adulthood, to understand otherwise.
    It took sitting across from strangers on slow trains—old women with hands shaped by fields, men who left home at sixteen and never came back, friends whose pain lay just beneath the surface of their jokes. It took late-night talks in borrowed kitchens, hiking in unfamiliar hills, listening without interrupting as someone unspooled a memory I could never have imagined.

    Little by little, I realized: every person is a world. Every conversation is a meeting of galaxies. Each carries wounds and wonders invisible to anyone else. What is ordinary for me—a taste, a smell, the weight of a word—might be miraculous or unbearable for you. We all move through the world with maps drawn in secret, navigating by stars only we can see.

    When you finally let this truth in, everything changes. You start approaching others with radical curiosity and humility. You pause before judging, knowing their logic may have roots you’ll never fully understand. You become gentler—with others and yourself. You listen longer, realizing that connection is possible only when you accept that their universe is as strange, rich, and alive as your own.

    And somewhere in that recognition, a kind of freedom appears. You are released from the burden of always being right, or always being understood. You learn to marvel at the diversity of experience, the secret colors in every life.


    In my alternate universe, I try to hold this lesson even closer. I greet strangers as explorers from another world. I ask questions, not to confirm what I already know, but to expand the boundaries of my own reality. I accept that I will never truly grasp another’s universe—but I can honor it, even from a distance.

    Maybe that’s the real work in any universe:
    To look at the world—your world, and everyone else’s—with open eyes and open hands.
    To be curious, and humble, and grateful for the wild, impossible richness of being alive together, even if just for a moment, on this particular slant of afternoon light.


    If you’ve ever wondered what it’s like to live in someone else’s universe, or to see your own with new eyes, subscribe. There are endless stories to share—yours, mine, and all the worlds we’ll never quite reach, but can still imagine.

  • The Price of Taste


    Summer sweat and steam—
    bowl of broth in quiet hands,
    worth more than money


    I’ve been asked, now and then, about the most money I’ve ever spent on a meal. I try to remember—there must have been a dinner somewhere, years ago, where the wine came in crystal glasses and the menu was written in a language nobody at the table could pronounce. I remember the sharp crack of a breadstick, the hush of waiters moving through a room heavy with expectation, the gentle confusion of trying to match fork to plate.

    But when I think of the best meals of my life, the ones that still live in my bones, the price is always a footnote. What comes back is the heat of the day, the ache in my legs, the quiet that follows a long journey.


    Onomichi, early summer. The sun so relentless it felt like you could taste it on your skin, the back of your shirt glued to your spine. I’d just finished cycling from Onomichi to Imabari, my bags heavy with omiyage—tiny boxes of sweets and folded paper cranes, gifts I couldn’t resist. The ferry ride over the Seto Inland Sea, the slow grind of the pedals, the bridges that stretched forever over blue water and whitecaps.

    By the time I made it back to town, I was salt-crusted, starving, delirious with that mix of exhaustion and simple happiness that only comes after a day spent moving under your own power. I wandered into a ramen joint by the station—800 yen for a bowl, cash up front. There was nothing special about the place: formica counters, faded posters, a clock that might have been broken for years.

    But the broth was hot and smoky, the noodles chewy and full of life. I sat in the shade, sweat drying on my arms, listening to the whirr of a fan and the low hum of the chef’s radio. Each bite was a miracle. Not because it was rare, or expensive, or even particularly inventive. It was perfect because I was hungry in all the right ways. The memory of it lingers—an ordinary meal, made extraordinary by the long road before it.


    It’s the same kind of memory that finds me when I think back to Ljubljana in the 2000s, when I was a student and the nights seemed longer than the days. After the bars closed and the streets emptied, there was always the burek stand by the river. Fifty cents—less than a cup of coffee now—for a warm slab of pastry stuffed with cheese, meat, or potato, wrapped in greasy paper. We’d sit on the curb, knees tucked to our chests, steam rising from the food, laughter echoing off the stone.

    It didn’t matter that we had nothing—no money, no real plans, just the easy camaraderie of being young and in-between. The best meals, I’ve learned, are always a kind of accident. They happen when you’re tired, or lost, or with people who see you clearly. Money doesn’t buy those moments. Sometimes, it gets in the way.


    There have been other meals, of course. Birthdays in quiet restaurants, a tasting menu in Paris paid for with a week’s wages, a celebratory dinner after a job offer. The food was beautiful, the plates a gallery of color and ambition. But the memory is softer, somehow, blurred by expectation and the slow churn of time.

    I think about this often, the strange arithmetic of value and pleasure. The world tells us that the best things are the rarest, the most expensive, the hardest to get. But my heart keeps returning to cheap ramen after a long ride, burek at dawn, bread and cheese on a park bench with someone you love. The flavor is memory, and memory is always seasoned by context—heat, fatigue, laughter, longing.

    The world will always tempt you with the idea that satisfaction lies just beyond your reach: a better restaurant, a higher price, something that proves you’ve made it. But real satisfaction, I’ve found, is not a matter of cost, but of presence. If you can learn to want less, to savor more, to notice the company and the moment, every meal becomes a feast.

    That’s the wabi-sabi lesson—beauty in the imperfect, the worn, the simple. A chipped bowl on a hot day can hold more happiness than any starched tablecloth or silver spoon. The memory that lingers is not of perfection, but of a moment lived fully, hunger meeting comfort in a way that feels honest.

    You don’t need to chase every new desire, or spend your way into happiness. Sometimes the most valuable thing is to stop, look around, and realize you have enough. Maybe even more than enough.


    If you’ve ever had a meal that cost nothing but meant everything, subscribe. There’s more to share in these small stories—steam, sweat, good company, and the quiet magic of enough.

  • Headlines, Dopamine, and the Quiet World

    wabisabi of human life


    Old newsprint curling
    words pile, unused and weightless—
    the silence unfolds


    This morning I opened the news app on my phone, thumb scrolling without much purpose, and landed on an article about a new roundabout being installed on the outskirts of a small town in northern Switzerland. The photo showed four men in high-visibility vests, arms folded, squinting at a patch of gravel where the old traffic light had once stood. The story itself was breathtakingly uninteresting: construction delays, mild confusion about the signage, a quote from a local councilwoman about “increasing traffic efficiency for the next generation.”

    I stared at the photo for a long time, waiting for my brain to care. It didn’t.

    But something in the blandness of it all lingered as I drank my coffee, the bitter taste more interesting than the news itself. Why did I even open the app? Why did I read this story—why read any of them? In that moment, a memory from my teens flickered up, as if summoned by the emptiness.


    When I was sixteen, I read a self-help book that claimed the world would be better off if more people stopped reading newspapers. The author—a retired businessman, I think, who looked annoyingly content in his dust jacket photo—insisted he hadn’t read the news in decades. “I only scan the headlines,” he wrote. “If something truly matters, it will find its way to me.”

    At the time, this seemed both rebellious and deeply irresponsible. How could anyone willingly ignore the world? I was hungry for information, as most young people are, wanting to know everything, everywhere, all at once. I devoured newspapers, magazines, radio, the bottomless forums of the early internet. Each day I built my own mental mosaic of facts and outrage. I knew about airline disasters in Malaysia, election fraud in obscure provinces, a heatwave in southern France. If a starlet tripped on her dress at the Oscars, I knew that too.

    But somewhere in those years, a quiet fatigue set in. The headlines blurred together. The stories repeated: disaster, outrage, miracle, repeat. I began to notice how little control I had over any of it, how the news never seemed to resolve—only accumulate, like dust in the corners of a forgotten room.


    Looking back, I see it wasn’t just about the news. It was about my brain—our brains—not being evolved for this kind of relentless input. We are built for stories, yes, but stories with endings, characters we might meet, choices that matter. The news, as it is now, is more like weather: constant, changeable, rarely actionable. It left me restless, unable to act but unable to look away.

    Over time, I found myself taking the self-help advice, almost by accident. I stopped reading entire articles. I let most headlines drift past. Some mornings, I didn’t check the news at all. And a strange thing happened: I noticed more silence in my days. I felt lighter, less entangled in things I could not change.


    But silence, I realized, is not just an absence—it is an invitation. In the quiet, other cravings emerge. My phone became a companion, always offering something: a message, a photo, a new app. Sometimes, late at night, I would catch myself refreshing the newsfeed, searching for stimulation, even as my mind pleaded for sleep.

    It took years, and a long detour through distraction and mild compulsion, to understand what was happening. Each notification, each headline, was a hit—a small surge of interest, anticipation, disappointment. I started to see the pattern in myself, and in everyone around me. At the tram stop in Bern, ten people waiting for the Number 9, all eyes on their screens, flicking through their own private weather of news and novelty.

    Dopamine, though I didn’t know the word for it then, was the culprit. Not a villain, just a chemical—one that kept me seeking, reaching, never quite satisfied. It wasn’t just the news: it was everything. The urge to check messages, to snack, to scroll, to click. A brain built to forage in forests now lost in an endless field of easy pleasure.


    The problem, I learned, was not pleasure itself but the imbalance it creates. Too much seeking, too little stillness, and the baseline shifts. What once brought joy—a surprise letter, a meaningful article, a walk with a friend—starts to feel bland, insufficient. The brain, hungry for more, finds less and less to enjoy.

    I began to experiment, almost playfully, with small acts of deprivation. A day without news, a week without social media. A weekend where the phone stayed at home, and I wandered the city with only a notebook and the sound of my own footsteps. The discomfort at first was real, almost physical. I noticed how often my hand reached for the phantom device. I felt, for a while, like I was missing out, falling behind, untethered from the world.

    But then, after the withdrawal, something else appeared: a sense of balance. The quiet was no longer empty—it was full. Full of small details, the shape of clouds, the way people spoke in the bakery, the slow drift of afternoon sunlight on the kitchen wall. My mind felt less like a crowded train station and more like a quiet path in the woods.


    Of course, there are days when the old compulsions return. Some news stories catch me, pulling me in, and suddenly I am lost again in the endless feed. Sometimes it is a tragedy, sometimes a scandal, sometimes just the dull comfort of seeing the world spin on, as if my own stillness mattered less in the face of so much motion.

    But now, I try to greet these moments with a kind of radical honesty. I don’t pretend I am above it. I don’t shame myself for falling into the cycle. I simply notice, share the struggle with friends who understand, and let the craving pass. If anything, I am grateful for the awareness—the chance to see how even the most boring news stories can teach us something, if only about the limits of our own attention.

    The truth is, it’s not the headlines themselves that matter, but the rhythms they set in your life. I think back to my teens again, remembering the feeling of needing to know—everything, all the time. My mind was like a radio left on in the background, picking up every signal, every distant storm, static always in the air.

    In those days, I used to sit at the kitchen table with my father. He liked his coffee strong, so black it left a sheen on the cup. Sometimes he’d spread out the newspaper and just look at the front page for a long while. I noticed, after a few years, he rarely turned the page. Once, I asked him why.

    He shrugged, staring into the cup. “Most of it doesn’t change much. If something important happens, you’ll hear it before you read it.”

    At sixteen, I thought that was defeat. Now, I think it was a quiet form of wisdom. There’s only so much noise you can let in before it drowns out everything else.

    The habit stayed with me, but it didn’t come easy. I’d catch myself scanning, collecting, consuming—always reaching for one more piece of information, one more little bite of knowing. Sometimes it was the news; sometimes it was food, or a new show, or even the feeling of checking off another task on a to-do list. The brain learns to chase these small rewards, always looking for the next bright thing.

    But in the background, a dull ache would form. The more I tried to fill the space, the less it seemed to hold. Joy lost its sharpness. A good meal was just another meal. Even a walk in the park, once so restorative, became a backdrop for restless thoughts: What else should I be doing? What might I be missing?

    One autumn in university, I lived in a room just above the tram stop. The trams would come and go all night, their bells marking time, calling out to the city as it slept. I’d wake in the small hours, unable to rest, feeling the urge to reach for my phone, to read or scroll or simply do something, anything, to push away the boredom.

    But that boredom—what I once thought of as emptiness—began to feel different as I leaned into it. At first, there was discomfort, the sense that I was wasting time. But slowly, quietly, other things began to happen. I started to notice the way the tram lights made patterns on my ceiling. I could hear the difference between the first and last train, the hollow clang of the late shift and the eager, high-pitched bell of the morning run.

    Sometimes I would just sit and watch the window, letting my mind drift. No agenda. No headline. In those moments, a kind of balance would return. The world seemed less hungry, and so did I.


    There is a café in Basel I visit when I need to be reminded of this. It’s on a side street, a place with yellowed walls and chipped mugs, where the menu changes but the people do not. Most mornings, the regulars come in, order the same thing they always do, and spend an hour or more simply sitting. Some read, but more often they just watch—people, the weather, the play of light through old glass. There’s an older man who keeps a notebook in front of him, but never seems to write in it. Once, I asked him about it. He said, “I bring it so I have an excuse to be here, doing nothing.”

    There is a discipline in that kind of stillness, and I am still learning it.


    The most surprising thing about less stimulation is how pain comes up—not dramatic pain, but the small aches you’ve been ignoring. You notice the restless leg, the tightness in your chest, the regrets and unsolved problems you kept at bay with distraction. At first, it feels wrong, like turning up the volume on a song you never wanted to hear.

    But, like a muscle stretched after years of neglect, the discomfort softens if you let it be. I learned this on long walks, especially after moving to Bern. Some days I would set out with no goal, just to see where the river went, to notice the city slowly uncurling into spring. The first twenty minutes were always the hardest—my mind would reach for my phone, or invent errands to interrupt the silence. But if I kept walking, something changed. Thoughts came and went, sometimes sharp, sometimes gentle. Old anxieties would surface, but if I didn’t flinch, they’d pass through, leaving a kind of bright emptiness behind.

    There were days when I’d walk for hours, come home, and find the world not smaller, but bigger. I could enjoy a cup of tea, really taste it. I could listen to music and feel the notes as they moved through me, not just as background noise. The headlines waited, of course, but they felt smaller too, more manageable, like weather patterns I could notice without stepping outside into the storm.


    I sometimes wonder what it would be like to cut away all the stimulation for good—no phone, no news, no screens. I imagine the initial relief, followed by an ache, then perhaps something like real joy. But the world does not allow for easy escapes. Instead, I practice small renunciations—an hour here, a morning there. I build pockets of quiet into my days, like hidden courtyards in the city, places only I know.

    There are friends who don’t understand this, who marvel at my “discipline.” They say, “I could never do that. I’d be bored out of my mind.” Maybe they’re right. Or maybe, beneath the boredom, they’d find something else—patience, or even peace.

    A Japanese friend once told me the story of monks who sweep the temple courtyard every morning, whether or not it needs sweeping. “It’s not about the leaves,” he said. “It’s about the habit. The discipline. The chance to notice something new every day, even if it looks the same as yesterday.”

    That’s what this feels like: a quiet habit, sweeping away the clutter so I can see the stones beneath.


    Sometimes, the news finds its way in. The other day, an article about a famous singer’s divorce. Another about a new diet craze. My mind still wants to leap, to comment, to worry. But now, more often, I let the stories go. I picture them as birds at the window: interesting, but not mine to keep.

    Instead, I talk with friends about real things—the weather, our families, the taste of bread, the struggle to stay hopeful in a difficult year. These conversations ground me. They remind me that the world is made of small, slow moments, not headlines. Meaning grows out of what we tend and care for, not what we chase.

    Sometimes I wonder if my brain misses the chaos—the flood of headlines, the endless list of stories I’ll never finish. But as the seasons pass, I notice something else growing in its place: a patient curiosity. Not the frantic hunger of my youth, but something slower, quieter. An urge to know, but only what is truly mine to know.

    One autumn morning, walking along the Aare with the leaves just starting to curl and fall, I passed an old man feeding ducks by the riverbank. He tossed crumbs with a deliberate slowness, waiting for the birds to come to him. He didn’t check his phone. He didn’t rush. I sat beside him, quietly. We watched the river move, the city waking up on the other side. For a long time, neither of us spoke. When he finally turned to me, he said, “They always find the food. You just have to be patient.”

    Afterwards, I thought of all the stories I’d missed that day—politicians arguing, celebrities breaking up, experts warning of another crisis. And I realized none of it mattered, not here, not with the river flowing on and the ducks making slow, simple work of breakfast.

    That evening, back in my apartment, I made tea and sat at the window. I thought about the pain-pleasure balance the world offers: how every moment of craving or distraction tips us a little further from ourselves, and how every act of sitting with discomfort brings us back. There is no perfect stillness, no permanent escape from wanting—but there is the choice, each day, to make room for a different kind of satisfaction.

    Sometimes it’s as easy as sitting for a few minutes before the noise begins. Sometimes it’s a walk with a friend, a cup of coffee savored without urgency, the quiet courage of turning off the screen and letting your mind wander wherever it pleases. These are not grand solutions. They will not change the world overnight. But they change the shape of your day, and in time, the shape of your life.

    The longer I live, the more convinced I am that true happiness is not a headline, but a slow accumulation of small, meaningful efforts—facing discomfort, telling the truth about our cravings, building tiny habits of presence and care. We are all, in some way, addicted to noise, but we are also capable of profound quiet.

    And so I leave you, reader, with this:
    Tomorrow, when the world tries to pull you into its current, let yourself pause. Watch the light on the wall. Listen for the birds. Notice the silence beneath the noise, and see what you find there. Maybe you’ll discover, as I have, that happiness was never about knowing everything, but about caring deeply for the few things that are truly yours.

    If this quiet feels familiar—if you, too, are learning to live gently with your own mind—subscribe. I’ll keep writing for those who know that sometimes the most interesting story is the one you’re living now, far from the headlines, in the small spaces where meaning grows.


    The news keeps coming, always. The roundabout in Switzerland will be finished, or maybe delayed again. But the world—your world—waits for you in the pause, in the breath, in the patient work of simply being here.


    Thank you for reading.

  • The Unfinished Morning


    Hot steel, rattling—
    two strangers ride the morning, pages open slow


    The day had the sticky heaviness of an August afternoon, though it was only May. I could feel the weight of the heat pressing on my forehead as I stepped out of the theater in St. Gallen. The last threads of a velvet curtain had snagged my sleeve; my hands smelled faintly of glue and dust. My friend, Marlene, was somewhere inside, still arguing with the director about a collar that was, in her words, “historically accurate, but emotionally absurd.”

    She’d left me a heap of costumes to bring back to Basel. A fox mask with a broken ear. A box of ancient shoes. Two black bags bursting with rough linen and the memory of last night’s sweat. I didn’t complain. Carrying someone else’s burden sometimes feels like the most honest thing you can do.

    The walk to the train station was short, but long enough for the sweat to gather at my collar and for my thoughts to unravel into their usual knots. St. Gallen’s old city was nearly empty at this hour—just a thin gray cat winding between bicycle racks, and the sun smudging the edges of every shadow.

    The SBB train was waiting, humming with impatience. I found a seat by the window in a half-full carriage, wedged the costumes awkwardly into the overhead rack, and collapsed against the faded upholstery. For a moment, I thought about reading. I pulled a paperback from my bag—Hard-Boiled Wonderland and the End of the World, the Swiss edition, a battered copy I’d found at a flea market in Bern. Its corners were soft, the spine broken in two places. I opened to a page at random, just to anchor myself. The train lurched forward.

    Across from me, two men were already deep in conversation, though their voices were low, casual. The one nearest the window wore pressed trousers and a thin blue shirt, sleeves rolled, hair combed neatly back. His shoes were the kind you buy when you want to look comfortable and wealthy at the same time. The other man—slighter, hair unruly, with a rucksack at his feet—was fidgeting with the edge of his seat.

    I pretended to read. But their conversation, at first just a hum, soon began to settle into the rhythm of my own thoughts.


    “I always thought mornings were meant to be productive,” the anxious one said. “Make a list, get ahead, check things off.”

    The calm man sipped from a water bottle. “You can start that way. But it doesn’t last. The day always finds a way to take what you give it. I prefer to begin with nothing.”

    “Nothing?”

    He nodded, looking past his own reflection into the blur of green fields. “Nothing but sitting. Maybe some tea. I don’t let my mind wander too far. I try not to think of work. I just… let myself be in the room. Sometimes I close my eyes. Sometimes I just watch the light come up the wall.”

    The anxious one glanced at his phone, as if it were a lifeline. “Don’t you feel like you’re wasting time? There’s always something I could be doing.”

    The calm man shrugged. “Time isn’t lost if you’re living inside it.”


    A pause, heavy as a held breath. I found myself rereading the same paragraph, the words slipping out of meaning and into the background music of the carriage:
    Even the deepest sleep isn’t perfect. The heart keeps watch. And in the world behind your eyes, the light never really goes out.

    I wondered if the calm man would say something about meditation, or breathing, or the kind of spiritual discipline you hear about from people who grew up in old houses with thick walls and too many clocks. But he just smiled, hands folded in his lap.

    “When I was younger,” he said, “I tried to win every morning. I’d rush, fill it with emails, calls, messages—try to trick myself into feeling accomplished. But the more I did, the emptier the day felt by the end.”

    The anxious one sighed. “Sometimes I feel like the only time I’m really myself is when I’m too tired to care what comes next.”


    A woman in a red coat passed through the carriage, collecting trash. The anxious man tossed his coffee cup into her bag with a muttered apology. The train rattled through a tunnel, and the world outside became a flickering film of black and gold.

    I turned a page, but found myself drifting back into their orbit.


    “So what do you do, really?” the anxious one asked.

    “I teach. Literature. I used to think the point was to fill the students with facts. Now I just try to get them to read, really read, for half an hour a day.”

    The anxious man frowned. “Half an hour doesn’t seem like much.”

    “It’s enough, if it’s real. Most people go their whole lives without ever giving a single moment their full attention. Half an hour is a lifetime if you do it right.”

    A silence settled. I thought of the book in my hand, of all the mornings I’d promised myself I’d read before the day took over, and how often I’d failed. The page before me was full of crows and a locked gate. I closed it softly.


    The fields outside had turned to forest. The sun was dipping, yellow and hot. Sweat prickled at the back of my neck. I watched as the anxious man, almost unconsciously, reached into his own bag and pulled out a slim volume—Rilke, Letters to a Young Poet. He held it as if it might vanish if he let go.

    The teacher noticed, but said nothing for a while.


    The train slowed. Cows grazed near a low wall. A pond flashed silver in the heat.

    “You know,” the teacher said, “the happiest people I know all have a habit that’s only theirs. A thing they do, no matter what the world asks of them.”

    “Like your mornings?”

    “Like my mornings,” he agreed. “But it could be anything. Some people run. Some people cook. Some people walk until their shoes fall apart. The important thing is that it’s not for anyone else. It’s a place where you can remember who you are, before the day tells you who to be.”

    The anxious man looked at the book in his hands, then back at the window. “I used to write letters to myself. Stopped when life got too busy.”

    The teacher nodded. “Maybe it’s time to start again.”


    The conversation slipped back into silence. The anxious man began to read. I watched as the words softened his face, the tightness leaving his jaw, his breath deepening. The teacher gazed out at the fields, the shadow of a smile on his lips.

    I closed my own book and just watched the world slip by, for once not worried about what came next.

    The train swayed, rocking us back into ourselves. For a while, the teacher and his companion fell quiet—one reading, the other simply watching the sun’s slow descent through the leaves. I pressed my shoulder against the window, let the city of St. Gallen recede, and focused on the present: the faint tang of sweat from my collar, the soft scratch of a pencil as the anxious man underlined a phrase, the hum of air conditioning struggling against the heat.

    I tried to summon the patience to read again, but the words on the page seemed to belong to a different afternoon, a cooler one, where the world was less insistent. Instead, I let myself drift, as if I, too, were one of those Murakami characters: observer, drifter, somehow present but not quite anchored.

    A memory surfaced, unexpected. I was a child again, lying in the back garden of my family’s house in Slovenia, summer sun soaking into my skin, listening to my mother moving quietly in the kitchen. I remembered the way she would pause at the window every morning, just watching the sparrows fight over crumbs on the terrace. She never rushed that moment, never apologized for it. It was hers, untranslatable, ordinary and holy at once.

    Back on the train, the anxious man shut his book, holding it in his lap. He tapped the cover with a thoughtful finger.

    “You ever feel like everything’s waiting for you to move, but you’d rather just… not?” he asked, not exactly to the teacher, not exactly to anyone.

    The teacher smiled, lines creasing around his mouth. “Sometimes the world wants you to keep moving because it’s afraid you’ll see how little you actually need to do.”

    The anxious man glanced sideways. “And you really just… sit? Every day?”

    “Every day I can. Some mornings, the habit gets away from me. The noise wins. But I always come back. It’s like a promise you make to yourself—one you keep or break, but it’s yours.”

    The anxious man looked as if he might laugh or cry. “I used to think happiness would come if I worked harder, set more goals. But every time I got close to something, the goal would move. The satisfaction always slipped away.”

    The teacher nodded, as if he’d heard this before, from students, friends, perhaps even himself. “The trick is not to chase the goal, but to chase the habit. Build the thing that brings you quiet, then let the rest sort itself out.”


    The train rolled through another small station—Wil, maybe, or Uzwil—where a couple with backpacks hurried onto the platform, already late for something. The teacher watched them through the window, then turned back.

    “You know,” he said, “I didn’t always have this. There was a time when my mornings belonged to everyone but me—school, emails, phone calls, all the little fires that needed putting out. I was good at it, too. Efficient. But every day felt thinner, like I was trading something precious for something urgent.”

    He paused, finding the words. “I started waking up earlier, just to steal back ten minutes. That was all I could manage. At first, I was just tired. But eventually, it became easier. I started to look forward to it. Sometimes, I’d just listen to the birds. Sometimes, I’d write a single sentence in a notebook. Sometimes, nothing at all.”

    The anxious man smiled. “Ten minutes.”

    “Ten minutes is a lifetime if you’re really present.”

    The teacher glanced at the book in the other man’s lap. “What did you underline?”

    A flush of embarrassment, but he opened the book, reading aloud softly:
    “The only journey is the one within.”

    The teacher nodded. “That’s the habit. That’s all any of us really have.”


    The train’s rhythm smoothed out. Light flickered across the ceiling, the world outside blurring as fields gave way to the first hints of Zurich’s outer neighborhoods.

    The anxious man tucked the book away, as if he’d made some small, private decision. “Maybe I’ll try it tomorrow,” he said. “Sit. Not for the news. Not for anyone. Just to see what’s left when everything else falls away.”

    The teacher’s eyes warmed. “That’s the beginning of every good thing.”

    They lapsed into silence, but it was different now—softer, more generous. I found myself wanting to thank them, though I had no part in the conversation, only the privilege of listening in. Outside, the sky had gone lavender, and in the distance, church bells counted out the hour.


    Later, as we neared Basel, the two men gathered their things, exchanged a quiet handshake—strangers who might never meet again, but who had shared something all the same. The anxious man walked a little lighter, as if the weight of his thoughts had lessened just enough to notice.

    I stood on the platform, costumes heavy in my arms, and watched the crowds dissolve into the city. I wondered what small habit I would claim for myself, what piece of the day I might save from the rush, what joy might grow if I gave it room.

    And as I walked home beneath the pale lights, I resolved to try—tomorrow, and the day after, and the day after that. Just a little time, just for myself, to see what emerges in the quiet.

    Basel at night is a different kind of city. The river softens its edges. Streetlights glimmer off cobblestones, painting the old facades gold and green. Even the trams move slower, wheels whispering in a language only they remember.

    As I walked home, the costumes on my shoulder no lighter but somehow easier to bear, I kept thinking about those ten minutes. What would I find, sitting with my own silence? Would my mind settle, or would it scatter—restless as a swallow at dusk?

    A light summer rain began to fall—almost invisible, soft as mist—spattering my glasses, making halos of every lamp. I let myself get a little wet, didn’t hurry. I remembered Marlene’s laugh in the theater, the way she could hold two needles and a cigarette in one hand, all the while singing out-of-tune. I remembered mornings in childhood, lying in bed long after I woke, half-listening to my parents move through the kitchen, the house slowly filling with the smell of coffee and bread.

    It struck me that joy is rarely found in the grand gestures—the wild adventure, the perfect plan. More often it’s in the pauses, the unclaimed minutes, the habits we make without realizing: the first sip of coffee, the quiet moment before the world rushes in, the act of carrying something for someone else.

    When I reached my apartment, I put the costumes on the floor and sat by the window. The city glowed below, unknowable, full of strangers and stories and small routines. I set my phone aside, closed my eyes, and let the sounds of Basel drift up—a river, a tram, a distant bell.

    I tried to do nothing. Not for productivity. Not to be better. Just to see what might bloom in the quiet. Ten minutes. No more, no less.

    Later, I wrote in my notebook, the page still warm from my hand:

    All the real benefits in life come from compound interest—money, relationships, habits… even self-reflection.

    Tomorrow, I’ll try again.

    And so might you.


    If you find yourself chasing the day, try saving just a piece of it for yourself. You might be surprised by what comes to meet you in the stillness. If this resonates, subscribe. We’ll keep searching together—one small habit at a time.

  • At the Beginning of Infinity— wabisabi of human life


    Night behind closed doors—
    strange rivers of questions flow
    where language falters


    It was late, nearly midnight, when I first found the Irish bar in Morioka. It was the kind of place you could pass a dozen times without noticing, tucked half a floor below the street, its small window fogged and humming with quiet music. Above the door, a wooden sign read “Patrick’s,” but there was no shamrock, no green neon, just a battered blue bicycle chained to a post outside.

    Maybe it was the rain, or maybe it was a kind of unnamable loneliness that follows you sometimes when you travel solo, but I pushed open the heavy door and stepped in. The place was warm, the walls crowded with faded rugby jerseys and a map of Ireland that had long since curled at the edges. At the counter, a row of empty stools. Behind them, a bartender who looked bored enough to be in two places at once.

    There was one other customer—a man in his late thirties, nursing a pint of Guinness, his jacket folded neatly over the barstool next to him. He was Japanese, hair just starting to thin at the crown, face with that healthy, outdoor glow you only see in people who spend their mornings by the sea. He nodded as I sat down a few stools away.

    The bartender slid me a menu, but I pointed at the tap. “Guinness, please.” The first sip was dark and smooth, a little too cold, but real enough to remind me of the last time I’d drunk Guinness, years ago, in some other city that now felt like a dream.

    For a while, we sat in silence. The only sounds were the muted clink of glasses and a faint hum from the speakers—Van Morrison, maybe, or a band trying to sound like him. I pulled out my book, but only half-heartedly. My thoughts kept drifting to the day—a long train ride from Hakodate, a slow walk across the bridge in the rain, the feeling that everything was new and slightly slippery, as if the city were waiting to see what I’d do next.

    It was the other man who spoke first. His English was careful, almost formal, but with a warmth that made up for its hesitations.

    “Are you… traveling?”

    I nodded. “Passing through. I’ve always wanted to see Morioka in the rain.”

    He smiled, as if that was the most reasonable thing in the world. “I came here from Hachinohe. I am… volleyball coach. My team played match today.”

    “Did you win?”

    He shrugged, then laughed. “No. But it was good match. Good to travel.” He took a long sip of his pint, then studied the foam. “I come to this bar when I am in Morioka. To practice English. Usually, I meet foreigners. Tonight, only you.”

    I grinned. “Tonight, only us.”


    We talked, as strangers do, at first about the safe things: where we’d been, how the city felt at night, whether the Guinness here tasted different from Tokyo. I learned he was a teacher by trade—middle school, mostly science—and that he’d built his own house on a bluff above the sea, so every morning he could wake and watch the sun rise. “Not many people like to live so close to ocean,” he said, voice softening. “Typhoons, salt in the air. But I like the sound. Reminds me to start again each day.”

    We drifted from one subject to the next—Japanese whisky, Irish music, the best ramen in Aomori. The bar filled, emptied, filled again. Sometimes we switched to Japanese, then back to English when he wanted to practice. There was no hurry, no pressure. Just two people sharing a small, warm space on a night when the world outside seemed endless and wet.

    At some point, after a third Guinness, he leaned in and said, “Can I ask you a question?”

    “Of course.”

    “What is it… you are most curious about?” His eyes were serious, and for a moment, I thought he might be asking for himself, not just for me.


    I paused, feeling the weight of the question settle on my tongue. I could have said anything: the mind, the body, why people fall in love, why they drift apart. Instead, I looked around the room—the battered jerseys, the handwritten notes pinned behind the bar, the map with its faded lines—and said, “I’m curious about why things change. Why we keep finding new questions, even when we think we’ve answered the old ones. Why there never seems to be a final answer.”

    He considered this, nodding slowly, as if tasting the words. “When I was young, I wanted to know everything. But now, I think… it is better to be curious than to be finished.” He smiled, the lines at the corners of his eyes deepening. “My students ask questions every day. Sometimes I don’t know answer. But I tell them, that is not a problem. The problem is when we stop asking.”

    I thought about that, about how so much of my life felt like standing at the edge of something infinite. “Do you ever feel like… no matter how much you learn, there’s always more?”

    He nodded, grinning. “Always more. That is why I like sunrise. Every day, the same sun, but never the same sky.”

    We sat in comfortable silence for a while, each of us turning the idea over like a smooth stone.


    After a while, he pulled a small notebook from his jacket pocket. The pages were crammed with English phrases, half-remembered volleyball scores, sketches of houses, and, tucked into the back, a poem about the sea written in careful, looping characters.

    He handed it to me. “I write to remember what I am still learning. I make mistakes, but that is good. Mistakes show me where to look next.”

    I leafed through the pages, careful not to smudge the ink. “I think mistakes are how we move forward. Every time we get something wrong, we’re one step closer to something right.”

    He tapped his glass to mine. “To mistakes, then. And to questions.”

    “To questions,” I echoed.

    We finished our pints. Outside, the rain had stopped, and the city was washed clean, gleaming in the quiet light of the midnight streetlamps.

    Before I left, he said, “If you ever come to Hachinohe, you must visit my house. You can see sunrise. We will ask more questions.”

    I promised I would. I haven’t been yet. But sometimes, in the early morning, when the sky over Bern is just beginning to brighten, I think of that small Irish bar in Morioka, of strangers turning into friends, of mistakes and questions and the beginning of infinity.

  • The Kindest Advice Is the Truest


    A friend’s restless mind
    ripples in a Basel café—
    the cup never cools


    I remember the autumns in Basel as a kind of golden gray. The city always seemed half-awake, its medieval stone bridges draped in the slow mist that rose from the Rhine. The old city was a tangle of tight alleys and secret gardens, places I’d disappear into after a long day in the biology building. Back then, my life was simple: a scholarship, a room overlooking a noisy courtyard, lectures and lab work, and the steady company of books and too much black coffee.

    But it wasn’t the quiet of those days that sticks with me—it’s the noise of other people’s questions. Especially Lucas. He was the kind of friend who never really belonged anywhere, who filled a room with a different idea every week and the nervous energy of someone searching for a door that fit any key.

    We met, as so many friendships begin, by accident. A seminar on stem cells, a shared cigarette in the rain, a joke about biochemistry that somehow survived translation. He wore the same faded brown jacket all autumn, and his notebook was a chaos of business plans, sketches, passwords, grocery lists, and bits of song lyrics he insisted were fragments of genius.

    Our meetings followed no pattern. Sometimes I’d spot him in the library after midnight, eyes red, grinning with that look that meant he’d had a breakthrough or a breakdown—often both. Sometimes we’d end up on the banks of the Rhine, feet dangling above the slow current, watching the lights of Kleinbasel flicker like patient stars.

    But the moment I remember most clearly happened in late October, at a café hidden behind the Marktplatz. The place was always half-empty, with cracked tile floors and tables crowded with chess players and Turkish pensioners. It smelled of burnt sugar and spent espresso grounds.

    Lucas was already there when I arrived, hunched over his laptop, surrounded by scraps of paper and a single, untouched croissant.

    “Let me guess,” I said, setting down my bag. “You’ve started a new thing.”

    He smiled, sheepish. “Three things, actually. But only one’s any good.”

    I looked at the croissant, then at him. “You ever finish a croissant, Lucas?”

    He laughed. “I get distracted.”

    I ordered us coffees. For a while, we sat in companionable silence, listening to the hum of the espresso machine and the soft clack of chess pieces at the next table. Outside, the leaves dragged in the gutter, a slow, swirling dance.


    We talked, as we always did, about everything and nothing. He wanted to build an app for student discounts, launch an online magazine, open a science-themed pop-up bar. He wanted to write a book about the philosophy of the mitochondria, but also maybe just drop out and become a full-time street musician. “I’ve got too many ideas and not enough time,” he confessed.

    I sipped my coffee. “Or maybe you’ve just got too many ideas that aren’t really yours.”

    He blinked. “What do you mean?”

    “Look,” I said, “there’s this thing people don’t talk about enough. Marketing isn’t a puzzle you solve once. It’s not about finding the magic thing that makes everyone pay attention. Marketing is an open problem. The trick isn’t finding the right answer—it’s finding the right answer for you.”

    He shook his head, but there was a pause in his breathing. I pressed on, gently. “Think about it. Some people are born to talk, to make podcasts, to host live events, to fill rooms with stories and jokes. Others are writers—they’d rather disappear into words for days. Some people want to build communities from scratch. Some people want to be left alone with a whiteboard. If you’re going to succeed at anything—if you’re going to build something that lasts—you have to be a little crazy about it. You have to want to do it even when nobody’s watching.”

    Lucas picked at the croissant, finally taking a bite. “So you’re saying I should only start something if I’d do it even if it failed?”

    “Something like that. You have to enjoy the grind. The boring bits, the repetition, the weird moments where you’re alone with your idea and there’s nobody cheering. If you don’t love the work, you won’t last long enough for anyone else to love it either.”

    He nodded, looking out at the drizzle. “I wish someone had told me that sooner.”

    I shrugged. “Maybe someone did. You just weren’t ready to hear it.”


    I told him about my own failures—the blog I’d launched and abandoned, the science communication club that fizzled after three awkward meetings, the talks I gave that left me hollow and self-conscious. I told him about the day I realized I could spend my life chasing the next big thing, or I could just dig deep into what I already loved: biology, the small details of life, the puzzle of how things fit together.

    “You want to be a marketer?” I said. “Market what you can’t help but talk about. If you love writing, write. If you love teaching, teach. If you love arguing, argue. But don’t try to force yourself into someone else’s shoes. They’ll never fit.”

    We finished our coffees, and the sky cleared just enough for a square of light to fall on the chessboard. For a long time, we watched the old men play, neither of us needing to fill the silence.


    That conversation didn’t transform Lucas overnight. He still bounced from idea to idea, but I noticed he began to look for fit rather than novelty. A few weeks later, he found work at the Natural History Museum, designing workshops for kids and families. He wrote me an email: “It’s not glamorous, but I could do this for a decade and not get bored.” I believed him.

    Years passed, but we stayed in touch—short notes, photos of the Rhine in winter, a new business card every other year. Each time, I saw a little more patience in him, a little less of that hungry, nervous energy.


    Looking back, I know the real act of kindness wasn’t advice, but attention. I listened, and in listening I held up a mirror. I reminded him that the world isn’t looking for another copy of what already works; it’s waiting for the thing only you can do. I offered him permission—not to chase what was popular, but to chase what was real for him.


    But there’s another truth that I only realized later: Sometimes, the advice you give others is the lesson you most need for yourself.

    For a long time, I thought I needed to be more than I was—smarter, bolder, more ambitious, less anxious. I thought the world wanted grand gestures. It took years, and a hundred quiet moments like that café afternoon, to see that what matters isn’t how big your idea is, but how honestly you can live inside it.

    I learned, slowly, to choose the path that felt most like home: the steady, curious work of science, the patient act of explaining, the quiet rhythm of writing. Sometimes I still get distracted, chasing someone else’s definition of success. But when I catch myself, I remember that rainy day in Basel, the chess players, the cold croissant, and the kindness of attention.


    The world is full of open problems, endless ways to market, sell, persuade. The only real mistake is to forget that the solution starts with you: what you love, what you’d do if no one paid you, what you’d wake up wanting to do even if every last person had stopped watching.

    Lucas taught me that. Or maybe, together, we taught each other.


    If you ever find yourself bouncing from project to project, uncertain where to dig in, pause. Ask yourself: Where do I lose track of time? What work feels like play? Where does effort become joy? That’s your sign. That’s where you belong.

    And if this story finds you, subscribe. I’ll keep writing—about friends, failures, half-finished croissants, and the small, quiet ways we help each other find the work that’s ours alone.

  • The Scientist, the Cyclist, and the Shape of Memory


    The fog holds secrets—
    in every slow, borrowed step
    we become ourselves


    If you were to ask me, on an ordinary evening, how I would describe myself to someone who couldn’t see me, I’d hesitate. The words wouldn’t come easily. Not because I lack things to say, but because I no longer believe you can draw a life in straight lines.

    I am a sum of moments—some loud, most quiet. A constellation of small rituals, vanished cities, borrowed phrases, and stubborn hope. More than anything, I am the product of encounters: people who have shaped me, even when I didn’t know it. If you really want to know me, let me tell you about Birmingham, about a tree, and about Mark.


    Aston University. It’s always damp in my memory—always November, always the sky bruised with old rain. My dormitory was a cube of bricks, clinging to the edge of the city, each hallway scented with boiled cabbage and mildew. You learned not to dry your laundry inside, or your shirts would gather a sourness that never quite faded.

    My window faced a narrow canal, its water the color of weak tea. Sometimes at night, the wind would slap the pane, and I’d lie awake and listen for footsteps on the path below. I was twenty, still shedding the nervousness of a first life away from home. My routines were simple—lectures in the morning, endless cups of instant coffee, cycling along the canals when the weather held.

    It was in this bleak, beautiful inertia that Mark appeared. He was a pharmacist by training, but a cyclist by soul. “One pays the bills,” he’d shrug, “the other lets me forget the bills exist.” He was older than us, mid-thirties or early forties, but he wore his years lightly. His eyes always held the distant spark of someone already halfway out the door.

    He’d been many things, in many places: a chemist behind a cluttered counter in Leicester, a volunteer in a Spanish hospice, a sous-chef in Paris “for six confusing weeks.” He’d once lived in a Buddhist temple, and biked through Poland with nothing but a sleeping bag, a paperback, and a patch kit. He always carried that sense of gentle rootlessness with him—a man at ease in impermanence, never bound but never lost.


    Our first real conversation was at a public lecture on neuropharmacology. I’d come for the free biscuits, and because the dorm was cold. Mark was at the edge of the room, coat hanging from one shoulder, scribbling notes in the margin of a mystery novel. He nodded as I sat, offered a biscuit, and asked what I thought of dopamine. I muttered something about reward systems, feeling like a fraud. He laughed, “No one ever understands dopamine on their first try. Or their last. That’s what makes it worth studying.”

    He walked me back through the city’s puddled streets. We talked about science and poetry, about the best places for strong coffee and the worst bicycle lanes in the Midlands. I liked his questions; they made you dig. He didn’t care for easy answers.

    Not long after, he joined our group beneath the Parliament oak—an ancient, sprawling tree at the edge of campus, its roots carving up the grass. We’d meet there, huddled in scarves, passing a flask of tea or something stronger, watching the seasons blur the boundaries of the city.


    Mark listened more than he spoke, but when he did speak, he offered pieces of himself, handed over like small coins. “Everyone you sit with under this tree will live on in you,” he said one cold evening, steam from his thermos curling up into the branches. “You might not notice it now, but years from now, you’ll catch yourself using someone’s phrase, or laughing in a way that isn’t quite yours. We’re all collages. The more generous the company, the richer the mosaic.”

    I remember being skeptical. I was still living in the illusion of the self as a finished project, a completed sculpture. But Birmingham, and Mark, worked on me slowly, like rain on stone.


    Dorm life was a kind of purgatory. Our building held the humidity of ten thousand showers, and my room was never quite dry. My shoes, lined by the radiator, steamed every morning. I shared a kitchen with a diabetic woman who burned every meal, and a philosophy student who wrote manifestos in the condensation on the window.

    Mark never complained about the damp. He said it reminded him of childhood in Wales, “where even the sun comes out reluctantly.” He visited often, bringing books or a half-loaf of sourdough, and we’d talk through the night, interrupted by the rumble of trains and the soft cough of someone smoking in the stairwell.

    His advice was always indirect, almost accidental. If I griped about a failed exam or a friend’s betrayal, he’d listen, then say, “Let yourself feel it, but don’t build a home there. Pain is like English weather—it’s always moving on.”

    He talked about consciousness the way some people talk about weather or food—casually, but with awe. “You’ll find,” he said one rainy day, “that most people are just trying to move up the pyramid. Some days you’re stuck in fog, wrestling with old shame or guilt, and others, you’re standing in bright, open air—joy, acceptance, a kind of weightless peace. The trick isn’t to climb and stay there. The trick is to notice where you are, and greet each day with a little curiosity.”


    We rode bikes together on weekends, Mark always several gears ahead, slowing down only when I lagged. He wore a faded cycling cap, legs browned and scarred from old falls. He loved to chase the edge of his own exhaustion. “There’s a consciousness in pain,” he’d say, cresting a hill, “a way the world narrows and clarifies. Most people avoid it, but it’s where you really learn.”

    It was on those rides that I saw the other side of him—a wry humor, an appetite for simple things. He knew the best bakery for apple turnovers, the secret underpasses that skirted traffic, the precise hour when the canal’s reflection turned gold. We’d stop on bridges, wind roaring, and he’d point out a heron or tell a story about his father, a coal miner with a genius for practical jokes.

    Back at the dorm, I tried to carry a piece of his presence into my routines. I kept a notebook for questions—about science, about the people I loved, about what kind of person I wanted to be. I paid attention to the small things: the warmth of clean sheets after a rainy ride, the taste of coffee with a dash of cinnamon, the slow, quiet company of someone who didn’t need to fill the silence.


    The years moved on. Exams, heartbreaks, late-night calls home to Slovenia. Mark was always near but never needy. He seemed to know when to step back and when to nudge you forward. Sometimes I wondered what he was running from, or whether he’d ever really belonged anywhere. But he was always generous with his stories, even the hard ones.

    One winter, his emails grew shorter. He canceled a few rides, blamed a pulled muscle, then a cold. I didn’t push. It wasn’t until summer, after months of silence, that someone told me Mark had passed away. Spinal cancer, they said. He’d known for a while, kept it close.

    I learned later that he’d left a note for our group under the Parliament oak, tucked in a tin with a worn-out bicycle chain and a book of poetry. In it, he’d written: “You’re all made of more than you know. Don’t waste too much time worrying about what you lack. Learn to notice what you’ve kept. And keep passing it on.”


    If you were to ask me today who I am, I’d answer with a memory of rain on window panes and the soft thud of a bicycle against the dormitory wall. I am patched together from slow walks and silent meals, from the wisdom of a pharmacist who never stopped being a student, from the laughter and loss of a half-dozen friends who gathered under a tree and promised to remember each other.

    I’ve spent years moving up and down that scale of consciousness—sometimes stuck in guilt, sometimes basking in acceptance, sometimes, rarely, catching a glimpse of the place called peace. I know now that you don’t stay at the top. You visit, and you bring back what you can—kindness, patience, a little more light.

    Mark’s voice is gone, but I carry his presence, especially in the damp and fog. When I wipe condensation from the window or bike through puddles, I remember what he taught me: that consciousness is practice, not destination. That the traditions we inherit—patience, curiosity, gentle humor—are the real shape of self.


    I am not easy to describe, nor do I wish to be. But if you’re reading this, maybe you’ll understand: I am a story told by many voices, the echo of a friend’s advice, the weight of a mentor’s absence, the memory of sunlight breaking through a Birmingham fog.

    If this finds you drifting between places, or longing for an anchor in the soft uncertainty of things, subscribe. We’ll share the shade of this digital oak together, trading small wisdoms, collecting rain, letting the story grow.

  • The Traditions We Leave Behind


    dust on old boxes—
    echoes of hands that shaped melinger in the light


    When I was a child, Sunday mornings began the same way. It didn’t matter if rain lashed the red-tiled roof or if sunlight tumbled in through the kitchen window, chasing the sleepy goldfish shadows on the linoleum. My parents would be at the kitchen table, a chipped enamel teapot between them, sorting coins into little piles for the week ahead.

    There was a peculiar gravity to the ritual, as if time slowed in those early hours. My mother, still in her robe, hair tied back with a faded green ribbon, would hum old Slovenian folk songs—her voice sometimes thin, sometimes fierce, the melody rising and falling with the mood of the house. My father sat opposite, thick fingers clumsy over the coins but patient as ever, telling stories about flour rationing or how neighbors once traded jam for shoe repair.

    Sometimes my sister and I would join them, not for the coins but for the comfort—the heat of the teapot, the soft dough rising on the stove for that day’s bread, the certainty that, for this moment, nothing else was expected of us. The coins clicked against the chipped plate, and the world outside—school, storms, politics, the endless tension between East and West—remained at bay.

    The ritual wasn’t about money, not really. It was about presence, about facing what you had and making peace with what you didn’t. It was about moving through each week with a kind of deliberate humility, eyes open to both the lack and the abundance. I never understood that as a child. I only knew the morning felt anchored and whole.

    Years later, after university and a blur of moves that took me from Ljubljana to Graz, and eventually to Bern, I found myself haunted by the memory of those Sundays. Mornings in Bern are quieter—no wood stove, no scent of fresh bread rising, only the distant rush of trams and the soft clatter of bicycle wheels on cobblestones. My apartment is filled with the useful clutter of adulthood: notebooks, half-finished mugs of coffee, the constant pulse of devices. There’s always something to do. Always a bill to pay or an email to answer.

    I catch myself walking past my own kitchen table without pausing. Most days I take my coffee standing, scroll news on my phone, let the hours slip by in a kind of half-attention. I don’t sort coins. I tap my phone and watch numbers flicker on a screen—groceries, electricity, rent—all automated, frictionless, silent. The discipline of that old ritual is gone.

    It’s not that life is worse now; if anything, it’s more comfortable. Yet sometimes, in the hush between tasks, I wonder what was lost in the trade. My parents’ tradition, born from necessity and patience, has faded in the shadow of convenience. I wonder if presence—real, gritty, wabi-sabi presence—requires friction. If ease and speed, for all their gifts, erode the careful balance between enough and too much.


    When I was home in Slovenia last spring, I found an old shoebox on a shelf above the cellar stairs. Inside were rolls of coins, some tied in brittle rubber bands, others loose. There were notes too—grocery lists from my mother, penciled calculations by my father, the faded stamp of a bakery he used to visit every Friday before work. I sat on the cold floor and ran my fingers over the coins, their edges smooth from decades of passing through so many hands.

    A memory floated up, clear as the river behind our house. My father, kneeling in the dirt garden, showing me how to count out seeds for planting—one for the earth, one for the birds, one for luck. “It’s not just money you count,” he’d said, brushing earth from his hands. “It’s everything. Seeds, hours, favors. You keep track, even when you’re not sure why. Someday you’ll be glad you did.”

    Back in Bern, the memory stayed with me, looping quietly behind daily routines. I’d pause over the washing machine, remember how my mother would ration detergent—one spoonful less, so it’d last through the week. I’d walk to the market and recall my parents weighing potatoes, choosing the imperfect ones because they cooked down sweeter. Their rituals weren’t just about thrift—they were about care, about seeing the world as something you were responsible for, even in the smallest ways.


    There’s a jar of coins on my desk now. Not because I need them, but as a kind of touchstone. Some mornings, I tip the coins out, watch them scatter, pick out a few to buy bread or pay for coffee. It’s a pointless gesture, maybe, but I like the sound—the soft clink, the gentle assertion that life is measured, in part, by the rituals we keep.

    Still, most mornings are quiet, unremarkable. I drink coffee by the window, watch people pass below, wonder what invisible traditions guide their days. My neighbors, a young couple from Italy, set aside Tuesday evenings for making fresh pasta, inviting whoever happens to be free. The old man across the hall waters his plants every Sunday at exactly eight, humming a Schubert waltz as he moves from room to room. We build new rituals, almost by accident, as the old ones slip away.


    A wise friend once said to me over lunch, “You can’t build a good life by accident. You have to see it clearly, make conscious choices, and let small, good habits compound quietly, day after day.” It sounded simple, but it landed with the weight of truth. That’s the lesson hidden in my parents’ ritual—even if the ritual itself didn’t survive my move to the city, my tumble into modern convenience.

    There’s a kind of quiet, wabi-sabi wisdom in accepting that some traditions disappear for good reason. The world changes. The pace quickens. We trade coins for swipes, conversations for clicks. And yet, even as old habits fade, the impulse behind them—the need for presence, for deliberate attention, for gratitude—remains. Sometimes, what’s worth keeping isn’t the ritual itself, but the spirit that animated it.

    I try to carry that forward, imperfectly. Once a month, I balance my accounts by hand, scribbling numbers in a paper notebook, just to feel the weight of each choice. Some days I pause over a loaf of bread, break it with a friend, share a story about old coins and early mornings. I keep a single, chipped teacup in my cupboard, saved from my parents’ kitchen, as a daily reminder of the mornings that shaped me.


    Tradition changes shape, sometimes vanishing altogether, but its echo lingers if you listen for it. In summer, when the world slows and the days stretch long into evening, I sometimes walk to the river and count the ripples, think about the way time carries us forward, each hour slipping into the next.

    There are other traditions I haven’t kept. My father’s practice of mending shoes—patching soles and polishing leather until they shone. My mother’s Sunday soup, simmered all day from bones and root vegetables, the house filling with the smell of patience. The village custom of knocking on doors with gifts of apples in autumn. I miss these, too, but I don’t regret their loss. New customs grow in their place—city walks, text messages that span continents, potluck dinners with friends from everywhere and nowhere.

    I’ve learned to see ritual not as something fixed, but as a living thing. It grows, it withers, it flowers in unexpected places. The important thing is not to cling to the form, but to honor the need: for presence, for gratitude, for connection.


    Some nights, I catch myself wishing for one more Sunday morning at that old table—coins clicking, teapot steaming, the soft hum of my mother’s song floating through the kitchen. But then I remember what those mornings gave me: the patience to pause, the courage to count what matters, the wisdom to let go of what doesn’t.

    If you find yourself longing for a tradition you’ve lost, or worrying about the ones you never kept, remember: what matters is not the ritual itself, but the attention you bring to this moment. The tradition of presence is always available, wherever you are.

    If this resonates, subscribe. I’ll keep writing. Maybe together, we’ll invent new rituals worth keeping—ones that honor the past, shape the present, and make peace with the quiet, beautiful loss that comes with moving forward.

    Daily writing prompt
    What traditions have you not kept that your parents had?

  • A typical day

    I stepped out for a walk around five. The river was high from last week’s rain. Cyclists skimmed past, wheels hissing on wet pavement. I passed the old bookshop and almost went in, but instead kept moving, letting the evening air clear my mind. I stopped on the bridge, leaned on the railing, and let the city’s noise become a soft, distant music.

    There was nothing special about today, not at first. No revelations, no sudden change in direction. Just a sequence of hours, filled and emptied, a day as ordinary as bread and basil and the sound of trams at dusk.

    If you asked, was today typical? I’d say yes. But also: no. Today was typical the way a river is typical—always the same, always changing.

  • Describing Myself, Quietly


    shadows in the park
    carry all I ever was—
    and what I might be


    I’ve often wondered what people really mean when they ask you to describe yourself. Is it a list of things you’ve done, the jobs you held, the way you take your coffee, or is it the sum of the small choices that shape the days no one ever sees? If you ask me now, I’d rather answer with a story, and not just because stories travel further than facts. Stories are what’s left behind when the rest is gone.

    The best stories, in my experience, never announce themselves. They just happen, quietly, like two people meeting in a city that never really sleeps.

    For a few years, my life drifted, half-lived between cities: Ljubljana, Berlin, Tokyo. Work was always piecemeal—translation here, a little writing there, odd jobs that left no trace. Tokyo was where things settled, if only because it was where they fell apart.

    It was early autumn. A damp chill hung over the city, and evenings pressed in fast. I was living in a small apartment with paper-thin walls above a bakery that started its day at four in the morning. Most days, I’d wake to the sound of metal trays, yeast blooming, the soft percussion of kneading dough.

    One night, after a failed pitch and a dinner that tasted mostly of exhaustion, I found myself under the red glow of a lantern outside a yakitori stall in Koenji. I wasn’t looking for company, but company found me. He was older, maybe by a decade, with a fox’s grin and a manner that suggested he’d never hurried in his life. His name was Kenta.

    We shared a plate of mushrooms and chicken skin, neither of us talking much. After a while, he asked, “What do you build?” I hesitated. Build? I thought of spreadsheets and emails and half-finished blog posts.

    “Nothing much,” I said. “Words, sometimes. Stories, when I can.”

    He nodded. “Words are good. You can build a whole world from words, if you’re patient enough. But only if you know how to sell them, too.”

    I shrugged. “I’ve never been good at selling.”

    He smiled, unfazed. “Nobody is, until they realize there’s nothing left to lose.”


    Kenta showed up in my life the way seasons shift in Japan—not suddenly, but all at once, as if he’d always been there. Sometimes we’d meet at dawn for coffee in a corner shop near Yoyogi Park. The owner would nod, place two cups of strong, slightly burnt coffee on the counter, and let the jazz records play in the background.

    We talked about work, but not the way people usually do. He believed in leverage—a word he never actually said, but always circled around. “If you can make something that helps people, something only you can make,” he told me once, stirring his coffee slowly, “then you never have to chase luck. It comes to you, quietly, while you’re doing the work.”

    Other days, we’d walk the long road behind Meiji Shrine, the air thick with the smell of cedar and wet leaves. I told him about my first months in Tokyo, the loneliness that never quite went away, the freedom that sometimes felt like floating in space.

    He laughed. “Freedom is beautiful, but it’s not a home. You have to choose, sooner or later, what you’re willing to stick with. Most people never do. They wait for someone else to choose for them.”

    I asked him how he got started. He talked about failed businesses, late nights learning to code in rented rooms, and a stretch of months living off convenience store onigiri. “The trick is to fail quickly,” he said. “Try, learn, and cut your losses. If something’s not working, let it go. And when you find what does work—be relentless. Pour everything in. Let it grow.”


    Sometimes we’d meet in quieter corners of the city. An old jazz bar in Ginza, a bakery that sold thick slices of toast and black coffee, or a bench in Ueno Park as dusk settled over the carp pond. In each place, Kenta seemed to carry the same stillness, the same quiet optimism.

    He taught me that money isn’t the goal. “Money is a tool. Use it, don’t worship it. Build assets, not hours. Write, code, paint, teach—whatever it is, make sure it keeps working when you sleep.”

    His lessons never came as advice, more as reminders of things I’d already known but forgotten. He spoke of compound effort, of the power of small, daily practice. “People want success fast, but the world rewards patience. And clarity. If you know what you’re doing and why, it’s easier to let go of everything else.”


    I started to change without realizing. I stopped saying yes to work that paid but meant nothing. I focused on writing stories for people who wanted to read, not for algorithms or empty likes. I built small things—guides, translations, a series of blog posts about cycling along the Tama River. I paid attention to what felt easy, what drew me back again and again.

    Kenta called these “frictionless skills.” “When you find something that feels light, it’s usually because you’re good at it. Do more of that. Don’t try to be someone else’s idea of valuable.”

    One night, after a long walk along the Sumida River, I asked him what he would say if someone asked him to describe himself.

    He thought for a long time, watching a ferry cross beneath a bridge. “I’m someone who makes things. And someone who lets things go, when the time comes.”


    If you asked me now, I would tell you: I am a collection of places, seasons, and small routines. I am friendships that return after long absences. I am unfinished work and quiet mornings and long walks through cities that change even as I stay the same.

    I am not rich in the way magazines talk about, but I am free. Free in the way that comes from building slowly, letting go quickly, and returning to the things that matter. I know how to work hard, but also how to rest. I know the value of patience, and the joy of giving something away with no expectation of return.

    I have learned to recognize what is enough.

  • The Last Dinosaur


    a mind set alight
    by soft screens and dull fingers—
    where did silence go?


    If I could bring back one dinosaur, it wouldn’t be a tyrannosaurus or a long-necked brontosaurus swaying its tail over primeval trees. It would be a quiet one. One we forgot existed. A creature more like a breath than a beast. The kind that disappeared not with fire or ice—but with distraction.

    I’m talking about the time before smartphones.

    Some people remember it like a foggy memory. Others, younger, treat it as legend. But I remember it clearly. Not as nostalgia, but as a state of mind. A way of being. I grew up in a small Slovenian town tucked between sleepy hills and fields that buzzed in the summer heat. We had phones, sure—but the kind attached to walls. With spiraled cords and the weight of commitment. You couldn’t take them on walks or into bed or into your moments of boredom. Boredom had space. It stretched. It grew things inside you.

    There was a bench near the end of the gravel road where I’d sit with my grandfather, who had a voice like walnut bark and hands shaped by time. We didn’t speak much. Sometimes he’d point to a distant bird or start whittling a stick with a pocketknife he carried everywhere. I would just sit. No screen. No ping. Just the weight of sky above us and the silent rhythm of grass in the breeze.

    That’s the dinosaur I’d bring back.

    I noticed the shift slowly. First, it was the emails. Then, the pings. Then, the buzzing in pockets, even when there was no message—a phantom itch in the mind. Suddenly, we were all carrying mirrors in our pockets, asking them: Who am I? Am I enough? Has someone validated me yet?

    In Tokyo once, I saw a man cross Shibuya with a flip phone pressed to his ear and a book in his other hand. A real book. Pages fluttering in the breeze. He walked slow, deliberate. The crowds moved around him like water around a rock. He wasn’t lost. He was anchored. I followed him for a few blocks. Not because I needed to go that way, but because it felt like walking behind an extinct creature.

    Phones became cigarettes for the mind. We light them out of habit, not need. We inhale notifications, scrolling for dopamine like miners sifting gravel for gold. And like smoke, they fill every space—waiting rooms, bathrooms, friendships. We breathe them in, forgetting what clean air tasted like.

    Wabi-sabi teaches that imperfection is beauty, and that presence—true presence—is not polished or planned. It’s the rough edge of a chipped teacup, the slow settling of dust on an old windowsill. It’s the kind of silence that can only exist if you let it.

    I remember a woman I once dated in Barcelona. She had a rule: no phones during meals. At first, it unnerved me. My fingers would twitch toward the table where it lay, face down, like a scolded child. But then the conversation would bloom. Slowly, with hesitations and missteps and laughter. One night, she made lentils with orange peel and cloves, and we talked until the candles melted down to soft wax puddles. We told stories not because we had to post them—but because they were alive and trembling inside us, needing release.

    When I think of the dinosaur, I think of that dinner.

    I don’t want to live in a cave. I love technology. I’m grateful for maps that talk and books that fit in my pocket and music that follows me through cities. But I’ve learned to carve out protected hours. I turn my phone off when I hike. I leave it charging in another room when I read. I take long baths without podcasts. Sometimes, I just sit by the fig tree my father brought back from the Adriatic and listen to the wind press through its leaves. That’s enough.

    There was a night in Kyoto, during one of those unbearably humid Augusts, where I sat beneath a paper lantern swaying from an old temple roof. Around me, the world buzzed. But inside, there was stillness. I had no Wi-Fi. No notifications. Just the clink of ice in a glass and the soft hum of a furin catching wind. That moment stayed with me. I wrote it down. Not for a blog. Not for social media. But because it meant something.

    The dinosaur isn’t about going backward. It’s about remembering. That deep, slow presence is not outdated—it’s endangered. But it still exists. It lives in walks taken without agenda. In eye contact that lingers. In the silence between thoughts that isn’t filled by a scroll. In the way light falls on a table when no one is trying to capture it.

    The wabi-sabi lesson is this: you don’t have to fix every moment. You don’t have to make every second productive. Sometimes, a quiet, imperfect, unshared afternoon is more alive than a thousand carefully curated posts.

    Let the dinosaur return.
    Let it walk beside you in the quiet moments.
    Let it remind you of the weight of your own presence.

    If you ever spot it—don’t chase it. Just sit beside it.

    And if you’re still here, reading this far, maybe something in you remembers too.

    Subscribe, if you like. But not because you’re chasing something.
    Because maybe you’re starting to sit still again.
    And maybe you’re ready to share the silence.

  • The Ticket


    two paper sparrows
    folded in my open hand—
    a wind waits to lift


    The envelope came without a return address. It was cream-colored, not quite white, the kind that feels thick to the touch and makes a sound when you slide your finger across it. I found it one morning resting against my front door like a tired traveler, tucked in beneath the daily paper and an advertisement for kitchen tiles. It held two plane tickets.

    The destination wasn’t listed—just a voucher code, the kind you redeem online. Open-ended, flexible, valid anywhere on Earth, so long as you left within 90 days.

    I brewed a strong cup of coffee, the kind I picked up a habit for after my third visit to Ljubljana, and sat on the balcony watching the fig tree. It swayed slightly in the summer breeze, leaves catching light like small hands reaching out for something just out of reach. The tree was a gift from my father, or more accurately, a descendant of a branch he once smuggled in his suitcase from a Mediterranean island. It had grown stubborn and tall, taking root in a too-small pot, just like me.

    The first thought, oddly, wasn’t where I would go, but who I would bring. That question sat heavier than expected. Friends are scattered like seeds across continents. Some had responsibilities, others wouldn’t understand the way I travel—not for sightseeing, but for something quieter.

    So I waited.

    The answer came a few mornings later, walking through the hills behind my neighborhood. I passed a bakery just as it opened, the smell of warm bread lingering in the air like a promise. An old woman outside nodded at me, cradling her paper bag like it held something sacred. That fleeting moment—it settled something. I knew then: I’d go to Yakushima.

    I had seen it once on a map, off the southern tip of Japan. A forest island, dense with rain and cedar trees older than memory. I once read that it rains there 300 days a year, and the moss grows so thick you could lie down in it and not feel the ground.

    I invited no one. The second ticket I gave to a stranger at the airport—a student from Finland, who reminded me of myself at twenty: restless, kind, and just unsure enough to say yes.

    We didn’t sit together on the plane. I watched a documentary on the mind and slept through the landing.

    Yakushima was quiet in a way cities can’t imitate. Every path in the forest led somewhere, though most of the signs were unreadable to me. It didn’t matter. The silence was fluent. The rain was a presence, not a disturbance. It smoothed over everything.

    On the second day, I found a cedar tree with a hollow large enough to step inside. I did, without thinking. Inside, the smell was damp earth and time. I took out a notebook, the same one I’ve used since that winter in Lisbon, and wrote down one sentence:

    “To find your path, sit where there are no roads.”

    That night, back at the guesthouse, the host offered me fish grilled over a small flame. We didn’t speak much. He refilled my tea, I nodded. Outside, the rain fell without pause. I thought about the student, wherever they were now, and hoped the second ticket had found its way somewhere meaningful.

    On the third day, I rented a bicycle and pedaled slowly along the coast. I stopped at a vending machine in the middle of nowhere and bought a hot can of coffee. I held it against my face before I drank it. Warm aluminum. Bittersweet. A quiet joy.

    I passed a group of schoolchildren walking in the other direction, holding umbrellas that were far too large for their small bodies. One of them waved. I waved back.

    That night, I dreamed of a younger version of myself walking through a forest just like this one, calling out names I no longer recognized.

    Travel, I’ve learned, is not escape. It’s not indulgence. It’s a return. To something forgotten. To versions of yourself hidden under the weight of daily repetition. The flight isn’t the freedom. The silence that follows is.

    Sometimes, you sit beside strangers who tell you the story of their entire life between two train stations. Sometimes you miss your stop.

    Sometimes the light slants just right through the trees and you remember the name of your first dog. Or your mother’s hands wringing water from a towel. Or the exact way the sand felt under your feet on a childhood beach. These moments don’t announce themselves. They arrive like the wind.

    One afternoon, I found a shrine tucked beneath the roots of an enormous tree. There were small offerings—coins, folded paper, a pale blue marble. I left behind a button that had fallen off my coat years ago but that I kept in my wallet out of habit. It felt like the right exchange.

    By the seventh day, I had forgotten what my own voice sounded like. I took long walks without direction, let myself be guided by smells and sounds: frying oil, a distant bell, the rustle of something unseen.

    I watched a heron take off from a stream and vanish into the fog.

    People talk about accumulating experiences like stamps in a passport, but I no longer care about the count. I care about the depth. The quiet echo a place leaves in your chest long after you’ve gone. The taste of sea salt on your lips at dusk. The kindness of a stranger refilling your tea without asking.

    And so, if you handed me two tickets again, I’d do the same.

    Choose a place off the map. Give one away. And carry nothing but questions.

    If this stirred something in you, subscribe and walk this winding path with me. The road is long, but sometimes, the right words are a kind of travel too.

  • Kitsune


    a fox slips unseen
    through shadows of memory—
    lessons in disguise


    People often ask about my nickname—Kitsune. It’s an old story, older than me, older perhaps than the mountains in which it was first whispered.

    In Japanese folklore, Kitsune are foxes with magical abilities. They appear as tricksters, shape-shifters, and guides. They bring both wisdom and chaos, depending on how they’re treated and what they choose to reveal. Foxes in these stories aren’t simply clever animals; they’re symbols of transformation, cunning intelligence, and hidden knowledge.

    My grandmother used to tell me these tales when I was a child, sitting on the porch at dusk, her voice softening with the darkening sky. She’d say, “Be careful, the fox will always teach you a lesson—but not always the one you expect.”

    The nickname stuck in my teenage years. Maybe it was because I moved quietly, never fully revealing myself. Or maybe it was because I liked to shift forms, always adapting to the environment around me. One moment deeply engaged, the next slipping away, elusive and free.

    As I grew older, Kitsune became more than a name. It became a way of thinking, a reminder of certain truths I learned early on, though it took years to fully understand them.

    One lesson stands out vividly: the art of disguise is not deception—it’s adaptation. Life demands a constant shifting, a continual evolution. Those who resist change break against it. Those who adapt flourish quietly, effortlessly.

    I’ve found the same truth reflected in the most profound insights I’ve encountered. Happiness and success don’t come from brute force or fixed identities. They come from flexibility, from knowing when to move silently and when to step into the open.

    Another thing Kitsune stories teach us: wisdom doesn’t necessarily lie in complex answers, but in carefully phrased questions. The greatest trick of the fox isn’t deception—it’s prompting you to question what you already believe.

    Years later, when traveling through the countryside of Kyoto, I met an old man who ran a small tea house. He poured me tea and asked why people seek out temples and shrines. Before I could answer, he smiled and said, “They’re looking for what’s already inside them. Sometimes you must become something else to see who you truly are.”

    I recognized the fox’s lesson in his words. Transformation, change, the quiet evolution of self—that’s what Kitsune has always symbolized for me. It’s about having the courage to constantly reshape your identity, to never hold onto any version of yourself too tightly.

    If I’ve learned anything, it’s that our greatest strength comes from understanding we are always unfinished, always becoming something new. Like the Kitsune, we move through shadows and sunlight, shifting, learning, teaching.

    But there’s a deeper story behind my nickname—a memory etched in the quiet summer nights of my youth, when cicadas sang themselves hoarse, and the world shrank to the comforting circle of lantern-light. My grandmother would sit patiently, weaving tales that blurred the boundaries between the known and the unknowable.

    One night, she told me of a fox who fell in love with a mortal, disguising itself as a woman to live a human life. It stayed, year after year, bearing children, tending crops, and growing old. But inevitably, its true nature surfaced. One quiet night, beneath a heavy moon, its tail slipped from beneath its kimono. The villagers drove it away, back into the wilderness, where it belonged.

    At the end of her story, my grandmother looked into the dark trees and whispered, “We all have tails hidden beneath our coats. It’s not about hiding forever. It’s about knowing when to reveal who we truly are.”

    Years passed. I traveled far from that porch, across oceans and continents, seeking something elusive. I found that no matter where I went, the essence of Kitsune trailed me like a gentle shadow—always changing shape, always guiding me toward deeper understanding.

    In a tiny café in Paris, a stranger told me a story about a fox he’d seen in the countryside, sitting silently by the roadside as though waiting for him specifically. It reminded me of my grandmother’s voice, murmuring softly into the night air. In a temple garden in Kyoto, I watched a fox statue, worn smooth by countless hands, and realized how deeply the symbolism had permeated my life.

    It’s strange, isn’t it? How certain stories follow us, becoming part of our own narratives until we’re unsure where folklore ends and our lives begin.

    I’ve become comfortable with my fox nature—the shapeshifter who moves between worlds, always learning, always adapting. I’ve learned that clarity often comes from embracing confusion, that wisdom emerges from accepting uncertainty. Like the Kitsune, my greatest lessons have come from unexpected places, disguised in quiet conversations and subtle experiences.

    Life, it seems, is less about finding the answers and more about becoming comfortable with questions that never fully resolve.

    If this resonates with you—if you’ve ever felt the call to transform, to move quietly through life, constantly adapting and evolving—subscribe and stay close. The journey is richer when traveled together.

  • The Quiet Power of Iteration


    mistakes falling soft
    like rain on an empty street—
    shaping tomorrow


    There’s something gentle yet ruthless about learning. The process isn’t loud, not usually. It’s not a spectacle. Most of the time, it happens quietly, in the spaces between one choice and another. It lives in the subtle shifts, the careful recalibration, the willingness to leave something behind and move forward.

    For a long time, I feared mistakes. Not the small ones—those were fine—but the deeper kind, the ones that shape the years. I thought that if I chose incorrectly, the path back would be impossible to find. But somewhere along the line, I learned that life isn’t linear. It curves back onto itself, gently, offering new paths when old ones vanish.

    Iterating quickly taught me something important: no decision is final. If you’re awake, if you’re aware, every misstep becomes just another guidepost. And the sooner you recognize that a path isn’t yours, the faster you can find the one that is.

    I met a man once who told me his life was a series of false starts. He smiled when he said it, eyes soft and untroubled. “It wasn’t failure,” he explained, stirring his coffee thoughtfully. “It was editing. You try something, it doesn’t fit. You cut it out and keep going.”

    That’s the secret, perhaps—to keep going. To trust that each edit brings you closer to a form that’s uniquely yours. You learn, you iterate, you discard what doesn’t serve. And when you find something that does, you stop editing and start nurturing. You become optimistic, relentlessly so, knowing that optimism, when applied consistently, compounds into something solid and real.

    This doesn’t happen overnight. Real growth never does. It’s a slow accrual, layer upon layer, subtle and profound. But it starts from those early moments of clarity—realizing you’ve found something worth investing in deeply.

    So, learn fast. Adjust quicker. Don’t fear discarding what’s not right. The journey to finding your true path is littered with discarded drafts. Each one, however imperfect, shapes you, guides you closer.

    And once you find that quiet resonance, hold onto it with optimism. Let it compound. Let it grow roots. Because that’s where the real magic lies—in the slow, steady accumulation of small, clear choices, made consciously and without regret.

    That’s how you build something lasting.

    That’s how you live.

  • The Places That Shifted While I Was Away


    There was a time when I thought movement was everything. I chased it endlessly, as if stillness might swallow me whole if I let my feet stop their dance. My life unfolded in boarding passes and receipts with faded print, crumpled at the bottom of a backpack. Cities I loved for their anonymity; streets I treasured because they held no memories of my past. A comfortable kind of solitude settled over me when I walked unknown avenues, the hum of an unfamiliar language sliding past my ears like water.

    It was addictive, that feeling—the quiet thrill of displacement. Airports became as familiar as my apartment, maybe more so. I recognized the melancholy of early departures, the metallic chill of luggage carts, the faded smell of coffee and stale perfume in the departure lounge. Strangers drifting past like unfinished stories, their faces illuminated briefly by departure boards that flashed and shifted, leaving ghostly afterimages.

    But lately, I’ve started to notice a different kind of displacement: the quiet sadness of coming back to a place you call home, only to realize it moved forward without you. A bakery closes, replaced by a laundromat with neon lights too bright for comfort. A familiar face no longer appears at the café window. Seasons drift quietly past; I return to find leaves that were green now brittle and scattered across the pavement. The small details—details I never thought to notice—suddenly sharpen into focus, and I understand the silent trade I’ve made.

    Roots. It’s a word that never held much meaning for me, until it suddenly did. My home had always felt temporary, an apartment furnished with just enough care to suggest I belonged there without ever truly committing. Books stacked neatly but unread, waiting. Dishes carefully chosen but rarely used. The furniture minimal, as though too many possessions might pin me down like a butterfly under glass. I wanted to keep my options open, to slip away at a moment’s notice.

    But now, something inside me longs to see the way morning sunlight inches along the kitchen floor over weeks and months, to understand precisely when the birds return from wherever they go each winter, to become part of the small, hidden rhythms that make a place truly home. When you stay put long enough, the days begin to layer gently upon each other, accumulating memories like dust on forgotten shelves.

    I suppose travel, in a way, allowed me to avoid this deeper kind of seeing. It let me remain weightless, skimming over the surface of life, sampling places and moments without ever sinking deeply into them. Travel teaches you much—how to navigate unfamiliar cities, how to make quick friends and quicker goodbyes—but it doesn’t teach you what to do when you stay. What to do when the stillness returns, and you’re faced with the quiet question of who you are without the motion.

    Now, I find myself caught between these worlds: the restless beauty of perpetual motion and the slow, patient grace of staying still. There’s something seductive about waking in the same bed every morning, knowing exactly how the light will spill through the curtains, how the floorboards creak underfoot, how the street below sounds as it comes alive. There’s comfort, too, in faces that recognize yours, in conversations that pick up where they left off days or weeks or months before.

    But the trade is this: when you choose roots, you leave behind that other life, the one measured in distances rather than days, in departures rather than returns. And that other life—though I tell myself otherwise—was beautiful in its own right. Each journey reshaped me, carving away layers until something essential emerged, something clearer, lighter.

    Yet, the longing remains complicated, tangled. I know I can’t have both worlds entirely. Life doesn’t work like that, no matter how carefully you try to balance it. To embrace one choice fully means to gently close a door on another. That’s the quiet price we pay for living fully, for loving deeply, for finally standing still long enough to let life catch up.

    So my future travel plans? I don’t know. Perhaps my next journey won’t involve planes or trains at all. Maybe it’ll be the slow exploration of a familiar street or the careful tending of plants on a sunlit balcony. Maybe it’s the subtle shift from moving through places to letting places move through me.

    Because lately, I’m beginning to think the real journey isn’t out there, mapped on distant shores, but here, in the quiet act of staying put, watching closely, and learning at last to call someplace home.

  • The Tree That Traveled


    a fig in a pot—
    Mediterranean dreams
    take root on my deck


    Somewhere along the glittering belly of the Mediterranean, on a family trip I can no longer locate precisely—maybe Greece, maybe southern Italy, maybe that quiet village with the cheap grilled fish and the loud waves—my father picked up a fig branch.

    Not a fruit. Not a seed. A branch. Just a piece of living wood, snapped at the right place, still wet at the end. He carried it through customs like it was just some leftover twig, wrapped in an old sandwich bag and the stubbornness of someone who refuses to let things die.

    We had spent that holiday walking to beaches with plastic chairs and palm-sized beer cans, ducking into shade like stray cats. The rental house smelled like salt and citrus. My mother made lentils with whatever she could find. My father drank the local wine and talked about soil as if it were an old friend.

    In the mornings, we would walk down to a seaside restaurant that opened early. The coffee was dark and thick, almost like oil, served in small cups that forced you to sip slowly. My father loved that. I remember dipping bread into the garlicky broth of školjke na buzaru—Dalmatian-style mussels, steeped in white wine and parsley and enough garlic to make your mouth sing. We’d wipe the sauce from the bowl with hunks of bread, eating in silence, the kind that meant satisfaction.

    On one of those days—maybe the day the power went out and we ate watermelon by candlelight—he found the fig tree. It was on a small island nearby, one only reachable by a rugged path that wound between scrub and sunburnt rock. We’d gone out for a walk, no plan, just the pull of a distant view. My mom was behind us, carrying his cigarettes. She gave them to him on strict ratios, otherwise he would smoke too much. And there, between two rocks, the fig tree stood. No business being there. The roots gripped the stone like an argument. He stood in front of it for a long time. Then broke off a branch.

    He brought back a grapevine, too. And at first, it didn’t seem like much would come of it. But he potted it anyway, with that quiet faith of his. Summers passed, and against all odds, the grapevine grew. It wrapped around the trellis and started to fruit—little green grapes, tight and tart at first, then softer, sweeter as August deepened.

    These days, he brings saplings of the grapevine to me, too. Says, “They’ll grow. Just give them time.” I nod but don’t always believe it. And then they do. Little leaves pushing out like promises. Maybe in fifteen years I’ll have my own grapes. Maybe more.

    The fig, though—she led the way.

    He put it in water the day we got back. Then in a small pot, then a larger one. Every season, it stretched. Even through the brittle Swiss winters, even when the light came late and left early.


    Fifteen years later, it shades my balcony.

    It leans slightly south, as if it still remembers the direction of the sea. The leaves are broad, with edges that seem drawn by a child. They make the light dapple, which I like. I drink coffee under them in the summer and sometimes nap with my feet tucked under the chair like a cat.

    There are days when I look at it and think of all those long car rides we used to take. The ones where my sister and I fought over who got the window seat. Where the maps folded like origami in the glovebox. Where time slowed the closer we got to salt air.

    I remember one summer in Croatia. We camped by the water, and a storm blew through so suddenly it ripped our tent clean out of the earth. My father laughed, holding the metal frame like a kite. That same summer he taught me how to skip stones, to find the flat ones by their weight.

    The fig tree now grows in the same motion. Skipping, almost. It doesn’t rise straight. It coils a little, like a sentence he never finished.


    What surprises me most is not that it grew—but that it thrives. It gives fruit. Wrinkled, sagging, dark-purple things that taste like summer held too long in the mouth. The older and uglier they look, the better they are.

    My father taught me how to cut it. He said, “Never waste a branch. Each one’s a maybe.”

    Every spring, I cut it back and root the cuttings. I give them to friends, to neighbors, to strangers who ask about it. Once, I brought a cutting to my friend Yuki in Kyoto. She planted it on her tiny balcony, and now it’s part of her morning tea ritual. She texts me pictures. Says it looks like it remembers me.

    There’s something strange and soft in knowing a piece of wood carried across borders now lives second lives in other homes. That somewhere in Tokyo, in Ljubljana, in the back of a friend’s house in Zurich, the fig has children.


    On its limbs hang wind chimes I brought back from Asia. Glass furins from Japan, thin as breath, each with a clapper that sings when the wind remembers to move. I bought one at Kasusai Temple, during a sweating August afternoon, the air heavy with crickets and incense. It rang once, sharply, and I knew I had to carry it home.

    In the hottest months, when the air swells and time feels syrupy, the chimes remind me—it gets cooler. Wait. It gets cooler.

    The fig drops another leaf. Bears another fruit. Holds another shadow.

    I watch it from the kitchen window. Some mornings it seems older than me. Other days, just beginning.


    One summer I forgot to water it for five days. I was in Berlin, distracted by music and strangers and the shape of the sky at night. When I came back, the fig looked tired but not defeated. I whispered to it. Apologized. It forgave me like only plants do—slowly and fully.

    Another summer, during a breakup, I repotted it. Needed something to dig into. I trimmed the roots, held the heavy base like it was a person. Dirt under my nails. Quiet work. My hands stopped shaking. By autumn, the fig had new shoots.

    It became a rhythm.

    To water the tree. To check the leaves. To let it speak in the way only silent things speak.


    There’s an old story my father tells about a tree that remembers every word spoken under its branches. I think of that sometimes when I sit beneath the fig. What does it know about me now?

    It has heard my phone calls. My confessions. My half-finished songs. It has seen me sick, dancing, bored, in love. It has seen me leave and come back. It has watched the years pass like trucks on a highway—loud and unremarkable.

    It knows when I’m not sleeping. It knows when I’m trying to.


    I wish I could go back to that moment. My father in his sandals, sweat on his neck, breaking off that branch. Me behind him, impatient, wanting ice cream. My mother with a towel over her head, carrying oranges in her beach bag. And the cigarettes, of course, tucked in her hand like small secrets. She rationed them strictly, knowing otherwise he’d burn through them by noon.

    The sea was warm. The sky too blue to describe.

    We didn’t know what we were carrying.

    Just a stick.

    Just a maybe.

    Now it grows on my balcony. In a country it didn’t belong to. In a life it never asked for but claimed anyway.


    The last time I visited my parents, the grapevine stood proud near the shed. Twisting, strong, bursting with fruit. What once sat in a crooked pot now climbed, bloomed, and spilled light green clusters across a wall.

    And in a paper bag, my father handed me new saplings. “They’ll grow,” he said.

    I looked at them, unsure. But I planted them. Now they stand in quiet corners of my terrace, waiting. Maybe one day, I’ll be writing about them too. Maybe in fifteen years, I’ll sit under their shade.

    And remember.

  • Farewell to the Forest Guardian


    fur against wood grain
    the breath of the forest stills—
    one watcher goes home


    Our cat died today.

    A blue-black shape, more shadow than feline. A kind of animal you don’t choose, not really. It shows up. It eats your dog’s food, hisses at your other cats, and settles on your porch like it owns the place. My mother called it a gipsy, though the word doesn’t sit well these days. Even the vet once mentioned, gently, that the name had aged poorly. But that’s the countryside—names linger long after their meanings crack.

    The cat never minded. Never answered to it either.

    It simply stayed.

    Fourteen years. It outlived every other animal that roamed our land.


    It grew up alongside our dog and seemed to think itself kin. It defended the house like a soldier, fought anything that sniffed too close—other cats, martens, whatever creature dared to blink the wrong way. A wild thing, yes, but also oddly noble. As if it had signed a secret pact with the land to remain.

    Around year ten, the vet diagnosed it with feline immunodeficiency. We waited for the decline, but it never came. Not really. It stayed fierce. Watchful. Once, when all its teeth had to be pulled from some inflamed cruelty inside its mouth, we thought that would be the end.

    But my mother, careful and absurdly tender, cut up its meat every morning. Placed it on the same stone slab. Called it softly, like she always had. And the cat—grateful, defiant—ate.

    It escaped the vet twice.

    I mean that literally. Slipped out of their grasp, disappeared through a window, and found its way home across meadows and forest. Both times. After we had warned them. After they’d smiled politely and nodded. Yet somehow 2 days later, even despite heavy rain and a thunderstorm it found its way home.

    It came back – of course it did. With a scratch on its face. Leaves in its fur. Tail high like a banner.


    In the last year it got thinner. Not suddenly. Like snowfall that doesn’t melt. It simply faded by degrees.

    There was a shift. It no longer wanted to pee outside. Something had scared it, maybe a fox, maybe just the dark. So it stayed inside at night, pacing, yowling at doors not for freedom, but to keep the world in check. Like a sentry who doesn’t know how to retire.

    I visited home two weeks ago. The cat met me on the steps like always. Rubbed against my shin. Stared with the same amber gaze. A little slower, but still genki. It always knew I was family, even after long absences.

    And though I didn’t say it aloud, I think I said goodbye.

    We always kind of know, don’t we?


    My mother said it collapsed in the night. They warmed it. Spoke to it. And in the morning brought it to the vet for an X-ray.

    No kidneys left. Gone. Whether by infection or time.

    And with that, the last protector of our house was gone.

    There’s something about animals like that—they’re not just pets. They mark eras. They are anchors. Coordinates for time.

    I think what struck me most was my mother’s quiet calculation. When asked if they’d get another animal, she said no.

    She said, “If it lives to fifteen, I might be too old to care for it.”

    And that hit like something sharp and invisible. Like hearing a drawer close somewhere deep in the house.


    People talk a lot about grief. But they forget that the first sensation is often not sadness.

    It’s space.

    The absence of paw-steps. The silence where a yowl used to be. The unopened packet of food. The fact that nothing needs protection now—but something still watches.

    When the trees shake at night, when the gate creaks, I still imagine it’s there. Watching. One last patrol.

    It lived a good life. It was loved. And it knew.

    In the end, that’s all any of us can ask for.

  • Hunger as a Kind of Music


    empty bowl waiting
    quietly, the air thickens—
    hunger learns to sing


    I used to think comfort lived at the bottom of a bowl. Steam curling upward like language in a language you used to know. Bread torn by hand. Rice still clinging to the sides of a lacquered bowl. The soft fatigue of a body fed.

    But lately, comfort arrives in the space where food used to be. In the pause between wanting and having. In the long, slow hunger that doesn’t demand but inquires.

    There is a kind of clarity that arrives on hour sixteen. A sharpening. Edges become more pronounced—not just around your thoughts, but around your intentions. The noise thins. The body, unburdened by digestion, listens better.

    You begin to notice things. The scent of water. The curl of your own breath. The pulse in your fingers. Hunger, when held gently, becomes less of a demand and more of a companion. Like a child tugging at your sleeve not to be fed, but to be seen.


    A man once told me, over bitter tea in a mountain cabin, that we confuse comfort with dullness. “People seek the absence of friction,” he said. “But what they need is the presence of refinement.”

    I think he meant that when you remove the unnecessary—food, noise, even conversation—what’s left is a self that isn’t blurred by indulgence. A self you might not recognize, but should meet at least once.

    He fasted once a week. Not for discipline. Not for weight. But because, as he put it, “How can you know the music if you never sit in the silence between songs?”


    In the city, everything arrives fast. Coffee. Notification. Instant noodle. No one waits anymore. And yet, waiting makes things real. Waiting is a kind of seasoning. Hunger, too, is a kind of prayer. It says: I am willing to feel this. I am willing to meet the edges of myself without softening them first.

    I’ve come to think of fasting as a private weather system. You carry it with you. It rearranges your thoughts. You lose interest in gossip. You stop craving sugar and begin craving stillness.

    A few years ago, I spent three days in a borrowed cabin near the coast. No food. No phone. Just a kettle, a notebook, and a small ceramic cup. The first night was noise—stomach noise, mental noise, old echoes of snacks long past.

    By morning, something had settled. I brewed tea and watched a spider rebuild its web after a windstorm. It worked methodically, without panic. I sipped slowly. My hands were steady.

    I thought: There is a rhythm here I used to belong to.


    People ask if it’s hard.

    Of course it is. But so is carrying the weight of constant gratification. So is forgetting how to be alone with your own pulse. So is the blur of never pausing long enough to ask, Is this hunger or just habit?

    Comfort, I think, isn’t about fullness. It’s about recognition.

    When I fast, I meet myself without adornment. No sauces. No distractions. Just this breath. This body. This mind, climbing quietly out of the noise.


    Fasting doesn’t make you more virtuous. It just makes you more visible to yourself. It strips away the things that numb the signal. The notification loop. The second helping. The story you tell about why you need the thing you keep reaching for.

    And when it’s time to eat again—when that first spoonful of warm broth touches your mouth—it feels like the closing of a circle.

    The return. But gentler.

  • The Game You Can’t Win (But Must Play Anyway)



    tabletop silence
    the die rolls without a hand—
    lesson in the fall


    There is a game I’ve played for years, though no one taught it to me. It has no rules printed on the box, no clean counters or colorful boards. You don’t buy it. It begins the first time something important to you shatters.

    When I was ten, my uncle gave me a wooden chess set. The board folded in half like a suitcase, and the pieces rattled around inside like the memory of something that had never been finished. We played a game that summer. He beat me in twelve moves. Didn’t explain a thing. Just nodded, cleared the board, and asked if I wanted to go again.

    I lost the next game too.

    It became a ritual—our own silent season. I lost. Then I lost again. Then I made a mistake, learned from it, and lost differently.

    He called it “building the muscle between losses.”

    I didn’t understand what he meant until much later.


    One rainy afternoon in Tokyo, I found myself in a tiny bar with a man named Koji who looked like he’d been waiting there since the 1980s. He wore a corduroy jacket and smelled faintly of tobacco and wet leaves.

    “What game do you play?” he asked, out of nowhere.

    “Lately? Mostly chess. Some Go.”

    He laughed. “No, no. Not board games. The other kind. The one you forget you’re playing.”

    I must’ve looked confused, because he poured me a plum wine without waiting for my reply.

    “The kind with no winner,” he said. “Where the point isn’t points.”

    “You mean like… life?” I asked.

    He raised his glass. “Or death. Or failure. Or seasons.”

    We drank in silence after that. The kind of silence that feels like someone else is thinking for you.


    In this other game—the one without winners—pain is not a punishment. It’s a signal. Like the buzz of a wrong answer in a childhood quiz show. Except here, the reward is not correction but reflection.

    You stumble. It hurts. You pause, if you’re lucky. Ask yourself what part of you expected something easier.

    A friend once told me that his divorce was the best thing that ever happened to him. At the time, he said it with bitterness, like someone trying to convince a cracked mirror it still showed a whole face.

    Years later, he admitted he was finally learning how to sit with himself. Not run. Not drink. Just sit. Make eggs slowly. Fold clothes with attention. That kind of healing doesn’t wear a medal, but you know it by the way someone drinks their coffee.

    That’s what this game teaches. Not to win. But to notice where it hurt, and why.


    I used to think time was linear. You move forward, achieve things, accumulate. Spring into summer, summer into success. But the older I get, the more I think in loops.

    There are days that feel like winter, even in July.

    Times you’re planting seeds, even though everyone else is harvesting.

    I met a woman on a train from Ljubljana who told me she had just quit her job to take care of her dying mother. “It feels like I’m disappearing,” she said.

    Later, I sent her a book by post with a note: Seeds do their best work underground.

    She never wrote back. But I still wonder what season she’s in now.


    This game—it’s patient. It will wait while you chase careers or relationships or prestige. And then, one day, you’ll find yourself lying awake at 3:14 a.m., unable to stop thinking about a conversation from seven years ago.

    That’s a round.

    The pain will come up, uninvited. But if you press into it—not away from it—it opens a door. A small one. The kind you crawl through. On the other side, you’re a little lighter. Not because you left anything behind, but because you picked up something true.


    A boy I once knew failed every math exam for a year straight. His father punished him with silence. Not anger—just absence.

    I asked him what hurt most. “That I never got to say what I didn’t understand,” he said.

    Years later, he became a teacher. He tells his students, If it hurts, we pause there. That’s the doorway.

    The thing about pain is it can’t lie. Joy sometimes does. It can be borrowed or worn like a mask. But pain always points to something real.

    And if you learn to love the signal, you begin to evolve.


    In the deepest part of winter—when the nights are long and even the air seems brittle—I play Go online with strangers in South Korea.

    Most games I lose. But I’ve learned to love the shape of a mistake. It teaches more than victory ever could.

    I’ve come to believe that time is not an arrow but a spiral. You pass the same place again and again, but with a different view. Like standing in a stairwell, looking down.

    Maybe that’s what seasons really are.

    Not weather. Not years. But returnings.

    Spring when something new arrives. Summer when you’re full and flush. Autumn when things fall away but leave color. Winter when you bury your hands and listen.


    If there is one rule in this game, it is this: struggle well.

    Don’t waste your pain. Don’t hoard your joy. Let both move through you like weather.

    Ask better questions. Write new principles. Be wrong in more interesting ways.

    And when you sit down with someone, maybe over tea or bread or an old deck of cards—ask them what their last move taught them. Not if they won. Just what it changed.

    They’ll pause. Then they’ll tell you a story.

    And the game will go on.

  • What I Want to Make


    steam from morning eggs
    stitches the kitchen in light—
    a silence, full-bellied


    If I could choose a way to be remembered by someone I love, it wouldn’t be through photographs or poetry. Not even these words, though I try to shape them well.

    It would be through food. Through the way my fingers pinch salt. Through how I tilt the pan slightly to let the butter gather in one shimmering corner. Through the quiet that falls over a room when a dish is placed on the table, warm and certain.

    There are four things I return to again and again. Polenta with butter. Apfelstrudel. Bread. Omelettes.

    Each of them is simple. Each of them is everything. And each has taught me something about time, care, silence, or how to hold space for someone without needing to explain yourself.

    Let me tell you how. And why.


    Polenta with Butter

    The smell of cornmeal blooming in boiling water reminds me of winters when the snow lined the windowsills and the kitchen steamed like a train station. My mother stirred slowly, like she was stirring time itself. No rush. No shortcuts. The wooden spoon turning slowly, a rhythm older than clocks.

    We ate it with a pat of butter folded in, melting like gold inside a hill of yellow. Sometimes there was cheese. Sometimes just salt. Always the steam curling upward like a whisper.

    There’s something sacred about feeding someone warm polenta. It’s a food that doesn’t impress. It doesn’t seduce. It simply shows up, honest and slow. Like a friend who helps you move furniture without being asked.

    And if you’ve ever had a bad day—a truly weary, unspeakable one—you know that words often fall short. But a warm bowl of polenta does not.

    Lesson: Simplicity nourishes. Not just the body, but the part of you that is tired of trying to be impressive.


    Apfelstrudel

    My grandmother once said the dough should be so thin you could read the morning newspaper through it.

    She would stretch it out on a clean white sheet, the edges trembling like lace. Apples, sugar, a touch of rum. Cinnamon that lingered on your fingers long after the dishes were done. Sometimes raisins. Sometimes not. But always folded carefully, like a letter to someone who’d never read it.

    I once made one for a friend going through a breakup. She didn’t cry when we talked. She didn’t say much at all. But she cried when she tasted the strudel.

    There is a kind of grief that language fails. In those moments, sweetness can be a balm.

    Lesson: Technique is memory. Food remembers who taught you how to make it. And you pass that on, whether you mean to or not.


    Bread

    Bread is time made visible.

    Flour, water, salt, and yeast. That’s it. And yet every loaf is different, like handwriting or laughter. It remembers how you touched it.

    I used to bake bread late at night. Let it rise on the counter while the moonlight slipped through the blinds. There was comfort in knowing that something was becoming itself while I slept.

    The crust speaks of patience. The crumb speaks of warmth. The whole thing speaks of process—the kind you can’t skip.

    I’ve given loaves to neighbors I’ve never spoken to. Left slices on the windowsill for birds I hoped would come.

    Lesson: Presence shows. In food, in people, in days. If you rush the rise, the dough will tell you.


    Omelettes

    You learn everything you need to know about someone by how they make eggs.

    A good omelette is quiet. It doesn’t show off. It holds warmth and surprise—like a letter folded three times.

    In Paris, I once watched an old man make one with only three ingredients. Eggs, butter, and a little cheese. He served it on a chipped plate and smiled like he’d just solved a small, delicious puzzle.

    Now I make them for people I care about. Sometimes when they’re hungover. Sometimes when we’ve said too much and need a soft reset.

    You don’t need fancy fillings. You don’t need flair. You need good eggs, the right amount of butter, and a pan that listens.

    Technique tip: Beat the eggs gently, not too long. Use medium heat. Tilt the pan. Coax the eggs inward. Don’t rush the fold. Let the heat do its work.

    Lesson: Care lives in small gestures. Often it’s the lightest touch that makes something whole.


    What Cooking Has Taught Me

    1. If you want to know how someone loves, watch how they feed others. Not in restaurants, but at home. On rainy days. When they’re tired.
    2. Recipes are never just recipes. They’re maps of memory. You inherit the hands of those who stirred before you.
    3. Hunger is not always about food.
    4. Gratitude often arrives before language. A shared meal can repair more than arguments.
    5. Real joy comes not when someone says “this is delicious,” but when they close their eyes and go quiet.

    People say that food is symbolic of love when words are inadequate.

    I’d say food is the word. A quiet one. A necessary one.

    And as for those well-known quotes about eating and cooking—I think they’re all just different ways of saying this:

    “A meal made with care can travel backward through time and forward into healing.”

    Maybe it’s not as snappy. But I think it’s true.


    🌿 If you’ve ever made something just to feed someone else’s silence, this space is for you. Subscribe to walk this rhythm with me. 🌿

    —wabisabi of human life
    wabisabiofhuman.life

  • The Gentle Art of Losing Time



    time folds into dust
    when the hands forget to count—
    we become the thing


    There are moments when time forgets its shape.

    It slips through cracks in your concentration, like water down the side of a teapot, following gravity’s whisper. You sit down with an idea, and when you next look up, the sun has changed color. The world outside the window has grown quieter, or louder, or simply different.

    Time isn’t lost. It just… reconfigures.

    There’s a woman I used to know who said the best hours are the ones you never meant to spend. We were in a Kyoto cafe at the time. She was sketching something in the corner of a napkin. I don’t remember what it was—just the curve of her wrist moving like it had something to say.

    This list isn’t a list, not really. More like a set of rooms I return to. Rooms without clocks. Spaces where meaning hums faintly beneath the wallpaper.

    And in those spaces, I vanish just enough to remember who I am.


    1. Building Something You Care About

    The woodshop in my grandfather’s backyard always smelled of linseed oil and forgotten plans. I once spent a whole summer afternoon trying to fix the busted leg of a kitchen stool. The radio was on. Cicadas buzzed like static. At some point, the air turned purple.

    Later in life, it became code. Lines and functions instead of hammers and nails. But the feeling was the same: tweak, run, adjust, breathe. Hours slid by like fish in a stream.

    Sometimes I forget to eat. Sometimes I forget I have a body. All that remains is intention and response. A dance between idea and resistance.

    In those moments, I am ten years old again, sanding splinters from the world.


    2. Deep Reading

    I once read The Wind-Up Bird Chronicle during a snowstorm. The power went out, so I sat by candlelight and let the story devour me. I forgot the cold. Forgot dinner. Forgot my own name for a little while.

    Reading isn’t escape. It’s alchemy. You absorb a stranger’s thoughts until they become your own. The walls of your self stretch, creak, take on new light.

    Certain books change your posture. You stand differently after them.

    They rearrange your silence.


    3. Writing to Clarify Your Thoughts

    There’s a quiet desperation that builds inside you when you haven’t written in a while. Words pile up like unread letters.

    I once stayed up all night trying to write a single paragraph about grief. When morning came, I had fifteen pages and no memory of how they got there. I’d brewed tea that had gone cold, reheated it, let it go cold again.

    Writing is how I talk to parts of myself that don’t answer to names. It’s a séance. An excavation.

    I don’t write to be understood. I write so I can understand.


    4. Learning a High-Leverage Skill

    In Tokyo, I tried to learn shakuhachi—the bamboo flute. My teacher was a man who looked like he hadn’t spoken aloud in a decade. He made me sit on a tatami mat for three full sessions before I was allowed to make a sound.

    “Breath before music,” he said.

    Now, when I learn anything new—whether it’s logic puzzles or Italian verbs—I think of him. The silence before skill. The humility in repetition.

    The magic happens when you forget you’re learning.

    You just do the thing. And the thing reshapes you.


    5. Solving Hard Problems

    Once, I spent seven hours debugging a script that turned out to be missing a single semicolon. I felt like a monk discovering a missing grain of rice.

    But there was beauty in it. The narrowing of focus. The slow peeling away of everything nonessential. Just you, the problem, and the invisible hand that dares you to try again.

    Hard problems aren’t cruel. They’re invitations.

    You don’t solve them. You enter into conversation with them.


    6. Meditation and Breathwork

    There’s a point in sitting—usually around the 18-minute mark—when the mind slips its leash.

    Not in a dramatic way. Just a gentle drift. Like stepping out of a train car and realizing the landscape has shifted.

    I’ve sat through storms, both internal and literal. The body itches. The clock mocks you. But then it breaks—like a fever. And what’s left is just breath. The body breathing itself. Time without labels.

    It feels like being a stone at the bottom of a river.

    And for once, the current is kind.


    7. Long, Unscripted Conversations

    A friend and I once talked from midnight to sunrise. No wine. No agenda. Just tea and open windows and the smell of early July.

    We talked about god, regret, womb memories, first kisses. Laughed until our ribs hurt. Sat in silence when the stories ran out.

    There’s a sacredness to conversation that isn’t trying to impress or persuade. It just is.

    Like jazz. Like shadow puppets. Like memory before it hardens.


    8. Creating Art or Music

    In Ljubljana, I bought a small set of Japanese brushes and a bottle of sumi ink. I didn’t know what I was painting—just that the ink moved like it had its own nervous system.

    Some afternoons I play one note on an old guitar over and over until it sounds like something it wasn’t before. It’s not music. It’s meditation with vibration.

    Art doesn’t care who sees it.

    It only asks that you leave something behind.


    9. Exploring Nature

    I once followed a deer trail in the hills above Piran and didn’t come back until moonrise. No GPS. No plan. Just that soft hum of “keep going.”

    There’s a rhythm to walking without destination. Your feet negotiate with the earth. Your breath syncs with pine and birdsong.

    Sometimes I find strange stones and put them in my pocket. Sometimes I talk to trees like they’re old friends who forgot my name.

    Nature doesn’t ask questions. It just listens.

    And then, slowly, it teaches you how to listen too.


    10. Teaching or Mentoring

    There’s a boy I used to tutor who thought he was bad at math. I watched him go from shame to pride in three months, just by learning how to reframe the way he saw numbers.

    One afternoon, he solved a problem and looked up like he’d heard music.

    “Wait,” he said, “I actually get it.”

    Time stopped for both of us in that moment. Not because of math. But because connection reclaims time from routine.

    Teaching isn’t about transferring knowledge. It’s about borrowing each other’s wonder.


    Wabi-sabi lesson:
    Time slips away most beautifully when you’re not trying to keep it.

    Each of these moments—reading, building, breathing, walking, speaking—are not escapes. They’re reunions.

    You don’t lose time. You lose watching it. And in that vanishing act, something sacred appears.

    A self without mirrors. A breath without count. A moment that doesn’t ask to be saved, only lived.

    So let it go. Let it carry you. Let it remake you.

  • The Echo of What Bothers Me


    thoughts grind like train brakes
    the racket of being real—
    quiet still won’t come


    What bothers me?
    That I’m bothered at all.

    It’s the double-layered ache that twists under the ribs—
    not just the sting, but the shame of feeling it.

    I remember growing up in a part of town where the concrete held heat in the summer and the stairwells smelled like old socks and fryer oil. Most of us had names that didn’t fit neatly in official forms. The kind of names that made teachers pause. Or smirk. Or skip.

    We played football on gravel. Swore fluently in three languages. Learned to run fast, not just because we were young—but because sometimes you had to. Cops. Fights. The kind of threats that wore Adidas tracksuits and held eye contact just a second too long.

    I remember once, standing in the hallway outside our flat, hearing a neighbor scream and then throw a chair down the stairwell. The noise echoed in spirals. My mother didn’t flinch. She just turned up the volume on the TV and told me to pass the salt.

    We ate soup while something shattered below.

    Back then, it felt like everyone was always angry at something.
    The system. The noise. The way the bus was late, again. The way you had to wait longer if your accent was wrong. The teacher who pretended not to see your hand up. The landlord who never fixed the heating.

    Anger wasn’t an emotion. It was air. You breathed it in. You held it in your lungs until it hardened into silence.

    I used to think I’d outgrow it.
    That adulthood would bring some kind of shield, a gentler world, a softer ceiling to rest beneath.

    But here’s what bothers me now: I’ve left all that behind, mostly.
    The noise, the stairwell, the smell. I live in a quiet neighborhood now. The shoes are lined up. The kettle works. There’s a balcony with plants that don’t get stolen. The floor is wooden and creaks in pleasant ways.

    And still, I get bothered.
    By people who chew too loud.
    By emails I don’t want to answer.
    By the slow drip of a faucet that I haven’t fixed.

    By a dream that ends just before the good part.
    By a text that says “seen” but never gets answered.

    And then—I get bothered that I’m bothered.
    Shouldn’t I be over this by now?
    Shouldn’t meditation, therapy, travel, books, love—shouldn’t they have cured this already?

    I try to explain it once to a woman I’m seeing. We’re sitting in a park, drinking coffee from a place that grinds their own beans and calls their sizes “ritual” instead of “medium.”

    She listens. Doesn’t interrupt.

    Then she says, “Maybe the part of you that feels broken isn’t broken. Maybe it’s just the part that remembers.”

    That stays with me.

    Because maybe the real wabi-sabi of it all is this:
    The cracks aren’t flaws. They’re features.
    They show that something passed through.
    A story. A survival. A scar.

    The boy who ducked out of fights. The teen who flinched at slurs. The young man who learned to speak quietly, because being loud got you labeled.

    He still lives here. In me.
    And sometimes he’s tired. Sometimes bothered.

    Sometimes he just wants to sit without needing to heal.

    So I let him.
    I breathe with him.
    We pass the salt.

    That’s what I’ve learned: it’s not about not being bothered. It’s about holding the feeling without letting it spill everywhere.
    It’s about knowing the world doesn’t owe you ease, and loving it anyway.

    Last week I watched a bird land on the railing outside my balcony. It stood there a long time, longer than birds usually do. Its feathers were ruffled. Something about it looked disappointed.

    Maybe it had flown all morning and still hadn’t found what it was looking for.

    I didn’t move. Just watched.
    And eventually it flew away.

    That’s how the bother sometimes goes.
    You acknowledge it. You don’t flinch. You let it rest beside you until it finds its own wings.

    And when it’s gone, you’re left with a strange kind of quiet. Not peace. Not yet.
    But maybe the space where peace begins.


    If this stayed with you longer than it should have—consider subscribing. I send these out quietly, the way memories return: unexpected, but true.

  • Ten Things I Know Are Absolutely Certain


    If these stories drift through your thoughts long after the reading, consider subscribing. They come when needed, not when expected.


    1. If you learn to build and you learn to sell, you become a quiet kind of unstoppable.

    I once met a man on a train from Nagoya who ran a tofu business out of his grandmother’s house. He had no website, no logo, just a tiny stamp and a phone number handwritten on a napkin. But he spoke about his tofu like it was alive. Like each block carried a memory.

    “You don’t need to scream,” he told me. “Just make something real. People will find it.”

    He knew how to build. He knew how to sell. He worked alone, but his work multiplied in people’s mouths.


    1. Wealth is not money. It’s not status. It’s the quiet sound of your ceiling fan on a Tuesday morning when you have nowhere you need to be.

    Money comes and goes. Status comes and goes faster. But real wealth is choosing your days. It’s being able to make a second cup of tea just because the first one tasted too hurried.

    I’ve slept in guesthouses and on tatami floors, but I’ve never felt richer than when I had time and nobody asking for it.


    1. Specific knowledge feels like remembering something you never learned.

    It’s when your hands know what to do before your mind catches up.

    Like when I started restoring broken ceramics with kintsugi. No one taught me, not really. But gold and fracture made sense in my bones. Every bowl held a little of my own story.

    You can’t teach obsession. But you can follow it.


    1. Play long games with long people.

    A friend once fixed my bicycle without asking. He didn’t text to say he had. Just left it outside my door with a note: “You looked tired. Thought you could use a smooth ride.”

    We’ve known each other for twelve years. Nothing flashy. Just a thousand small kindnesses that compounded over time.

    In the end, that’s all that matters. Who still shows up when nothing needs to be won.


    1. Productize yourself.

    I used to journal in private. Now I write here. Same thoughts, different leverage.

    A friend once said: “You have too many thoughts to keep them in your head. Set them loose. Let them do the walking for you.”

    This blog is my quiet rebellion. A way to turn breath into bread. Words into shelter. A slow conversation with strangers I might never meet.


    1. You won’t get free renting out your time.

    I once worked a job where my soul felt like it wore office shoes. Clean. Polite. Slowly dying.

    One afternoon, I watched a man across the street selling roasted chestnuts in the snow. He looked cold. But he also looked alive.

    Since then, I’ve tried to own something. Even if it’s small. A corner of the world where I call the shots. A patch of meaning no one can fire me from.


    1. Watch your mind like you would a small child wandering near traffic.

    It’s fast. It believes strange things. It picks up trash and calls it treasure.

    Meditation isn’t a spiritual accessory. It’s a survival tactic.

    Most days I just sit. I breathe. I ask my thoughts what they want. Sometimes they just need to be seen. Then they go.


    1. Read. Not because it’s productive. Because it expands the walls of your inner house.

    I read Murakami when I want to feel alone in a good way. I read Baldwin when I need truth without comfort. I read cookbooks late at night when I can’t sleep, because the rhythm of recipes feels like prayer.

    Reading lets you borrow lifetimes.


    1. Most people follow paths paved by other people’s fears.

    When I left a job that everyone said was “safe,” I felt like I had stepped off a moving train.

    And then—quiet.

    Then a garden. Then a language. Then an idea.

    First principles feel scary at first. But they lead you somewhere real. Somewhere breathing.


    1. Happiness isn’t a destination. It’s the byproduct of noticing.

    The warmth of a bowl in your hands. The way light falls across the kitchen table. A laugh you didn’t expect.

    Gratitude is cheap and infinite. Presence doesn’t require Wi-Fi. The most beautiful things I’ve lived through weren’t on any itinerary.

    And so I stay open. I stay soft. I keep watching.


  • The Gravity Between Stillness and Storm


    For the longest time, all I wanted was security.

    Not success. Not adventure.
    Just the absence of chaos.
    A night without shouting.
    A week without a hospital.
    A home that stayed in one place.


    My childhood wasn’t a disaster.
    But it was loud in the wrong ways, and quiet in the wrong places.
    There was love, yes.
    But also alcohol.
    And the kind of illness that sneaks in through the side door—
    the kind no one controls, and no one talks about,
    except in whispers after you’ve left the room.

    One uncle died too early.
    One aunt disappeared into the grey of mental fog.
    One parent lost their job, then lost themselves in the bottle for a time.
    The world didn’t fall apart overnight.
    It simply frayed at the edges.
    And I learned to stay quiet, to clean up, to take on more than I should have.


    I remember once—age nine or ten—
    I found my mother crying in the kitchen,
    holding a spoon over a pot she had forgotten to stir.
    She wiped her eyes and said she was just tired.
    But the soup was already burning.

    That moment stayed with me more than any birthday.
    It felt like being handed an invisible suitcase.
    Heavy. Mine. Forever.


    So as I grew, I chased peace with everything I had.

    I made my bed every morning.
    I kept my grades up.
    I didn’t ask for much.

    Later, when I had my own apartment, I filled it with silence.
    Tea towels folded the same way.
    A small ceramic bowl for keys.
    My socks lined up in perfect pairs, like well-behaved soldiers.

    This, I told myself, is what safety looks like.
    Predictability. Clean lines. No surprises.

    And for a while, it worked.


    But the universe, it seems, doesn’t believe in finished stories.
    Even when I had built something quiet and dependable,
    it always cracked open again.
    Inviting in wind.
    And strangers with wild eyes.

    People came into my life and nudged me off course.

    There was the man who slept on my floor for three weeks
    after missing a flight back to Istanbul,
    and then convinced me to ride a train across the Balkans.

    There was the woman who kissed me mid-sentence in a laundromat,
    and said, “You need to learn how to let go of your furniture.”

    And I did.


    Each time I thought I was done with risk,
    something pulled me back into movement.
    A whisper. A fire. A train station in a country I hadn’t planned on visiting.

    And oddly—these moments didn’t destroy my peace.
    They deepened it.
    Made it less brittle.
    More like water, less like glass.


    There was tragedy in my past, yes.
    But also beauty.
    A kind of beauty only those who’ve wept in locked bathrooms understand.
    The beauty of surviving things you didn’t ask for.
    The beauty of still wanting to dance.
    Of laughing with someone in a café,
    even though part of you still carries the echo of old grief.


    I used to think I had to choose.
    Security or adventure.
    Stability or risk.
    But life is not a coin toss.

    It’s a tide.

    It moves forward, and back.
    And you learn to stand inside it,
    sometimes soaked, sometimes held.


    There are still nights I wake up and check that the stove is off.
    That the door is locked.
    That I haven’t lost the peace I worked so hard to build.

    And there are mornings I walk with nothing but a backpack and the impulse to leave.
    No plan.
    Just a hunger for wind and strange languages.


    Wabi-sabi lesson:
    Safety is not the absence of storm.
    It’s the knowing that you’ve been through worse.
    That you can carry both grief and laughter in the same pocket.
    That peace doesn’t have to be perfect to be real.

    You build a quiet life.
    But you leave a window cracked, just in case something beautiful wants to come in.
    You make your tea.
    And you learn to pack quickly, when the moment calls.

  • The Chihuahua at the Edge of the World


    Before we begin—if these quiet, wandering stories speak to something in you… if you’ve ever paused mid-walk just to feel the wind shift, or found yourself smiling at nothing in particular—consider subscribing.
    This isn’t a newsletter in the usual sense. It’s a small boat I push into your bay now and then, filled with strange truths, crooked spoons, and warm things that don’t ask to be fixed. If it lands, you’ll know.

    I found her on an island that didn’t appear on any map. No ferry routes. No signs.
    Just sand that remembered footsteps,
    and wind that had no intention of going anywhere else.

    She was lying in a hammock strung between two crooked trees,
    a half-melted pistachio-mango ice cream dripping down her wrist.
    A chihuahua sat beside her like a bodyguard that believed in reincarnation.

    “You’re here,” she said, like she had been expecting me for years.
    Maybe she had.


    She wasn’t what I imagined when I thought of Being.
    But then again, most things that matter come in the wrong packaging.

    She was wearing cheap sunglasses that didn’t fit quite right and an oversized linen shirt, damp with sea air. Her legs swung slightly over the hammock edge, tanned and sandy. Her left ankle had a faint scar—the kind you don’t remember getting but never fully forget.

    “You thought I’d be wearing robes?” she asked, reading my face.
    “Something Greek maybe? A little austere?”

    I said nothing.

    She grinned.
    “I get that a lot.”


    We talked.
    Or rather—she talked, and I listened.

    She had a voice like tidewater. Slow, rolling, pulling things from me I didn’t know I still carried.

    We talked about what people search for, and how often they skip over it in their rush to define it.

    “Everyone wants to arrive,” she said.
    “Nobody wants to be where they are.”

    I offered her the question anyway, the one that had floated just beneath my chest for most of my adult life:

    “What’s the point of all this?”

    She didn’t roll her eyes.
    She didn’t laugh.
    She just shifted slightly and held the dripping cone out to the chihuahua, who licked it once and looked away like it had tasted this truth before.

    Then, very softly, she answered:

    “It’s not the big thing.
    Not the golden revelation or the five-year plan.

    It’s lying in a hammock between trees you don’t know the names of.

    It’s riding a rusted bike through flat, sunlit streets that smell faintly of tomatoes and detergent.

    It’s the hole in your sandal that you forget is there until it rains.
    And then, instead of cursing it, you laugh.
    Because it’s been part of you this whole time.”

    She paused.

    Then added, as if it were an afterthought:

    “Also, I may have had a little rum earlier.
    And smoked something with Aristippus.
    But that doesn’t make it less true.”


    We fell into a kind of rhythm.
    Not quite conversation. Not quite silence.

    She told me stories.

    About the first person who ever tried to bottle purpose and sell it in glass vials. About a fox who had once convinced an entire town to follow the stars instead of the road signs. About a woman who disappeared into a painting of a rice field because it looked more real than her life.

    None of the stories had endings. She said that was the point.

    “The best ones keep leaking into your life,” she said, “like old ink.”


    We talked about the forks in the road. The real ones.

    Like when I decided, without really deciding, to study abroad. Not because it made sense, not because I had savings, but because something inside me whispered go like a hand on the small of my back.

    I told her about the time I moved to England for a woman I barely knew. About the day we sat by the canal, and she touched my arm mid-sentence, and for a second, everything in me fell quiet.

    “Did it work out?” she asked.

    “No,” I said.

    She nodded.
    “But it mattered.”


    I told her about the accident. The one with the bicycle. The wet tram tracks. The sharp twist of bone. How I couldn’t write for six weeks. How silence became a second skin. How one morning I cried because I watched a sparrow eat from a coffee saucer someone had left outside their door.

    “Pain folds you,” she said, tracing something in the air.
    “But when it unfolds you again, the creases tell a story.”


    The sun shifted. The tide sighed.

    She stood and walked a few paces toward the water, the hammock swinging slightly behind her. The chihuahua followed at her heels, half-alert.

    “You’ll leave soon,” she said.
    “That’s alright. Just… don’t go back the same way you came.”


    I asked her if I could come back.

    She looked over her shoulder and smiled.

    “You always do,” she said.
    “Usually right before you forget something important.”


    When I finally stood to go, she placed a hand briefly on my shoulder.

    “You’re doing fine,” she said.
    “Just don’t wait until everything makes sense to begin.”

    And then, quieter:
    “Take more naps. Stretch in the mornings. Water the plants even when you’re sad. And buy the better socks.”

    The chihuahua sneezed.

    The trees leaned closer.

    The sea went on being the sea.


    If this story stayed with you longer than it should have—subscribe.
    Not for updates. Not for content.
    But for reminders.
    That soft, strange things still exist. And they arrive quietly, in your inbox, like a letter from someone you used to be.

  • The Dinner That Wasn’t in the Calendar


    ふたつの時
    皿の上に
    蒸気たち

    Two timelines—
    rising in soft steam
    from one plate.


    If I could host a dinner, and anyone I invited was sure to come—
    no delays, no wrong addresses, no polite refusals—
    I wouldn’t ask for celebrities, spiritual masters, or even the ones I still dream about
    when the train sways too gently through tunnels.

    I’d invite two people.
    My older self—the one who already knows how this ends.
    And my future self—the one who hasn’t told me yet.

    No RSVP needed. They would simply arrive,
    exactly when the dough is thin enough to read a newspaper through.


    We’d meet in a house that only exists on days when you wake up before sunrise and everything feels slightly left of real.
    Wooden beams. No clocks.
    A stove with chipped enamel and a window that fogs just enough to blur the past and future behind it.

    I’d cook Apfelstrudel—the proper kind.
    Not frozen, not rushed.

    The dough would be handmade, stretched on an old linen cloth,
    until it was almost translucent.
    You could hold a newspaper beneath it and still read the headlines.
    That’s how my grandmother did it, and her mother before her.
    I’d fill it with tart apples, lemon zest, cinnamon, sugar, raisins soaked in rum, and toasted breadcrumbs for warmth.

    The scent alone would be enough to summon them.


    The cutlery would be a patchwork of my life:
    a fork from a market in Porto,
    a knife from a ryokan in Aomori where they served pickled burdock root on rainy mornings,
    chopsticks wrapped in lacquered black from a Kyoto alley I’ve never found twice.

    The plates would be handmade Japanese ceramics—irregular, quiet in tone, slightly cracked at the edges.
    Wabi-sabi.

    The coffee would come from a roastery I visited once in Ljubljana—hidden in a courtyard, with beans roasted so slowly the whole place smelled like earth remembering fire.
    I bought a bag, forgot about it, then rediscovered it during a move.
    The best coffee always finds you twice.


    My older self would arrive first.
    He’d be wearing a scarf someone once gave him and still forgets the name of.
    There’d be something slow in his walk, but nothing sad.

    “You still make it like that,” he’d say, nodding toward the strudel cooling by the window.

    “The only way it tastes right,” I’d reply.

    He’d sit down without being asked.
    I’d pour him coffee. No sugar, just a little cream.


    “I worry about you,” I’d say, watching the steam rise from his mug.
    “You still sleep too little. Still look at your phone like it’s a person who owes you an apology.”

    He wouldn’t deny it.

    “Go outside more. Take trains without plans.
    Listen to the wind through pines. It knows things.
    Don’t waste your mornings.
    And buy the good socks. Your feet deserve kindness.”

    He’d sip, then smile with half his face.
    “Noted,” he’d say.


    Then the future self would arrive.
    He wouldn’t knock.
    He’d just appear in the doorway, holding a lemon wrapped in newspaper.
    A gift, maybe. Or a message.

    His coat would be well-worn.
    His eyes would be quiet.
    The kind of quiet that only comes from having lost something important and survived it.

    He’d place the lemon on the table without explanation, and sit between us.


    We’d eat slowly.
    Knife against crust, steam rising from apple.
    No rush. No seconds.

    I’d speak first.
    I’d talk about forks in the road
    how I once chose to study abroad on a whim,
    not because it made sense, but because something inside me whispered go.

    I’d tell them about the girl in England.
    How I crossed countries because of her.
    How love made me braver than reason ever could.

    I’d talk about the accident.
    The one with the bike and the wrong turn,
    that shattered my wrist and made me rethink everything.

    How I couldn’t write for weeks.
    How the world went quiet, and in that quiet,
    I started to listen to myself differently.

    “You became someone new after that,” the older me would say.

    “You became someone real,” the future me would add.


    We wouldn’t speak the whole time.
    Some silences would stretch like old jazz solos—
    awkward at first, then oddly perfect.

    At one point, I’d ask my older self:
    “What did I forget?”

    He’d think. Then answer.

    “You forgot how to be bored.
    And you forgot how to be amazed by small things—like peeling oranges or hearing your name in someone else’s mouth.”

    I’d nod.


    I’d ask the future me,
    “Does it work out?”

    He wouldn’t say yes.
    He wouldn’t say no.

    He’d just look at me, tilt his head, and say,
    “You’ll remember what matters.
    And forget what doesn’t.
    That’s enough.”


    We’d sit there a while longer—three of me,
    each holding a warm mug,
    each shaped by a different wind.

    And just before leaving,
    my future self would touch the lemon,
    push it toward me,
    and say,

    “This—keep it close. You’ll understand when it’s time.”

    Then he’d walk out.
    No goodbye.
    Just the creak of old wood and a door that didn’t need locking.


    Wabi-sabi lesson:
    The best things rarely make sense at first.
    They come unannounced—
    as strudel dough stretched thin,
    as a detour through England,
    as a lemon placed on your table by someone you haven’t become yet.

    Life doesn’t reward logic.
    It rewards attention.
    A well-made dessert. A meaningful accident. A fork you carry for no reason—until someone needs it.

    Sleep more.
    Worry less.
    Stretch the dough slowly.
    Let your past sit at your table,
    and let your future speak when it’s ready.

    Because one day,
    you’ll be the guest.
    And you’ll be grateful someone remembered to keep the coffee warm.

  • What Gets Better With Age


    とし月が
    しずけさくれて
    味ふかし

    With age and time,
    quiet settles deeper—
    flavor grows.


    In your twenties, you want your life to happen all at once.
    You think if you miss one train, the whole station disappears.
    You stay up too late, chase too much, say yes to things that hollow you out.
    You think life is a fire that needs more wood—more cities, more people, more stories.
    But with time, you learn.
    The fire doesn’t need more.
    It needs tending.


    I learned this not through philosophy or books,
    but through strange, unremarkable moments—
    the kind that don’t seem important until years later,
    when they return in your hands like a warm bowl of something familiar.


    Years ago, I made polenta for a woman I hardly knew.

    She had shown up at my apartment in Ljubljana after a night of too much wine and too many people.
    She sat on the edge of my sofa like a guest in her own body.
    Eyes half-closed, head tilted like she was trying to stay in the room.

    I remembered how my mother used to make polenta when I was sick.
    She’d stir it slow, whispering about timing, about texture.
    She said it wasn’t food. It was repair.

    I had no medicine, no good advice.
    But I had a pot and a wooden spoon.

    So I made polenta. No butter, just salt and patience.
    I placed it in her hands without saying anything.
    She took one bite and said, “I feel like something is putting me back together.”

    And maybe something was.


    Here’s the lesson:
    The small things you do become tools.
    You don’t know when you’ll need them,
    but someday, someone will walk into your life
    and you’ll be ready.


    Like the washing machine.

    I once helped carry one down six flights of stairs in July with a stranger named Ivan.
    No gloves. No warning.
    We laughed at first, then sweated, then swore.
    My hands were wrecked for days.

    But later, when a friend asked me to help her move,
    I didn’t flinch.
    I showed up with gloves, straps, tape for the machine doors, and a bottle of Pocari Sweat.
    We got it down in under ten minutes.

    “You’ve done this before,” she said.

    I nodded.
    “Once badly. Now properly.”


    That’s what age does:
    It quietly prepares you.
    You gather experience the way a tree gathers rings—slowly, invisibly, with each passing season.
    You don’t even notice until you’re standing in someone else’s storm
    with the exact umbrella they need.


    I’ve learned how to read moods before words are spoken.
    How to boil tea that makes people cry and not ask why.
    How to give space instead of solutions.

    A while ago, I sat in silence with someone grieving.
    We didn’t talk. I just peeled an orange and handed her half.
    It was all she needed.
    Not answers.
    Just something sweet.
    Something human.


    And then there are the things you learn to let go of.

    Like needing to be right.
    Or needing everyone to like you.
    Or needing life to happen on schedule.

    You stop needing closure.
    You stop explaining your choices.
    You begin to see that what makes something meaningful
    is often what remains unspoken.


    So what gets better with age?

    You do.
    But not louder. Not faster.
    You get quieter.
    You become more precise in how you love.
    More fluent in presence.
    More aware of when to speak and when to hold a hand and say nothing.

    You learn to walk into a kitchen, boil water,
    and make something that says,
    I see you, and you’re safe here.


    Wabi-sabi lesson:
    Life doesn’t reward urgency.
    It rewards presence.
    What you do gently today becomes someone’s comfort tomorrow.
    A pot of polenta.
    A way to carry a washing machine.
    An orange split in silence.

    So go live.
    Learn by doing.
    Mess things up and remember how.

    Because one day, someone will need you—
    not for your perfection,
    but for your preparedness.

    And you’ll find that you’re ready.
    Because you’ve lived.
    And that makes all the difference.

  • The Light I Sleep By


    夜が溶け
    朝のくちびる
    霧に触れ

    Night dissolves—
    and morning’s lips
    kiss the mist.


    I was staying in a small apartment in Kōenji when I started waking up before dawn.
    It was winter, I think. Or close to it.
    The kind of cold that isn’t just temperature, but an attitude. A certain silence in the walls.

    The apartment was on the second floor of a building that used to be a bathhouse, or so the old man downstairs claimed. He ran a record shop that never opened before noon and played only jazz pressed before 1968.
    He didn’t sell anything, as far as I could tell.
    He just liked having the records near him.

    We never exchanged names.
    Still, every morning when I passed his open door, he nodded once.
    It was enough.


    At some point, without deciding to, I began going to sleep earlier.
    Not like clockwork.
    Not like some resolution on a wall.
    It just started happening.
    The light would fade, and something in my body—some ancient bird—would fold its wings and say, that’s enough for today.

    And when I began waking before the city did—before even the vending machines hummed their full song—I felt something loosen.
    As if I’d stumbled into a version of Tokyo that most people never get to see.
    A softer one. A little threadbare at the edges, like an old coat.

    I’d pull on my jacket, still holding the warmth of sleep, and walk.
    No destination. No headphones. Just air.
    The kind of air that carries secrets but doesn’t tell them.


    I’d stop by a convenience store—FamilyMart, usually—and buy a black coffee in a paper cup.
    Sometimes a boiled egg.
    Sometimes a chocolate chip melon pan that left sugar in my pocket lint.

    Then I’d find a place to stand.
    A bridge. A corner. A rooftop if I could sneak one.
    I liked watching how the mist settled between buildings.
    How even the crows seemed gentler in the morning, their cries slower, more drawn out.
    There was a dog I used to see, a Shiba with a crooked ear.
    He walked his owner more than the other way around.

    We nodded at each other too.
    I don’t know if he remembered me.
    But I remembered him.


    People say evenings are magical.
    But that’s because they’ve never listened to a morning.
    Mornings are quiet, yes, but not empty.
    They’re full
    of things returning.
    Light. Breath. Thought. Birds.
    Even your own name sounds different in the morning.


    She was staying with me for a few nights.
    A translator from Kyoto.
    She liked whiskey and didn’t believe in dreams.
    Slept with her socks on and kept a small wooden owl in her bag for reasons she wouldn’t explain.

    “You get up early,” she said one morning, watching me boil water.
    “Do you always?”
    “Only when I’m not trying to,” I said.
    She blinked, then wrapped the blanket tighter around her.

    There was something in the way she looked at me—like she was trying to place a melody she almost remembered.
    She didn’t ask anything else.


    In my twenties, I didn’t care much about sleep.
    I treated it like a coin I could toss away.
    Nights were for pacing, for unfinished thoughts and half-written emails.
    Sleep came when it came—fragmented, rushed, often beside someone I didn’t know well enough to be dreaming near.

    But somewhere along the way, I realized something:
    sleep isn’t what you do after the day is done.
    It’s what allows the day to begin at all.

    The body reconstructs in the dark.
    Not metaphorically.
    Literally.
    Cells repair. Memory reorders. Feelings unclench.

    Sleep is the factory.
    Everything else is just packaging.


    “I don’t trust mornings,” she said, a few days later.
    “They’re too quiet. Like they’re hiding something.”

    “Maybe they are,” I said.
    “But so are we.”

    She smiled, but didn’t answer.
    That was the last morning we shared.


    Wabi-sabi lesson:
    You don’t have to chase stillness.
    It finds you.
    In early light.
    In cracked sidewalks.
    In mist that doesn’t explain itself.

    Sleep more.
    Not as escape, but as return.
    To the parts of you that keep breathing,
    even when you’re not watching.

    When the city is still folded,
    and the sky hasn’t decided its color yet,
    there’s a window.
    A kind of music.

    And if you’re lucky,
    you’ll be awake enough to hear it.

  • A Few Small Ways to Stay Human


    やわらかく
    日々に身を置く
    風のままに

    Gently—
    I place myself inside the day,
    and let the wind decide.


    It’s never been the big things that saved me.

    Not the milestones. Not the accolades.
    Not the moments with music swelling in the background.

    It’s always been something smaller.
    Something softer.
    And usually, something ordinary.

    A convenience store coffee.
    A slice of leftover cake.
    The quiet sound of someone breathing beside you who doesn’t need anything from you at all.

    These days, I don’t aim to “improve” myself.
    I aim to stay close.
    To life. To people. To the part of me that still feels everything.
    Here’s how I try.


    Sleep more.
    Not for performance. Not so you can do more later.
    Just because.
    Because your brain is a slow animal and it needs darkness.
    Because dreams are sometimes the only place your body tells the truth.

    I sleep in layers.
    Curtains drawn. Window cracked just enough to let the night speak.
    Sometimes I wake with the faint memory of something important I almost remembered.
    That’s usually enough.


    Have sex.
    Not always.
    Not just because it’s late and you’re lonely and the silence is too wide.
    But when it’s honest. When it feels like a conversation made of skin instead of language.

    I remember one winter in Ljubljana—
    the kind of winter that seems to hum beneath your coat—I was staying in a borrowed apartment with cracked tile and uneven heating. The day before, I’d had a small birthday gathering. Someone brought cake, a little lopsided, but sweet.
    There was some left over.

    That night, she came over.
    We weren’t anything official. Just two people orbiting the same kind of sadness.

    I gave her a slice of that leftover cake. No candles. No explanation.
    Then, for some reason, I sang her a Maroon 5 song—soft, a little out of tune.
    She laughed. Then she cried.
    I didn’t ask why.

    Later, we lay down in our clothes, pressed together but not tight.
    It wasn’t about need.
    It wasn’t even about desire.

    It was simply that neither of us wanted to carry everything alone that night.
    And we didn’t.


    Go for walks.
    In the city, especially.
    Around Tokyo. Alone. Slowly.

    Sometimes I drift through backstreets in Nakameguro, past shuttered shops and flowerpots left like offerings in front of low wooden doors. Other times, I head toward nowhere in particular, letting the vending machines and crows decide my route.

    I stop at a combini, pick up a small coffee, maybe a steamed bun.
    I eat it while standing near a river, listening to someone’s radio playing faintly from an upstairs window.

    Nothing happens.
    But something always shifts.

    The weight I didn’t know I was carrying gets lighter.
    The city stops asking so many questions.


    Dance.
    Even if you look ridiculous. Especially then.

    In my old Tokyo apartment—tiny, beige, and full of shadows—I used to put on Cornelius or Lamp or something strange from an old playlist and just move. Arms loose. Ankles slow. Sometimes sober, sometimes not. Sometimes with a bit of sake in my system, or half a gummy from a trip abroad still lingering in a drawer.

    It wasn’t for joy.
    It was for release.
    It was for the version of me who still remembered what my body felt like when it wasn’t being watched.

    One night, someone left a note under my door:
    “You look happy when you dance. I hope you stay that way.”

    I kept the note.


    Talk to people.
    Even when you think you have nothing to say.
    Even if it’s just about the weather or the onigiri you regretted buying.

    Sometimes I call my sister just to describe the sky.
    Sometimes I strike up a conversation with the guy who runs the soba stand near my station.
    His name is Tanaka-san. He once told me he plays harmonica in secret.

    He’s never invited me to hear it.
    But every time he hands me my bowl, I listen for the echo.


    Talk to yourself.
    Out loud. In whispers. On trains. In bathtubs.

    Ask yourself questions.
    Answer them badly.
    Laugh at how weird your voice sounds when no one else is around.

    I do this all the time.
    At first, it was a joke. Then it became a habit.
    Now, it’s a kind of companionship.

    Me talking to me.
    Me asking, “Are we okay?”
    Me replying, “Not sure. But we’re trying.”


    Laugh.
    And not just at clever things.
    Laugh at burnt toast.
    At how clumsy you are.
    At the absurdity of crying in a Uniqlo changing room because the lighting was too honest.

    I once laughed so hard I fell off a bench in a park near Mitaka.
    I was eating an egg sandwich and listening to a podcast about octopuses.
    No punchline.
    Just a moment when everything cracked open and I remembered how ridiculous it is
    to be alive and trying.


    Wabi-sabi lesson:
    You don’t need to upgrade yourself.
    You just need to return.
    To what’s already working quietly in the background.
    To the body that still moves.
    To the voice that answers you at midnight.
    To the part of you that sings when no one’s around
    and eats cake with strangers
    and lets a tree go unnoticed until one day,
    it’s home.

    Stay human.
    Stay soft.
    Sleep more.

    Everything else can wait.

  • The Tree, the City, and the Quiet Curve of Time


    かこもいまも
    みらいもまがりて
    ひかりさす

    Past, present, and future—
    each bending in its own way
    toward the light.


    “What are you most excited about for the future?” she asked, stirring her coffee so slowly it barely made a sound.

    We were sitting on the narrow terrace of a jazz bar in Shimokitazawa, half-lit by a broken lantern and the flickering screen of a vending machine across the alley. The night smelled faintly of miso and old wood.

    I thought for a moment. The question caught me off guard—not because I didn’t have an answer, but because I wasn’t sure how to put it into words. Not yet.


    The image that came to mind wasn’t futuristic at all. No robots or utopias or sparkling cities in the clouds. It was a tree. A very specific one.

    There’s a hillside in rural Slovenia where I used to walk every summer. Years ago, when I was still in school and everything I carried fit into a single rucksack, I passed a sapling pushing out of the earth next to an old stone wall. It was fragile then—thin, straight, like a pencil pushed halfway into the soil. I remember pausing, just for a second, and thinking, You probably won’t make it.

    But the next year, it was still there. And the year after that. Slowly—quietly—it twisted. The roots deepened. The trunk bent slightly eastward, leaning for the sun that had moved just a little higher in the sky. The bark grew coarse. The wall crumbled a bit beside it. And last year, when I returned after a long time away, I saw that the tree was no longer just a tree. It had become a neighborhood.

    There were birds nesting in its hollows. Beetles in the shade. A fox track just below the roots. Ivy wrapped around the trunk like it had fallen in love. The whole thing was alive with things that weren’t supposed to be there, and yet there they were. Thriving.


    I told her this.

    She raised an eyebrow, like maybe she expected something else.
    “Trees?”
    “No,” I said. “Adaptation.”


    Things on average are getting better.
    Not in a dramatic way, not fast.
    But better.

    People are learning how to listen more. To each other. To the world. To themselves. Not perfectly. But more than they did a generation ago. And pain, even when it shows up uninvited, has a strange way of becoming instruction.

    Nature’s been doing this forever.
    Twisting toward light.
    Even if it hurts.


    In Tokyo, there’s a street I like near Ueno. It’s not beautiful in the traditional sense. Loud, cluttered, full of salarymen and vending machines and the stale smell of exhaust. But if you walk it often enough, you start to notice things: the sparrows that land exactly when the traffic light turns red. The neighborhood cats that sleep beneath the ramen shop vent because it’s the warmest spot on the block. The old woman who walks her tiny dog at the exact same hour every morning, nodding politely to the garbage collectors like they’re monks.

    Everyone, everything, adapting.
    Finding rhythm in the static.


    Back in Slovenia, that tree now drops seeds of its own. The hillside changes slightly each year. Paths carved by deer. Moss growing on one side of the bark. Sometimes I sit beside it and just watch the insects for a while, wondering how many years it will live past me.

    And in a way, I feel the same when I watch a crowd cross Shibuya at rush hour. A million tiny organisms in motion, adjusting angles and timings with ballet precision. Some frown, some float. Some lost in thought, some locked to their phones.
    Still—moving forward.


    “I guess what I’m excited about,” I said finally, “is that people figure things out. Slowly. Clumsily. Often the wrong way first. But they do.”

    She sipped her coffee and smiled. “That’s very… non-linear of you.”

    “I prefer curved,” I said. “Straight lines break.”


    Wabi-sabi lesson:
    The future doesn’t arrive all at once.
    It grows like a tree—twisting, pausing, trying again.
    Every scar becomes part of the shape.
    Every delay teaches direction.
    Even pain, even chaos, has roots.

    Don’t look for perfection.
    Look for cohabitation.
    Between past and present, nature and steel, sorrow and joy.
    The world is learning how to hold all of it—together.

    And so are we.


    So no, I’m not waiting for some perfect tomorrow.
    But I’m watching the way things bend toward light,
    even when the weather’s off.
    And that, quietly,
    is enough.

  • Where Harmony Falters

    ゆらぎこそ
    いのちの調べ
    音のままに

    In wavering tones
    life composes its music—
    let it play as is.


    People talk about harmony like it’s a goal.
    Something fixed. Clean. Balanced.

    A final chord that rings just right.

    But when I look back—really look—
    I don’t think I’ve ever lived in harmony for very long.
    Not the tidy kind, anyway.
    Not the kind you can frame on a wall and nod at.

    The truth is, most of life isn’t harmonious.
    It’s dissonant.
    Messy.
    A slow-motion stumble through moods and misunderstandings.
    One second you’re laughing over dinner,
    the next you’re not talking for days,
    both convinced the other doesn’t get it.

    And maybe that’s okay.
    Maybe that’s not failure at all.
    Maybe it’s how things breathe.


    If I let go of anything now,
    it wouldn’t be anger. Or sadness.
    Or even conflict.

    I’d let go of the need for constant harmony.

    Because I think I finally understand:
    harmony isn’t something you force.
    It’s something that visits.

    It comes and goes like weather.

    And the rest of the time—
    when things are cracked, off-key, unspoken—
    that’s not absence.
    That’s still music.
    Just a different kind.


    When I was younger, I thought the point was to fix everything.
    To keep the peace.
    To make sure no one was ever hurt,
    and that every conversation ended with a nod and a smile.

    But life taught me something different.
    It taught me through slammed doors,
    through cold silences in kitchens,
    through the lump in my throat when I wanted to say sorry but didn’t know how.

    It taught me through love that didn’t listen
    and love that did, eventually,
    after a long walk and some space.


    The biggest turning points in my life didn’t happen during peaceful times.
    They happened during rupture.

    I grew not from calm,
    but from the friction.

    The argument with my father that left us both raw.
    The moment I said something cruel and watched someone I loved flinch.
    The breakup that emptied me so completely
    I had no choice but to start again from zero.

    In those moments, everything hurt.
    But everything mattered.

    Because pain, when you let it pass through you,
    doesn’t rot.
    It reshapes.
    It shows you the edge of who you were
    and the door to who you could become.


    Harmony is not the default.
    It’s a brief grace.

    And when it arrives—after the tears,
    after the misunderstanding,
    after the long, awkward conversation where no one quite knew what to say—
    it feels like a warm hand on your back.
    A momentary alignment.
    A breath you both finally take together.

    But it’s not forever.
    It doesn’t need to be.


    Wabi-sabi lesson:
    Let go of the fantasy of perfect peace.
    Real life wavers.
    People clash.
    Things fall apart.
    And in that falling, something truer is revealed.

    Beauty isn’t in the balance.
    It’s in the attempt.
    In the small, flawed efforts we make to meet each other where we are.
    In the courage to stay
    even when everything is slightly off tune.

    Sometimes, the most honest love is the one that argues.
    Not to win.
    But to be real.

  • The Music That Found Me


    はじめての
    おとが胸打つ
    なつかしさ

    The first sound echoes—
    striking something deep inside,
    a homesickness new.


    When I was young, music didn’t come in genres. It came in waves. In moments. It came through open windows and distant car radios, from cassette tapes passed hand to hand on school buses, from the glow of music television late at night when you were supposed to be asleep but weren’t. It came like weather, sudden and unprovoked—one minute you were just brushing your teeth, the next you were fully inside the rhythm, feet moving, eyes wide, something pulsing in your chest you didn’t yet know the name of.

    There was a track—I don’t remember the name—some ridiculous Eurodance hit, probably played on a cheap boombox or Nokia ringtone speaker. It wasn’t art. It wasn’t even particularly good. But when the bass dropped, it felt like someone had cracked open a secret compartment inside my brain and poured electric syrup on all the dusty corners. My legs twitched. My heart sped up. Everything felt new and slippery and possible. I was maybe nine years old. I played it again and again until the batteries died.

    It didn’t matter what the lyrics were about. I didn’t speak English well enough to understand them anyway. It didn’t matter who made the song, or whether it was cool. The only thing that mattered was how it made me feel: invincible, in motion, like maybe the universe was clapping along with me in some unseen way. I didn’t yet understand art, or effort, or the intimacy of sound creation. Back then, music wasn’t something I respected. It was something I devoured. Like sugar. Like noise I needed in my blood.


    It was only much later—years later—that I began to actually listen.

    I think it happened quietly. Maybe I was seventeen, maybe twenty. I remember sitting in my room one night, the walls still the same, but something in me different. The song playing was slower than what I used to like—jazzy, maybe. There was a breath at the start, then a pause, then a piano note that felt like a question. I listened again, this time not for the dopamine hit but for the story. For the space between the sounds.

    And I found something I hadn’t known I was looking for: the musician.

    Not the finished track, not the studio polish—but the human. I could feel the hands on the strings. I could hear the weariness in the tempo, the joy just barely contained in the background laughter at the end of the take. These weren’t just songs anymore—they were confessions. Openings. Letters written in a language you couldn’t translate but could still understand.


    From then on, music began to mean something else. Not better. Just deeper.

    I started wandering through record shops the way people walk through forests—quiet, curious, ready to stumble upon something sacred. Sometimes I’d find a live recording from the 70s, the kind where you can hear people coughing in the crowd, chairs creaking, a glass breaking somewhere behind the mic. And that imperfection made it real. Made it matter. It was proof of life.

    I started loving music that didn’t need to impress me. Music that didn’t shout. That had nothing to prove. Japanese ambient. Sad Brazilian guitar. Polish jazz with too much echo. I liked tracks where nothing happened for long stretches, where the feeling crept in slowly, like a fog rolling through familiar streets. I liked to imagine the person playing it—alone in a room, tired, maybe hopeful—just trying to get one part of themselves outside of themselves.


    Now, when someone asks what my favorite genre is, I hesitate. It feels like being asked what kind of sky you prefer. Blue? Overcast? A thunderstorm at 3 a.m.? It depends. On what? On who I am that day. On whether I need to remember or forget.

    Sometimes, I’ll hear a song that sounds like a place I’ve never been, but somehow miss. That’s when I know I’m in the right one.

    Sometimes, the best part of the song isn’t even the chorus—it’s the pause right before it, when the entire track is holding its breath, and I’m holding mine too, and for a moment we’re both waiting to see what will happen next.


    Wabi-sabi lesson:
    What begins as noise can become prayer.
    What you once consumed blindly, you may one day bow to.
    Music is not about liking or ranking or even understanding.
    It’s about showing up—to the sound, to the silence, to yourself.
    The crack in the singer’s voice is not a flaw. It’s the reason you believe them.

    Every song you’ve ever loved lived inside someone first.
    And when it reaches you, when you really hear it—it’s no longer theirs.
    It becomes part of the invisible architecture of your life.
    Even after it fades.

    Even after you do.


    So no, I don’t have a favorite genre.
    But I have dozens of memories where the music found me—
    caught me mid-thought, mid-heartache, mid-summer breeze—
    and said, here, this is what you need now.
    And for a moment, I believed it.

  • When the World Was Still Small


    ほたる舞う
    こどもの夏に
    時 止まる

    Fireflies dancing—
    in the summer of childhood,
    time holds still.


    I’ve never really had a “most memorable vacation.”
    Not in the way people usually mean.
    No airport stamps or beach resorts.
    No frozen cocktails or Instagram highlights.
    But I do remember the summers.

    Long, generous summers.
    The kind that stretched like open arms—
    June to September—no rush, no schedules, no alarms.
    Just time. Pure, uninterrupted time.

    It wasn’t a vacation.
    It was a season.

    And back then, the world was still small.


    I remember the smell of cut grass baking under the sun.
    The metallic scent of summer rain hitting hot pavement.
    I remember sleeping with the window open,
    a soft wind breathing through the mosquito net,
    the air filled with the dry, peppery scent of elderflower.

    And fireflies.

    God, the fireflies.

    In June, they’d float like little spirits across the garden—
    gentle flickers, barely real.
    We chased them barefoot,
    feet slapping against warm stone and soft dirt,
    laughing like there was nothing else in the universe
    but this glow, this night,
    this light in your cupped hands.


    July came with the beer festival.

    It was small—local.
    Held in a field that was otherwise just cows and clouds.
    But for one week, it transformed:
    the scent of fried onions, yeast, sweat, and beer foam
    hung thick in the air like mist.
    Men carried crates, their hands dusty with hops.
    Women wore faded tank tops and wide smiles.

    I helped out behind the counter—passing bottles, wiping tables.
    I didn’t drink yet.
    But I remember the cold condensation on glass.
    The slick, sticky floor under my shoes.
    The way the music thumped through the soles of my feet.

    It was messy.
    Honest.
    Alive.


    Most days we just wandered.

    Down narrow paths behind the village,
    across wheat fields full of crickets,
    into the woods where light filtered down like something holy.

    We didn’t know much about the world then.
    Didn’t need to.

    We had the river,
    and the way the frogs croaked at dusk.
    We had trees with names.
    We had bikes that squeaked.
    We had freedom disguised as boredom.


    But slowly—without anyone really saying it—
    those summers began to vanish.

    The first signs were subtle:
    jobs, responsibilities,
    the pressure to “make something of yourself.”
    Suddenly, time had a price.

    The fireflies still came in June—
    but I stopped chasing them.
    There was always something else to do.

    The beer festival still called for help—
    but I had moved to the city.
    I had other plans.


    And then, one day, I realized:
    summer was no longer a season.
    It had become a date on the calendar.
    An interruption.
    A logistics problem.
    A time to “get away” rather than be.

    The world had grown big.
    Too big, maybe.


    Sometimes I miss the smallness.
    The certainty that everything worth knowing
    was within biking distance.
    That fireflies would return.
    That you could fall asleep to the sound of nothing but wind and insects.


    Wabi-sabi lesson:
    The beauty of childhood wasn’t in what we did—but in how time held us.
    Those long summers weren’t extraordinary.
    They were ordinary, deeply.
    Unpolished, half-forgotten, full of pause.

    Wabi-sabi teaches us that what fades is not lost—
    it simply returns in quieter forms.
    A scent.
    A memory.
    A night where the wind smells like June again.

    That is enough.


    So no, I don’t have a favorite vacation.
    But I had those long, sunburnt months
    when time felt like a friend,
    not a thief.

    And sometimes, late at night,
    when the window’s open and the air smells like warm dirt—
    I remember.

    I remember it all.

  • Still We Go


    風の中に
    こたえはなくとも
    道はひらく

    Even if the wind
    holds no answers—
    the path unfolds.


    I’m not an authority on anything, really.
    Not in the way the word usually implies.

    I don’t have a degree in peace,
    a certificate in resilience,
    or a badge for surviving the wild days of this strange life.

    But if I had to claim expertise in something…
    maybe it’s in learning to stay when it’s easier to run.
    Or how to sit with the parts of myself that never got applause.
    Or how to laugh when things make no sense and still take one step forward.

    In that way, I suppose I’m an apprentice of hakuna matata.

    Not the Disney gloss version.
    Not the shiny hakuna matata that skips through jungles singing about worry-free lives.
    No—I’m talking about the quieter kind.
    The one whispered to yourself
    when the bank account is low,
    your lungs are tight,
    and someone you love hasn’t called in weeks.


    The first time I really heard it—hakuna matata—I wasn’t a child watching The Lion King.
    I was in my twenties, on a bus in Zanzibar.
    The driver had one cracked tooth and a radio that only played static.
    When the road turned to sand and the engine sputtered,
    he didn’t curse.
    He just turned, smiled wide,
    and said,
    “Hakuna matata, rafiki. We go slow. Still we go.”

    I never forgot that.


    No worries?
    It sounds naive at first.
    But it’s not about ignoring the storm.
    It’s about dancing in it without asking the thunder for permission.

    It’s not about pretending you don’t feel fear.
    It’s about not letting fear drive the car every damn day.

    It’s not apathy.
    It’s presence.

    A full-bodied trust that the river carries even when we don’t know where.


    These days, when people ask what I’m “good at,”
    I don’t talk about skills.

    I talk about the morning I lost my job
    and still made miso soup for breakfast,
    because nourishment matters even in collapse.

    I talk about how I sat with my sister in silence
    the day we both missed our childhood at the exact same moment,
    and how we didn’t try to fix the ache.

    I talk about the times I walked through the city at night,
    no music, no company,
    just me and the old streetlights,
    learning to be okay with not being okay.


    If that’s not authority, I don’t know what is.


    I can’t tell you how to win at life.
    But I can show you how to bow to it.

    How to carry water up the hill
    and still find joy in the splash of it cooling your feet.

    How to light incense for no one,
    just because the room feels better with the scent of patience.

    How to live as if it all matters—
    even when you’re not sure it does.


    Haiku for the wind-hearted:

    しんぱいを
    手放したあとに
    空が広い

    After letting go
    of the heavy weight of fear—
    the sky feels wider.


    So no, I’m not an authority.
    But I’ve learned how to pause.
    How to keep breathing.
    How to smile with a cracked tooth
    and say,
    “Hakuna matata, rafiki.”

    We go slow.
    Still we go.

  • What’s Your Definition of Romantic?


    はじまりの
    気づきは静けさに
    ひらく心

    The beginning,
    of what matters—
    blooms in silence.


    I never really cared much for romance.

    Not the loud kind, anyway. Not the kind with choreographed declarations or roses stacked like bricks at a roadside flower stall. I’ve walked by too many of those on rainy days, the plastic wrapping fogged over, the stems bent, heads wilting under the weight of the idea.

    When I think of romance—if I’m being honest—I don’t think of candlelit dinners or long-stemmed flattery. I think of something quieter. Something almost forgettable if you blink too fast.

    Like someone who notices when your tea’s gone cold and warms it without a word.
    Like a hand on your shoulder that doesn’t try to fix anything—just stays there.
    Like waiting at the airport even though the delay was three hours and you said they didn’t have to.
    Like remembering which side of the bed you sleep better on, and never making a thing of it.

    I guess I find romantic whatever survives the performance.


    There was this moment once.
    Not a big one. Just a hallway.
    Just winter socks.
    Just her holding out a peeled clementine.

    She didn’t ask. Didn’t say anything.
    Just pressed it into my palm.
    And I remember thinking:
    This is what stays.


    In my family, we never talked about love. Not in words. But my mother cut fruit at night, placed it in bowls she never expected us to thank her for. My father didn’t hug much, but he always waited at the window until I made it inside.

    So I grew up with this idea that love is not an exclamation—it’s a continuation.

    Not something you chase, but something you let linger.


    I once stayed in a small inn on a Japanese island.
    The lady there, nearly seventy, brought me breakfast—miso soup, rice, a grilled fish—and when I bowed and said, 「ありがとう」, she just smiled and said,
    「こちらこそ。」 — “I should be thanking you.”

    That, to me, is the most romantic thing anyone’s ever said.


    I’ve dated people who sent me poetry.
    And others who didn’t say much at all.

    One of them used to place their phone facedown whenever we ate together.
    That meant more than the sonnet someone else once mailed me.


    Sometimes I think: I don’t care about romance.
    But then I remember the sound of someone’s breathing slowing next to mine,
    a meal shared wordlessly,
    a letter never sent but written anyway.

    And maybe that’s exactly what romance is:
    Not an event, but a pattern.
    Not a chase, but a rhythm.


    A girl once asked me what my love language was.
    I said I don’t know the names of those things.
    But I’ll walk with you until your train comes.
    Even if it’s cold. Even if we don’t speak.
    And I’ll remember your favorite kombucha brand even six months after you’re gone.


    To me, romance isn’t romance unless it’s real.
    Real as your silence when you’re tired.
    Real as staying when there’s nothing exciting left to say.
    Real as the wear on the wooden kitchen table you both sat at for years,
    eating cheap dinners, dreaming louder than the city around you.

  • The Prayer Without a Shrine

    The first time I saw someone bow to the wind, I didn’t think much of it.

    It was somewhere north of Sendai, in a half-forgotten station with vending machines humming against the sound of distant mountains. A man in a brown jacket, maybe late sixties, stood in front of an empty platform and performed the gesture I’d only seen before in shrines. Two bows. Two claps. One final bow. He wasn’t facing anyone. There was no altar. Just the world.

    He noticed me watching.

    「どこでもいいよ。」
    “Anywhere is good.”

    That was all he said, smiling faintly, before stepping onto his train.

    It stayed with me.

    I’ve been bowing since then—not every day, not religiously, but in small hidden corners of life. Train stations. Under trees. While the kettle boils. When no one is watching. Especially when no one is watching.

    Not because I expect an answer.
    Just because it feels like the right thing to do.

    This morning, I found myself doing it again—by the kitchen window, the one that fogs slightly after each coffee. The air smelled like spring but moved like winter, sharp at the edges. I stood there barefoot, half-awake, and before I realized it: bow. clap. clap. bow.

    Not for luck.
    Not for requests.
    Just for the sake of remembering.

    A kind of quiet nod to the morning.
    To the fact that I’d made it this far.

    I’ve never been good at praying in the traditional sense.
    Too many questions. Too little formality.

    But gratitude? That I can understand.
    Even when I forget to call it by name.

    There are moments—fleeting, maybe once a week—where I feel it rising, uninvited. Like standing at a crossing when the red light takes too long, and you have just enough time to notice the smell of someone baking bread somewhere down the road.

    Or when a friend laughs too hard at your bad joke and your stomach knots, just a little, in a way that says this matters more than you think.

    It’s not dramatic.
    But it lingers.

    I think about my grandmother sometimes, slicing apples at the table. Her movements slow, rhythmic, like music no one else could hear. She had a way of doing things as if they were sacred, even if they weren’t.

    “If your hands are always grabbing,” she once said, “they won’t know how to open.”

    She didn’t mean it as philosophy. Just a comment. But it landed like scripture.

    These days, I don’t ask for much.
    Not because I don’t want. But because I’m learning the difference between wanting and needing.

    What I have:
    Friends who are still here.
    A family who is still mostly healthy, even if more tired around the eyes.
    My own hands, still working.
    A spine that mostly cooperates.
    Some tension left in the soul, which is good—it means I haven’t stopped growing.

    Freedom.
    Not in the global sense, not in the dramatic political way.
    But the kind that lets me say no, or yes, or I need a break without fear.

    It’s enough.
    And when it’s not enough, I try to remember it could be.

    Sometimes, when I’m alone on the street and the sun hits just right, I do the gesture again. Bow. Clap. Clap. Bow.

    No one notices.
    That’s the point.

    The world doesn’t need your rituals.
    You do.

    When I was younger, I thought expressing gratitude had to be loud—parties, speeches, toasts over loud dinners.

    But I’ve come to believe that real gratitude is quiet. Almost invisible. Like the warmth of worn denim, or the sound of your mother stirring tea two rooms away.

    It hides in the ordinary.

    Last week, I sat with a friend at a corner café, one of those places where the coffee is too expensive but the light is just right. We spoke of work, of fatigue, of the creeping sense that time is slipping through cracks we didn’t even know existed.

    And then he paused, mid-sentence, and said:

    “You know… despite everything, I feel lucky.”

    We didn’t say much after that.
    We just drank slowly, as if the coffee might turn to memory in our mouths.

    Wabi-Sabi Lesson
    Gratitude doesn’t need a temple.
    It only asks for a moment.
    And a willingness to mean it.

    The act is enough.
    You bow—not because it changes the world.
    But because it reminds you that the world is still worth bowing to.

    I’ve come to see gratitude like tending a small garden.
    Invisible. Daily. Quiet.

    It doesn’t always bloom.
    But when it does, it makes even an ordinary life shimmer for a while.

    No gods required.
    Just attention.
    And a bow.

    Anywhere is good.

  • The Weight We Can’t Quite Name

    やがてくる
    まだ見ぬ嵐に
    傘をたたむ
    eventually
    even for unseen storms
    we fold our umbrellas

    There’s a kind of heaviness that doesn’t announce itself.

    It’s not panic. Not despair.
    It’s the quiet worry. The one that crouches low in the chest and waits.

    I don’t even know if it’s one thing.
    But lately, when I lie in bed long after the world’s gone quiet—when no one needs an answer and nothing is urgent—my thoughts stretch out into a shapeless future. A field of fog I can’t quite enter.
    And I feel it.

    The weight.

    Maybe it started with how fast everything moves now.
    Or maybe how nothing moves unless you push it yourself.
    Maybe it’s all the small moments I’ve watched vanish in the scroll of someone else’s life, until I couldn’t tell which parts of my own were real, and which were just stories I tried to fit into.

    I’m worried we’re losing our rhythm.
    Not the productivity rhythm.
    The one that told us when to rest.
    When to be still.
    When to tend to the garden even if nothing was blooming yet.

    I’m worried we’ve forgotten the language of slow.

    I went for a walk last week. Just a small trail behind my grandparents’ place, that familiar field where the same pine tree leans a little more every year.

    There’s a bench halfway through, carved by someone long ago.
    It’s always there—weathered, cracked, stubborn.
    I sat.

    It wasn’t the view.
    It wasn’t the silence.
    It was something else—some soft ache behind the ribs.

    Maybe it was the thought that we don’t build benches anymore. Not ones meant to last decades.
    We build updates.
    We build replacements.

    But not places to rest.

    A few years ago, in Aso, I met a couple who owned a small soba shop just off the main road.
    Everything was hand-cut. The broth made from scratch every morning.
    I asked them why they never expanded, never franchised, never put it online.

    The woman looked at me and said,
    「なくすのがこわい。」
    “I’m afraid to lose what I’ve already built.”

    I think about that often.

    Not out of fear.
    But out of care.

    I’m worried that the future won’t leave room for care.
    That everything will be optimized, but nothing will be cherished.
    That we’ll have access to everything except ourselves.
    That the quiet will disappear under the noise of what’s next.

    Back when I was living in Birmingham, there was a woman in the flat next to mine who used to hum when she washed dishes.
    She didn’t know I could hear her.
    But I did.
    Every evening around six.
    No music. Just the rhythm of water, plate, voice.

    It was the most human thing in the building.

    And I’m scared that sound—those kind of sounds—might not make it through.

    We’re good at fixing things now.
    But not so good at tending to them.

    We know how to grow fast.
    But not how to grow deep.

    We know how to talk.
    But not always how to sit in the same room and say nothing.

    I’m worried that the small rituals will vanish.

    The slow pour of coffee in the morning.
    The way someone folds a shirt before putting it away.
    The way my grandfather brushes crumbs from the table with his hand, every time, like a ceremony.
    The way someone lights a candle not for light, but for memory.

    And yet—

    There is a kind of faith in still being worried.

    It means something matters enough to protect.

    It means we still recognize the shape of what’s fragile.

    So maybe the worry isn’t the enemy.
    Maybe it’s the thread.

    The one that tugs us gently back toward what matters.
    The one that asks us to build not faster, but truer.

    To make fewer things—and mean them more.

    I don’t know what the future will look like.
    I don’t know what we’ll lose, or what we’ll trade for convenience.

    But I do know this:

    I want to keep a corner of my life where nothing needs to be efficient.
    Where water boils slowly.
    Where letters are written by hand.
    Where I still buy vegetables from someone who grew them.
    Where the pine tree I planted has time to grow tall enough for birds to nest in it—
    even if I won’t live long enough to see them.

    Wabi-sabi lesson:
    Not all worry is fear.
    Sometimes it’s a map.
    One you draw with every small thing you continue to do with care.

    So, yes—
    I’m worried.

    But not without reason.
    Not without hope.

    Because even if everything changes,
    we still have the choice to move slowly.
    To listen more.
    To build something that lasts, even in quiet.

    And that’s something I plan to keep doing.
    While I still can.

  • The Shape of Teaching, The Weight of Learning

    つめたい朝
    しかられて目が覚めた
    でもありがとう
    cold morning silence
    a scolding woke me gently
    still—I say thank you

    Some teachers meet you where you are. Others wait for you at the top of a mountain you didn’t even know you were climbing.

    I was sixteen when I met the first one. Second year of gimnazija, in Celje. A small classroom with scratched desks and that unexplainable smell of chalk dust and adolescent panic. Mathematics, 7:10 a.m., Tuesday. The teacher walked in with the posture of someone who had seen thousands of excuses and didn’t care for any of them.

    That first week I didn’t do my homework. I don’t remember why. Probably didn’t feel like it. She looked over her glasses at me and wrote a grade into her little square notebook. No drama. No lecture. Just a cold stamp of reality.

    Second week, same thing—this time I tried to answer the question at the board and stumbled. Another grade, neatly penned. She didn’t yell, didn’t mock me, didn’t sigh. Just recorded the result.

    It was the silence that got me.

    There’s a kind of dignity in being held accountable without punishment. She let me fail with precision. No anger. No disappointment. Just truth.

    At the time, I hated it.

    I don’t remember the turning point exactly, but I do remember the game I started playing in my head. I called it “Don’t Give Her The Satisfaction.” It involved trying to understand equations, logic, functions before she could ask me. I started doing homework, not for school, but for the quiet thrill of not being caught unprepared. I started practicing formulas like I practiced skate tricks—again and again until they stuck, until I could land them without thinking.

    Eventually, my grades changed. Then something else changed. Her tone. There was a moment—I still remember this—where she walked past my desk, glanced at the homework I’d left out, and said, “Good.”

    That was it. Just “Good.”
    But it hit harder than a medal.

    Because it was earned.

    Looking back, I see what she was doing. She didn’t reward effort. She rewarded precision. Not perfection, but clarity. If you worked hard and didn’t get it, she’d show you. If you didn’t work, she’d show you, too. Both with equal calm. What I resented back then, I now recognize as one of the greatest acts of discipline a teacher can offer: consistency.

    And that’s the thing about good teachers.

    They’re not here to entertain you.
    They’re not here to be liked.
    They’re here to build your spine.

    Many years later, I was in Birmingham.
    A different country. A different system. Different kinds of chalk dust, I suppose.

    Here, I met another teacher—but this one didn’t carry notebooks of precise judgment. He was more like a gardener. Gently disorganized, always late, and somehow always asking the right questions.

    He was a mentor in the way good jazz is a teacher—you have to listen more than you play.

    He let me explore. Gave me too much room at times. But every now and then, he’d say something like, “You can go as far as you want. But bring something back.”

    He wasn’t grading performance. He was grading curiosity.

    What these two had in common was something I didn’t understand until much later: they both knew when to let me stumble. But more than that, they knew how to shape the stumble into learning.

    One did it through rigor. The other, through space.

    Both worked.

    Somewhere between those two classrooms, I discovered something else: that learning isn’t just about input.

    There’s this concept I came across in a book about animal training, strangely enough. It said, “You don’t train with punishment. You train with consistent signals. With rewards that shape behavior.”

    You can’t just push. You have to pull, guide, shape.
    Reinforce what works. Ignore what doesn’t.
    Even in yourself.

    I started applying that to my own learning.
    I stopped cramming. I started teaching what I learned to others.
    Output. Output. Output.

    Suddenly, knowledge wasn’t just a collection.
    It was a rhythm.
    And once you find the rhythm, learning becomes a dance.

    Back in Celje, I once got a full mark on a math test.

    I handed it in quietly. No big deal. But after class, the teacher called me over. She looked at my paper, then looked at me, and for the first time in two years, she smiled—not just politely, but like she saw something she was waiting to see.

    “You worked for this,” she said.

    And I nodded. Not out of pride. But out of recognition. Because she was right. I had worked. And because she had waited, I learned how to build something inside myself.

    Wabi-sabi isn’t just about broken bowls and gentle imperfection.

    It’s also about teachers.

    The ones who shape you without softening you.
    The ones who see not what you are, but what you could become—if you’re willing to endure the quiet burn of repetition, of failure, of eventually getting it.

    That’s what great teaching is.
    And that’s what great living is, too.

    Some days, I still hear her voice in my head when I take shortcuts.
    Other days, I remember my Birmingham mentor’s calm.
    Between them, a balance: form and freedom.

    And maybe that’s the whole lesson.

    We need both.
    Structure and space.
    Correction and encouragement.
    Precision and play.

    A good teacher holds the mirror steady while you squint into it, terrified of what you might see.
    A great one lets you look long enough to see the person you could become.

    If you’re lucky, you’ll meet one.
    If you’re luckier, you’ll become one.

    But only after you’ve learned to teach yourself.

    The lesson isn’t just the answer.
    It’s how you arrived.
    How many wrong turns you took.
    How much silence you sat through.
    And how deeply you listened when no one was watching.

    That’s what she taught me.
    And it’s still teaching me now.

  • The Arm That Learned to Wait

    ブランコの
    きしむ音だけが
    こたえていた
    only the creak
    of the swing replied
    as I fell from the air

    It happened in a field that no longer exists.
    Somewhere in rural Slovenia, near the edge of a housing block painted the kind of yellow that always looked tired, even in spring.
    We called it “the playground,” but it was more steel than play—two rusted swings, a slide that peeled in summer, a seesaw that never really sawed.
    Still, it was ours.

    I must’ve been eight. Maybe nine.
    The swing had that smell of old metal under sun—something warm and slightly sour.
    We played that game where someone jumps off and someone else tries to land higher.
    Physics, of course, didn’t care about our rules.

    I remember flying.
    And then not flying.
    A body—not mine—crashing into mine mid-air.
    The crunch was something I felt before I heard.

    My arm bent in a way arms don’t.
    And for a second, the world shrunk to the size of that pain.
    Then it expanded again—to voices, to shouting, to a car seat that smelled of vinyl and summer sweat, to the inside of an ambulance painted in pastels I haven’t seen since.

    At the hospital, the anesthesia mask smelled like strawberries.
    Artificial and almost kind.
    They said to count backwards.
    I made it to six.

    When I woke up, everything was different.
    My arm, yes.
    But also my understanding of time.

    I couldn’t move it for weeks.
    Couldn’t tie my shoes.
    Couldn’t ride a bike.
    I had to learn how to do everything with the other side of me.
    To reach differently.
    To ask for help.

    I began doing everything with my left hand—brushing teeth, writing short shaky letters, flipping through books, opening jars with awkward grip.
    It wasn’t elegant, but it was mine.

    And since I couldn’t go out much, I stayed in.
    In front of the TV mostly.
    Cartoons, commercials, strange quiz shows and dubbed movies.

    That’s how I learned German.
    Not by planning to, but because that’s what was on.
    Hour after hour, I watched and listened and slowly began to understand what the sentences meant.
    Language, it turns out, has a way of seeping into you when your bones are healing.

    Funny, how the body teaches the mind.

    Years passed.
    The bones healed.
    The cast came off.
    I became fast again.

    And then—
    It happened again.

    A car.
    A city.
    A sound that makes no sound until after.

    It wasn’t a dramatic accident.
    Just the wrong place at the wrong moment.
    And there I was—older, with better shoes but the same arm, now re-broken.
    The same waiting.
    The same stillness.
    Except this time, I wasn’t a child.

    This time, I knew what it meant to be slowed.

    And here’s the thing no one tells you:
    Sometimes the body remembers better than the mind.

    Even now, I still hesitate before lifting something heavy with my left.
    Even now, I sometimes reach first with my right, out of habit stitched into muscle.

    That arm taught me to wait.
    To adapt.
    To fail differently.

    Wabi-sabi Lesson
    We don’t break once and heal once.
    We break, and heal, and break again.

    And each time, the repair teaches us something different.
    Not about being strong.
    But about becoming soft where we used to be hard.

    Time gives things character.
    Scars are just history made visible.
    And sometimes, the parts of us that have broken
    are the ones most skilled at holding on.

    Now, I sometimes sit on swings just to hear the creak.
    I walk past playgrounds and notice the slight tilt of old metal.
    I touch my arm and wonder how something so fragile carried so much.

    And I know—
    The real injury wasn’t to the bone.
    It was to the illusion of permanence.

    But that’s okay.

    Because nothing precious lasts untouched.
    And nothing whole was ever truly unchanged.
    And the most human thing we do is heal slowly,
    in crooked lines,
    with stories we carry long after the pain is gone.

    If you ever break—anything, really—
    I hope you remember this:

    The world doesn’t need you to be unbroken.
    It needs you to stay.
    To reach.
    To keep finding new ways to hold on.

  • The Shape of Small Things

    朝の風、
    まだ見ぬ今日を、
    迎えに行く。
    morning wind—
    walking out to greet
    a day I haven’t met yet

    Most of my days don’t begin with declarations.
    They begin with water.

    I wake up before the sky makes up its mind.
    There’s that soft moment between sleep and intention where the world hasn’t chosen a rhythm yet.
    In that silence, I drink a glass of water. Cold. Tap. No lemon. No rituals.
    Just water.

    And then, coffee.
    Always coffee.

    Not because I’m tired—though I often am.
    But because it anchors me.
    The way the smell moves through the room.
    The way the steam curls against the window.
    The way the first sip reminds me:
    you’re here. again. still.

    After that, movement.
    Sometimes a run.
    Sometimes a bike ride.
    Sometimes just a walk, slow and loose, like I’m searching for something I haven’t named.

    People ask me why I’m consistent.
    It’s not discipline. Not really.
    It’s more like brushing teeth.
    Or flossing.

    But for the soul.

    Because something clogs in me when I don’t move.
    A kind of static.
    And motion clears it.
    Not always joyfully. But steadily.
    Like cleaning a window, not because someone will see through it,
    but because you do.

    I work in silence when I can.
    Some days I fail.
    There are distractions, pings, scrolls, flashes of noise that steal entire hours.
    But I try to return to silence.

    Silence, like coffee, is not just absence.
    It’s presence without adornment.
    It’s a space where thoughts can land.

    And when I can’t think—when the fog won’t lift—I lie down.
    Fifteen minutes. Sometimes twenty.
    Just a nap.
    No shame.
    Like closing a book halfway through and letting the ink settle.
    I always wake up clearer.
    Not faster.
    But clearer.

    Later, often without planning, I’ll speak to someone I love.

    A friend. A sibling.
    A voice that knows my voice.
    Even a message will do.
    But if I’m lucky, it’s a call.
    Something with breath in it.
    You can hear when someone smiles.
    It’s good for the soul.
    Like good bread.

    In the evening, I try not to race.
    I’ve already done that.
    For too many years.
    Now, I cook when I can.
    Simple things. The same things.
    But made slowly.

    There’s something about cutting onions without rushing.
    Something about stirring rice with both hands.
    That reminds you the day is ending and you still made something.

    And then, the quiet again.
    Sometimes I write.
    Not always well.
    But writing, for me, is like putting my mind through a sieve.
    I pour the chaos in, and something comes out.

    Even if it’s just a sentence.
    Even if it’s bad.
    Even if I throw it away the next morning.
    It’s the act that matters.

    The ritual.
    The doing.
    The choosing of stillness.

    These are my habits.
    They don’t look impressive.
    You wouldn’t see them and say, he’s got it figured out.

    But they hold me.
    And that’s more than enough.

    Because life isn’t changed by grand reinventions.
    It’s carved, slowly, by what we repeat.
    What we show up for.

    Daily.

    Wabi-sabi Lesson

    Daily habits are not about becoming better.
    They’re about staying close to what matters.

    A sip of coffee.
    A stretch.
    A laugh with a friend.
    A nap that helps your body forgive the weight of modern hours.

    These are not routines.
    They’re reminders.
    Of who we are when we’re not trying to prove anything.

    In the end, the best parts of me are made not in sudden bursts of willpower,
    but in the tiny, nearly invisible choices I return to, again and again.

    A cup of water.
    A run through the cold.
    A joke exchanged between friends.
    A page scribbled before bed.

    This is the shape of my life.
    Soft at the edges.
    But firm enough to hold me.

  • The Quiet Things We Carry

    夏の朝、
    シャツを干す音、
    静けさの中。
    summer morning—
    the sound of shirts drying
    in all that silence

    It’s never the grand gestures that change me.
    It’s the quiet ones.
    The things that seem too small to matter, until they shape your entire day.

    I don’t own much. Haven’t for a long time.
    Part of it was necessity—when you move often, you learn to pack light.
    But some of it became a philosophy.
    The kind you don’t read in books, but feel in your fingertips each time you reach for something and pause.

    “Do I really need this?”

    There’s a shirt I wear almost every other day.
    Natural linen. Loose collar.
    Bought it second-hand in Bern, from a small shop tucked behind the university.
    The woman folded it carefully, like it was still something to be respected.
    It had a faint scent of cedar and detergent—some other life I’ll never know.
    But now it’s mine. Washed dozens of times. Threadbare near the shoulder.
    Still beautiful.

    I mend it when it tears.
    Badly, at first. My stitching looked like a drunk spider’s sketch.
    Now I’m better. It’s not seamless—but that’s not the point.
    Each stitch says: You were worth saving.

    I ride more than I drive.
    Always have, especially since those long bike rides through the Berner Oberland.
    There’s something about letting the road pass beneath you, wind against your face, sweat along your back—
    It reminds you that movement doesn’t need noise to be meaningful.
    The body is an old engine, and if you treat it right, it carries you far.

    Food is quieter, too.
    I eat what’s around. What’s simple.
    When I lived in Birmingham, I’d buy eggs from the back market because the supermarkets felt sterile, too lit, and too lifeless.
    Now, I cook what I can.
    Rice. Leftover vegetables. The polenta I learned to make from memory, with milk and coffee and that secret touch of butter I didn’t notice until much later in life.

    I waste little.
    Leftovers are a kind of gratitude.
    Even peels and rinds go into broth.
    It’s not a rule. It’s a rhythm.

    I unplug more often now.
    Not out of moral pride.
    Out of necessity.
    There are days when my thoughts feel like tabs in a browser I never meant to open.
    That’s when I know: go outside.
    Touch the earth.
    Watch a crow land on a fence.
    Let the phone die.
    Let silence charge you instead.

    Plastic still sneaks in.
    I’m not perfect.
    Sometimes I buy something wrapped three times in a layer of marketing.
    But I notice it now.
    And noticing is already a form of resistance.

    The older I get, the more I understand: sustainability isn’t just about what we consume.
    It’s about what we carry.
    And how lightly.

    Do I wear things that last?
    Do I keep objects that age well with me?
    Do I honor the labor that made the things I own?

    These are not questions to answer once.
    They’re questions to live inside, daily.

    I keep a cup by my desk.
    It’s a handmade piece from Arita.
    Slight crack near the rim, from travel or time—I’m not sure.
    But I still use it. Every morning.
    It fits my hand.
    It reminds me: even the chipped can hold warmth.

    Wabi-sabi Lesson

    Sustainability isn’t a trend.
    It’s remembering.

    That less isn’t lack.
    That the broken can be mended.
    That use is more sacred than shine.

    A shirt can be worn for years.
    A jacket repaired.
    A habit reshaped.

    Not because we must.
    But because it’s beautiful to do so.

    So yes, I try.
    Each day, in small ways.
    I try to live gently in a world that rushes.

    Sometimes that means line-drying clothes under a summer sun.
    Sometimes it means patching the same hole twice.
    Sometimes it just means walking instead of scrolling.

    Quiet choices.
    Soft steps.
    A smaller footprint.
    And a bigger presence.

  • Through the Layers

    新聞を
    透かして見える
    母の手
    mother’s hands stretch
    dough into thin, bright silence—
    like paper, like sky

    The best things I’ve eaten are not just flavors.
    They’re stories folded into steam.
    And the older I get, the more I believe this: taste is memory carried in salt and sugar and oil.

    Sometimes it’s loud—a broth that punches through fatigue like a jazz trumpet.
    Sometimes it’s quiet—like a crust you crack open with fingers, not words.

    But always, the best food has a story.

    Take my mother’s Apfelstrudel.
    The way she rolled out the dough on the old wooden table, sleeves pulled to the elbows, a towel tucked into her waistband like an apron.
    The dough had to be thin. “Thinner,” she’d say, “still thinner.”
    Until you could lay a newspaper underneath and still read every headline.
    It was absurd. It was magic.
    The apples were always sour, sliced by hand.
    A little cinnamon. No raisins.
    It baked into something golden, humble, and precise.
    Every bite was both comfort and craftsmanship.

    And somehow, it always tasted best after being left out too long, eaten slightly cold, standing barefoot in the kitchen.

    And then—ironically—burek.
    From that tiny shop beneath the flat in Ljubljana.
    You could smell it three blocks away.

    It wasn’t fancy.
    The cheese filling was molten, the pastry greasy enough to ghost its outline onto the brown paper bag within seconds.
    You could almost read your palm through the bag if you held it against the light.
    And yet—on a cold day after exams, or coming home from Tivoli park—nothing beat that first bite.
    Flaky. Hot. Salty. Real.

    It burned your mouth. You didn’t care.
    It reminded you to be alive.

    And then, the ramen.

    Tonkotsu, in Fukuoka.
    A counter seat.
    Vinyl stool.
    Ticket machine outside that confused me more than I’d admit.
    The broth was white as bone. Dense.
    It coated the lips and slowed the heartbeat.

    Next to me, an old man slurped with perfect rhythm, nodding at the cook every few minutes like they were playing jazz together.
    I asked for a kaedama—extra noodles—not because I was still hungry, but because I didn’t want it to end.

    The chef wore a towel on his head and said nothing.
    But when I stood to leave, he gave the faintest nod.
    As if to say: Good choice.

    Another time.
    A train station in northern Italy.
    I had two hours before the next train.
    I followed the smell, like some cartoon character floating mid-air.

    It was pizza. But not pizza.
    More like focaccia, with anchovy and roasted tomato melted into the crust.
    Eaten standing up, leaning against a brick wall.
    The dough still warm from the oven.
    The cheese slightly burned in the corners.
    One of those meals that rewires your expectations.
    I never knew salt could feel tender.

    In Regensburg, there was a summer where everything felt golden.
    Evenings lasted forever, and I’d walk the cobbled streets along the Danube like I belonged there.

    There was this café, half-hidden in the Altstadt.
    An old man made käsespätzle by hand.
    I watched him once through the kitchen pass—he pressed the dough through a metal grate like it owed him something.
    The onions were dark, nearly bitter.
    The cheese was sharp, Alpine, unforgiving.

    Served in a cast iron pan, still bubbling.
    It was the first time I understood how food could be unapologetic.
    Not soft. Not crowd-pleasing. Just honest.

    And once, during Golden Week in Japan, I missed my train.
    I was somewhere between Kumamoto and the middle of nowhere.

    The sun had just set, and there was only one light still on—a small izakaya tucked behind a shuttered post office.

    The door creaked.
    No menu.
    A man behind the counter said, simply: “Nimono.”

    Stewed vegetables.
    That’s all.
    Daikon, carrot, a piece of tofu, simmered in dashi.
    That’s it.

    It made me want to cry.
    I don’t know why.

    Maybe because it tasted like patience.
    Like someone had watched the pot all day.
    And decided this is enough.

    The truth is: I’ve had better meals.
    More technical ones. Fancier ones.
    But they didn’t stay.

    These did.

    Not because of Michelin stars.
    But because of where I was, who I was, what I needed.
    The taste of missing home.
    The joy of being lost.
    The smell of someone else’s stove.
    The laughter over a cheap table.
    The moment your hunger meets something that understands it.

    Wabi-sabi Lesson
    Food doesn’t need perfection to be unforgettable.
    A meal is not just sustenance.
    It’s a witness.
    To your mood. Your time. Your becoming.

    A thin dough.
    A greasy bag.
    A broth stirred a thousand times.
    These are not just things you eat.

    They are moments that feed you.

    And when remembered, they still do.

    So, what’s the most delicious thing I’ve ever eaten?

    That’s like asking: When did you feel most alive?
    And the answer will never be just one.
    It’s a chorus.
    Of hunger.
    Of laughter.
    Of cold feet and warm bowls.
    Of broken chopsticks and perfect timing.

    But if I had to pick?

    Probably that Apfelstrudel.
    With the newspaper underneath.
    And my mother’s hands still dusted in flour.
    Telling me,
    Eat before it cools.

  • The Jacket That Stayed

    くたびれた
    糸のほつれに
    風が通る
    tattered threads
    a breeze finds its way in—
    the fabric remembers

    If I had to wear one outfit forever, I think I already know what it would be.

    Not because I’ve planned it.
    Not because I’ve studied form or function or read about minimalism in some clean Scandinavian font.
    But because I’ve already worn it. Not always the same exact pieces, but the shape of it. The story of it.

    When I was younger, clothes weren’t something to choose.
    They were something you inherited, something someone else outgrew or outloved and passed on to you.
    Jackets with loose zippers. Shirts with fading logos in languages I couldn’t yet read.
    Nothing ever fit quite right, but I never asked it to.

    Back then, clothing was survival.
    Warmth, decency, the small hope of looking like the others.
    And sometimes, looking like the others was enough.

    Later, somewhere around seventeen or eighteen, something changed.
    I started noticing how other people wore their identities.
    How a scarf could be defiance.
    How a coat could whisper confidence.
    How shoes, even cheap ones, told stories if you knew where to look.

    So I started caring.

    Not in a loud way.
    I didn’t become fashionable. I became intentional.

    It felt like trying to find a voice, but using fabric instead of words.

    I remember exactly when I bought that leather jacket.
    I was nineteen. Still too broke to be shopping.
    Still measuring every meal against how many coins it cost.
    But there it was—hanging in a store near the central train station. Dark brown, asymmetrical zipper, just stiff enough to feel like it meant something.

    Seventy percent off. Still a fortune.
    I bought it anyway.

    Paid in cash, my hands shaking slightly.
    And I wore that jacket everywhere.

    Not to show off.
    But to remind myself that I could choose things now.
    That I wasn’t only made from hand-me-downs.
    That I had become someone who could decide.

    I still have it.
    The seams have softened.
    The color has deepened.
    A small tear at the shoulder, patched by someone I loved once.
    Another one on the cuff, never fixed.
    It has more character than I do on most days.

    Then came the Ljubljana years.

    I lived in a flat in Šiška, just above a tiny burek shop.
    Greasy food, warm and subsidized, the kind that filled your stomach and your chest if you let it.
    The flat was drafty and loud, but it was mine.
    I ran through Tivoli in shoes not made for running.
    And I started to realize that simplicity wasn’t just a lack of money.
    It was also a form of clarity.

    Natural fibers. Earth tones.
    Wool sweaters that you could wear four seasons a year if you knew how to layer.
    Pants you could bike in and sit cross-legged in.
    Shirts that frayed at the edges but held your scent like memory.

    I began to mend.
    Sewing buttons.
    Patching knees.
    Reinforcing seams with tiny, invisible stitches.
    Not to save money.
    But to stay connected to the life the fabric had lived with me.

    In Birmingham, the jacket came with me.
    It got rained on more than it should have.
    It dried overnight in damp kitchens and cheap university rooms.
    I wore it to lectures, to parties I didn’t enjoy, to the market behind the Bull Ring, where I bought eggs and bread and learned to cook things slightly better than before.

    There was no glamour.
    Just layers.
    And weather.
    And learning that clothes can become companions.

    I didn’t want to look expensive anymore.
    I wanted to look like someone who listens.

    Now?
    I wear soft things.
    Natural things.
    Things that wrinkle but breathe.

    A linen shirt I bought in Japan after getting lost in a town that had no convenience stores, only silence.
    A scarf my sister gave me before I left home.
    A wool sweater I found at a flea market and washed three times until it smelled only like me.

    Sometimes people say I look like I live in the forest.
    Sometimes people say I dress like a painter with no paintings.
    But mostly, no one says anything.
    And that’s how I know I’m doing it right.

    If I had to wear just one outfit forever?

    It would be this:

    A pair of dark cotton trousers, soft and broken in, that I’ve patched at least six times.
    A black linen shirt with frayed cuffs.
    Wool socks.
    Shoes I can walk twenty kilometers in.
    A scarf for the wind.
    And that old leather jacket, still holding on.

    It’s not stylish.
    But it’s quiet.
    It doesn’t introduce me before I speak.
    But it listens.
    And when I walk into a room, it doesn’t shout.
    It just arrives.

    Wabi-Sabi Lesson
    Let your clothes age with you.
    Let them soften and fade and fray.
    Mend them not just to fix—but to say, I stayed.
    You don’t need new things to be a new person.
    You just need to choose.

    Wear something long enough, and it becomes part of your story.
    Love something long enough, and it begins to love you back.

    The older I get, the more I care less about how things look and more about how they live.
    How they move.
    How they hold shape when I’m tired.
    How they remind me, in the mirror, that I’ve been here.
    That I’ve walked through rain.
    That I’ve made it this far.

    And still—
    soft.
    patched.
    quiet.
    alive.

  • The Shape of What Can’t Be Seen

    こどもの目
    とおくにさがす
    おわりのかたち
    a child’s eye
    searches far ahead
    for the shape of ending

    I must have been thirteen when I first understood the full weight of endings.

    It was winter. One of those dull Slovenian afternoons where the light dims long before it’s supposed to. I was sitting alone on the carpet of our small apartment, the kind of old socialist housing block where every room echoes with something from the past—ticking clocks, the static hum of a radio, footsteps of neighbors above who always walked too heavily.

    Outside, snow fell gently, covering the familiar in something soft and almost forgiving. But inside me, a strange question opened like a doorway: what happens when life ends?

    It wasn’t asked in fear. More like curiosity that came from nowhere and everywhere. The kind that doesn’t need an answer, just acknowledgment.

    I remember that moment because it was quiet. And because it changed something.

    That day, I began to look at people differently—not in the way they moved, but in the way they carried time. Grandparents with slow hands. Teachers with weary eyes. Even my parents, whose bodies had once seemed unshakable, began to look a little more fragile.

    But the funny thing is, once you see the end, you also start to see the beginning more clearly. I became fascinated with how people make meaning. How they cope, how they believe. How they build lives knowing they’re made of sand.

    I didn’t call it spirituality back then. I just called it noticing.

    It wasn’t until much later, in Birmingham of all places, that the word began to form into something fuller. I was living in a cold, overpriced student flat, the kind where mold slowly takes the corners of your walls if you don’t fight it every day. There were seven of us sharing that space, each of us from different places, different upbringings, different losses.

    One of my flatmates, an Iranian named Dariush, cooked rice like it was an art form. Fluffy long grains with a crisp golden crust at the bottom. He’d play Faramarz Aslani on his cracked phone speaker while explaining how his mother taught him to rinse the rice three times before boiling, as though her voice still lived in the water.

    One night, while we ate cross-legged on the kitchen floor, I asked him what he thought happened when we die.

    He didn’t hesitate.

    “We return,” he said, sipping mint tea. “But maybe not as people.”

    He told me about the Koran. Not as something to fear, but as something he had grown up hearing recited in voices filled with longing. He said that faith, for him, wasn’t certainty—it was rhythm. A way to keep walking.

    I liked that. Rhythm. I didn’t need to agree to understand it.

    That night, I went to bed thinking not about answers, but about continuity.

    Years later, in Japan, I walked alone through shrines wrapped in cedar and stillness. In Tōhoku, just before I left, someone mentioned a hidden shrine up in the hills near Ichinoseki. It wasn’t famous. No tour groups. Just mossy stone steps and the kind of silence that you could feel between your ribs.

    I went in the early evening, as the light turned amber.

    It was my last day there.

    The forest path twisted like memory—soft, uncertain, beautiful in its crookedness. The shrine wasn’t grand. Just wood and incense. But when I stood in front of it, hands pressed together, I felt the same quiet question return. Not in fear. But in reverence.

    Maybe that’s what spirituality is—returning to the same question again and again, each time with a little more tenderness.

    I grew up in a place where religion was present, but quiet. Christmas, baptisms, the occasional funeral sermon. Enough to know the shape of ritual, but not enough to know its weight. But as I traveled—through dusty Korean temples, through crowded London bookshops, through stormy German train stations—I started seeing pieces of faith in places that had no altars.

    In a mother calming her child. In someone boiling water with care. In the way strangers sometimes hold a door open without needing to look back.

    Now, as more and more people move away from organized belief, I wonder where all of this goes. What fills that space once occupied by gods and ghosts?

    I don’t know.

    But I know we still gather. Around fires. In circles. In chat threads and crowded bars and quiet libraries. I know we still light candles. We still say goodbye with ritual. We still reach out when we’re scared.

    I think we are built for wonder. For community. For some form of rhythm, even if we don’t call it prayer.

    We need each other. We need something bigger than ourselves—not for control, but for comfort. Not to dominate, but to remember that we are soft, finite, connected.

    Maybe spirituality isn’t about the heavens or the rules.

    Maybe it’s just about learning to sit with the mystery.

    And maybe the soul is not something you have, but something you shape—with stories, with meals, with quiet evenings where you ask questions that don’t need to be solved.

    When I boil water now, I do it with care.

    When I walk a mountain trail, I thank the wind.

    When I light incense, it’s not for a god.

    It’s for me.

    And for everyone I’ve met along the way who helped me carry this invisible thing inside.

    We are all just travelers with questions folded into our pockets.

    And sometimes, when we’re lucky, someone sits beside us and answers not with words, but with presence.

    And that is enough.

  • What Keeps You Whole

    やさしさは
    ささいなことに
    にじんでいる
    kindness lives quietly
    in small things we overlook
    until we need them

    We often think of self-care as something curated—an afternoon off with candles, a journal, a walk in the woods wearing linen. But I’ve come to realize that real self-care is less about aesthetic and more about rhythm. Less about what it looks like from the outside and more about what it keeps whole on the inside.

    And wholeness, I’ve learned, doesn’t come all at once. It comes in moments. In habits. In the slow return to yourself after the world has peeled away some part of you.

    In my early twenties, I thought taking care of myself meant pushing through. I ran until I broke. I studied until I forgot why I cared. I stayed up too late, drank too much, said yes too often. It was only after my body began to protest—headaches like pressure points under my eyes, a strange fog in the morning that no amount of caffeine could lift—that I realized there was another way.

    It started slowly. First, I began running again—not the compulsive kind of running to beat a number on a watch, but the kind that gets you out before sunrise, alone with the rhythm of your feet and the sound of the world waking up. I remember a stretch in Basel, summer 2014, where I ran along the Rhine at dawn. The city still asleep. The river whispering. I had just moved there. Everything was unfamiliar except for the sound of breath and heartbeat.

    I wasn’t running away. I was running back to something. Myself, maybe.

    Then came the conversations. At first, they seemed unimportant. The kind of talks you have in line for coffee or while waiting for the tram. But some of them lasted hours. With friends from other cities. Strangers who became mirrors. I remember one autumn evening in Regensburg, sitting on the stone steps of the old bridge with a girl who grew up near the Danube. We didn’t know each other well. But we talked about fear, about missing our mothers, about how silence sometimes says more than words.

    When we got up to leave, she said, “This is what people forget—that being heard is how we stay whole.”

    She was right.

    Nature. That’s the other place I go to when I forget myself. Not as an escape, but as a reminder. There’s something about being surrounded by things that don’t care about your ambitions—mountains, rivers, crows—that softens the ego. In Yakushima, I once spent an afternoon just watching moss grow on ancient rocks. It was raining gently. Everything smelled alive. I didn’t feel healed. I just felt like I didn’t need healing in that moment.

    Sometimes that’s enough.

    And sleep. Oh, sleep.

    I used to hate it. Saw it as wasted time. I remember my first year in Ljubljana, in a flat in Šiška where you could hear the ambulances tearing down the street all night. I slept with one eye open, trying to do more, be more, achieve something vaguely impressive. But I was tired in ways I didn’t know how to name.

    Now, sleep is sacred. Not just because it resets the body. But because it gives the mind a chance to fold into itself and sort the pieces. I make tea now before bed. I put my phone away. I sleep like someone who trusts the world enough to let go for a while.

    There’s also this:

    The quiet rituals.

    Drinking coffee slowly in the morning. Writing a single paragraph, even if no one will ever read it. Sweeping the floor. Cleaning the dishes while music plays softly in the background.

    These are not glamorous acts.

    But they are acts of care. Of tending.

    Of saying—I matter. My space matters. The way I move through this day matters.

    Wabi-sabi Lessons from the Everyday

    Self-care is not the reward. It’s the soil.

    You do not earn rest. You return to it.

    The body knows what it needs. The soul does too. You just have to listen.

    In a world that constantly asks you to be more, sometimes the bravest thing you can do is to simply be.

    Be tired. Be still. Be open.

    And in that stillness, watch how quietly everything begins to return to you.

    So when people ask me now: How do you practice self-care?

    I don’t give them a list.

    I give them a memory.

    Of a quiet run in Basel. Of a conversation by the Danube. Of a forest soaked in rain. Of sleep, finally embraced. Of one cup of coffee savored slowly while the world waits.

    That’s how I practice.

    That’s how I stay whole.

  • Wasted Time Reflection

    ゆっくりと
    こぼれ落ちた時
    気づかずに
    dripping slowly—
    time slips by unnoticed,
    until it’s gone.

    There was a time I thought sleeping in was a failure. That lying down in the middle of the day—even if my body begged for it—meant I was weak, lazy, falling behind.

    Productivity was a virtue. And rest? Rest was just the void between two achievements. A necessary evil, like eating or using the bathroom. Something to be minimized, managed, tucked in the folds of “efficiency.”

    I used to chase time.

    And like most chases, it ended with me exhausted, clutching only the edges of what mattered.

    The shift happened slowly. A kind of erosion. Not a single event, not a revelation. Just a hundred quiet reminders. Days I felt burned out without having done anything memorable. Moments I forgot how I even got from one room to another.

    One day, I was walking through Bern—somewhere between errands. I’d just come back from a trip to Slovenia. I was rushing, always rushing. Crossing the bridge near Rosengarten, I caught my reflection in the glass of a tram. And for a second, I didn’t recognize myself.

    Not because I looked different. But because I wasn’t in the moment. I was halfway through a to-do list that hadn’t even started.

    The rest of the day passed like a fog. Emails. Calls. Groceries. But it all felt the same—gray, frayed, forgettable.

    That evening, I tried something. I lay on the floor. Just lay there. No book. No phone. No purpose.

    I stared at the ceiling. Noticed the tiny crack forming where the white paint met the edge of the lamp. Heard the radiator click once. Then again.

    Time slowed. Stretched. Softened.

    And it didn’t feel wasted.

    Nowadays, what I consider “wasted time” is different. It’s not the nap. It’s not the quiet walk. It’s not sitting on a park bench watching two birds bicker over a crumb of bread.

    What feels wasted now is rushing. Being caught in the in-between.

    It’s scrolling on my phone while walking down the street, missing the lilac blooming on the wall I’ve passed a hundred times. It’s half-listening to someone while composing a reply in my head to a message I haven’t received yet.

    It’s the fragmentation of attention—the way I used to believe I could multitask joy.

    Spoiler: you can’t.

    I remember a time in London, years ago. I had thirty minutes between two trains at Victoria Station. I bought a coffee. Checked my phone. Opened a book but didn’t read. The time vanished. Not rested. Not enjoyed. Just… disappeared.

    Contrast that with another layover, years later, in Regensburg. I had forty minutes to wait. Sat by the Danube. Watched ducks. Ate a sandwich from a local bakery. Rye bread, too much mustard.

    That time didn’t vanish. It settled inside me.

    The same forty minutes. But one was a blur. The other—a place I can still return to.

    This isn’t a manifesto against phones or planning or trying to get things done. It’s just a reminder that time is only wasted when it’s forgotten. When we’re not in it.

    Even ten minutes, if lived fully, can be richer than ten hours spent drifting.

    When I was living in Ljubljana, in a small apartment near the main bus line, I used to feel guilty if I didn’t pack every hour. Every slot had to mean something. Study. Work. Socialize. Clean. Learn.

    And then I met someone. A flatmate. Quiet type. He once told me:

    “You know, people here think staring out the window is a waste of time. But in my country, we call it thinking.”

    I laughed. Then I tried it.

    He was right.

    Years later, in Tokyo, I found myself in a tiny kissaten in Shimokitazawa. Wooden counter. No menu. Just the owner behind the bar, slow-dripping coffee in silence.

    He looked at me and said:

    “Too many people rush coffee. That’s not coffee. That’s liquid stress.”

    We sat there, two strangers, not talking, just watching the steam rise.

    It was the best coffee I ever had.

    Not because of the beans. Because it had time inside it.

    Wabi-sabi Lesson

    Imperfect moments, lived fully, are more lasting than perfect plans rushed through.

    Slowness is not a lack of productivity. It’s the texture of presence.

    You don’t have to be efficient to be alive.

    The cracks in our schedule—the pauses, the unfilled gaps—are not mistakes. They’re windows.

    We forget this, often. Until someone reminds us. Or until we remember for ourselves.

    If you ask me now how I waste time, I’d say:

    I don’t waste time by sleeping. I don’t waste time by resting. I waste time when I don’t notice that I’m alive.

    So here’s to the small benches. The unhurried coffee. The walks with no destination.

    To letting the sun touch your shoulder like a question.

    To stopping in the middle of nowhere and saying: “This, too, is worth my time.”

    You can’t always catch time. But you can stop chasing it. And sometimes, when you stop— time returns to you.

  • A Spoonful of Yesterday

    ふるさとの
    においがしみた
    やさしい味
    flavors of home—
    soft with the scent
    of all I used to be

    I don’t eat it often.
    But when I do, it happens without warning.

    The first spoonful, and I’m gone.
    Not physically, of course. I’m still wherever I am—at the kitchen table, or some café that tried to bottle nostalgia in enamelware and neutral-toned playlists. But inside? I’m barefoot again. In a tiled kitchen back in Slovenia, where the windows barely closed, and the wind moved like it belonged.

    The dish?
    Polenta with warm milk and coffee.

    A bit of salt.
    A swirl of bitterness.
    No sugar.

    It sounds like nothing.
    But nothings can be entire worlds, quietly held together by memory and steam.

    I must’ve been five or six the first time I tasted it.
    My mother served it in a chipped ceramic bowl with a faded blue rim.
    One of those bowls that stays because it always stayed.
    The spoon was too big for my hand, but I didn’t mind.
    It felt like being trusted.

    She didn’t say much, just: “Eat before it cools.”
    And the house around me did its usual choreography—my father fixing something with electrical tape, the radio murmuring softly, a drafty breeze sneaking through the back door. It was winter, but not unkind.

    Only years later did I learn: she always stirred a bit of butter into the polenta.
    She never mentioned it.
    But it made all the difference.

    Years later, I tried to remake it.
    This time, in Ljubljana.

    I was just seventeen. Rented a shared room in Šiška, right next to the main bus line, where ambulance sirens sliced the night open like clockwork. The windows were thin, and the walls felt tired. It was cold—not the romantic kind, but the kind that seeped into your socks and made you boil tea just to warm your hands.

    Back then, I used to go running through Tivoli park with what were basically just regular shoes—nothing made for running, really. Just the same sneakers I wore to lectures and cafés. But I ran anyway, because it was one of the only times I felt like I could leave something behind.

    That winter, I made polenta with milk and coffee for the first time by myself.
    The polenta clumped. The milk bubbled too much.
    It still worked. It still warmed me.
    It still whispered, you’re still here.

    And then again—another version, years later.
    In Birmingham.

    I was living in a shared student flat near Aston, the kind of place where toast attracted ants if you left it unsupervised.
    The kitchen was damp, someone was always trying to clean it but never quite succeeding.
    The supermarkets were worse.
    So I started walking behind the Bull Ring to the old open market where old men still shouted prices over crates of eggs and sad-looking cabbages.

    I didn’t have any real cooking skills back then.
    Bought some discounted vegetables, confused spices, and asked my Indian roommate how to cook them.
    He laughed, then explained.
    And in that moment—somewhere between learning how to cut onions and avoid overcooking rice—I felt a kind of strange love for the human capacity to teach one another.

    I tried to make the polenta again there too.
    It didn’t taste like home.
    But it tasted like trying, and sometimes that’s close enough.

    Wabi-sabi Lesson
    You can run in shoes not meant for running.
    You can cook in kitchens with ants.
    You can find warmth in soup that doesn’t taste quite right.

    You can remember something not for how perfect it was,
    but for how honestly you tried to remake it.

    Now, when I sit down to eat that simple bowl—when I even think about it—it’s not just polenta, milk, and coffee.

    It’s a thousand small rooms.
    Cold apartments with bad heating.
    Tivoli in late autumn.
    A flea-market bowl on a second-hand desk.
    A roommate explaining turmeric like it was treasure.
    A market stall behind a train station.
    The steam of the past reaching back through time to say:

    “You were becoming. You didn’t even know it.”

    So, no—
    I don’t eat it often.

    But when I do,
    it carries every quiet version of me
    who kept going, even when they weren’t sure why.

  • The One Who Refused to Be Remembered


    ふれるたび
    ひとひら消える
    記憶の雪

    each time I touch it
    a flake of memory melts—
    snow that never stays


    I don’t know his name.
    That’s the point.

    When people talk about favorite historical figures, they usually mention the towering ones. The names that made it into monuments or textbooks. Leaders, revolutionaries, inventors. The ones whose lives were so large, the rest of us shrink in their shadows.

    But lately, I’ve been thinking more about the ones who never asked to be remembered. The ones who lived well, not loudly. Who held entire communities together with a silent kind of strength. The woman who stitched coats for soldiers in a village with no name. The man who taught children how to draw birds in the dirt during wartime when there were no pencils. The farmer who planted a single tree, knowing it would never bear fruit in his lifetime.

    We don’t remember them with parades.
    But something in us is made from them.
    And that’s enough.


    I once read about a temple builder in Nara who worked all his life carving wooden beams, though none of his chisels bore his signature. They say he would arrive at sunrise, work in silence, and return home before the monks even lit their evening candles. One day, he simply stopped coming. No fanfare. No final masterpiece. But when the great bell rang years later and the roof didn’t collapse, people whispered, “He’s still here.”

    That’s the kind of legacy I respect.

    And maybe that’s why my favorite historical figure is someone we’ll never read about. Someone who walked quietly through history, leaving behind not a statue or quote—but good soil.


    A Walk in Basel

    It was late summer, the air already hinting at the crispness to come. I was wandering through the old town of Basel when I noticed a stone plaque near the base of a fountain. It was worn smooth, unreadable. The name had faded, if it had ever been there. But someone still placed flowers beside it. Nothing grand—just wild ones. Picked, not bought.

    A man walked by with a cane.
    He paused, nodded at the flowers, and kept going.

    Later that day, I asked someone at a café about the plaque.
    She shrugged. “Nobody really knows anymore,” she said. “But someone loved them enough to keep remembering.”

    I thought about that all evening.
    How quiet the truly important things become.


    An Inner Pilgrimage

    I think we all carry the longing to be remembered.
    To leave a mark, even if it’s small.

    But there’s something quietly noble about letting go of that.
    About living fully, even if no one ever writes it down.

    I think of the friend I met in northern Finland—a woman who had been a wilderness guide for decades. She told me how she used to keep journals of every expedition. Lists, drawings, weather. But one day her tent burned down, and all the journals with it. At first, she said, she cried like someone had died. But later, she realized something strange.

    “I had to start carrying the memory inside me,” she said.
    “And I think I became more honest that way.”


    The Book with No Author

    There’s an old volume in a monastery I visited in northern Italy—handwritten, with no name. Just stories, small ones, about village life, reflections on silence, sketches of clouds. The monks say they’ve passed it around for centuries, each adding a line, a drawing, a small observation.

    One page reads:

    “I planted three olives this morning. One for the birds,
    one for the shade, and one for the person I’ll never meet.”

    I remember sitting in the stone courtyard of that monastery and feeling something shift. Like I was being reminded of a truth I had once known and forgotten.

    We are all contributing to something larger than ourselves.
    Even if we never see it bloom.


    What They Don’t Teach in History Class

    They don’t teach you how the old man in Sarajevo used to fix children’s shoes for free.
    Or the woman in Osaka who wrote lullabies for orphans during the war.
    Or the nun in Ljubljana who translated poetry in secret and taught it to the dying.

    They don’t tell you about the fisherman who stopped taking more than he needed.
    Or the girl who refused to step on ants, even when mocked.
    Or the librarian in Kraków who read aloud to blind neighbors every Thursday at 5.

    They don’t teach it—but those are the people who shape the soul of a place.
    The ones who don’t try to change the world but change the square meter around them.
    Quietly.
    Without glory.


    Wabi-Sabi Lesson: The Power of Being Unseen

    The philosophy of wabi-sabi tells us to embrace imperfection, impermanence, and incompleteness.
    To see beauty not in what is perfect and immortal, but in what is fleeting and flawed.

    My favorite historical figure—whoever they are—understood this.
    They didn’t need to shine.
    They just needed to be present.
    To do their work.
    To pass on a little light, even if no one ever knew where it came from.


    The Real Inheritance

    Maybe the truest inheritance is not a name carved in stone,
    but the way someone’s choice ripples through time.

    Maybe it’s the recipe that survived a war.
    The kindness taught to a child who grew up to teach it again.
    The habit of looking at the stars and wondering—not for answers, but for awe.

    That’s what I want to be part of.
    A lineage of gentle strength.
    Of invisible hands.
    Of good soil.


    So who is my favorite historical figure?

    The one who swept the temple steps for 30 years without ever stepping into the spotlight.
    The one who loved their corner of the world so deeply, it stayed gentle even after they were gone.
    The one who didn’t need to be remembered—because they were already part of everything.

    Maybe that’s enough.
    Maybe that’s everything.

  • The First Crush, Again and Again

    There is no such thing as a single first crush. That’s the thing no one tells you. Every one of them—each flutter, each moment of staring too long—is the first until it isn’t. And even then, it lingers. Like steam on a mirror after a bath.

    It begins small, usually. A look. An almost-touch. A badly timed laugh.

    When I was maybe five, in a town so small you could walk across it in twelve minutes, I fell for a girl who wore bright red boots even on sunny days. Her name doesn’t matter. We were in the same sandbox once. She made a tunnel and I pretended not to watch her do it. I remember the shape of her hands more than her face. She moved with certainty—like she already knew what she was supposed to become.

    I remember thinking: I want to be near this. Not own it. Not even hold it. Just near.

    That was the beginning.

    It wasn’t long before these silent infatuations became a sort of habit. Someone at school who wrote better than me. Someone at the station who waited with a book in hand. Someone who once returned my borrowed pen and added, “You write like you think too much.”

    By the time I was seventeen, I had a small diary filled with names I never dared to say out loud. The pages were brittle with time and some sort of unnamed ache. Not quite sadness. More like a longing to be seen fully, even once.

    There was one, though—someone who almost turned the crush into something larger.

    It was the year I lived in Regensburg. I had taken a gap semester before figuring out what to do with my life, and the city was generous in its confusion. I stayed in a small room above a bakery, the smell of rye and yeast rising every morning like an alarm clock. I spent afternoons wandering cobblestone streets that looked like they remembered more than I did.

    That’s where I met her.

    She worked at a tea shop two blocks from my place. Dark hair, always tied back, and a voice that made even ordinary words sound considered. She spoke to everyone in the same soft register, as if not to wake some sleeping part of them. I went back for jasmine green I didn’t like just to hear her ask, “And how was this one?”

    We spoke maybe ten times.

    The last time, she handed me my tea, paused, then added, “You seem like someone who waits for things a little too long.”

    She smiled, but it wasn’t pity. It was recognition.

    I never went back. Not out of shame. But because she was right. And when someone sees you clearly, it’s either the beginning of something real or a sign to move on.

    Years passed. There were others.

    A classmate in London who drew stars in her margins. A street musician in Ljubljana with eyes like November. A stranger on a ferry in Nagasaki who gave me a boiled egg and said, “Even birds must land.”

    All of them first crushes. All of them last.

    And still, they kept arriving.

    I used to think it meant I was broken—this way of loving briefly, silently, from the edge of things. But I’ve come to believe it’s simply one way the heart tries to stay awake.

    Because eventually, something changes.

    You meet someone and they don’t just shimmer—they stay.

    They ask the second question. They listen without looking at their phone. They remember the exact way you stir your coffee.

    It happened to me once.

    I was in Bern. Midwinter. The streets were quiet in that holy kind of way snow makes everything hush. I had just finished a shift at the gallery where I interned. Cold fingers. Full heart. And then, at the tram stop, a voice: “Do you think silence means the same thing in every language?”

    That was her first sentence to me.

    She had a mole on her left wrist and the habit of saying, “Unfold that thought for me,” instead of “Tell me more.”

    With her, it wasn’t electricity. It was warmth.

    And warmth, I learned, goes deeper.

    But this isn’t about her.

    This is about all the firsts.

    The girl with the red boots. The tea shop in Regensburg. The ferry in Nagasaki.

    And the quiet moment on a bench in the Berner Oberland where I realized something:

    None of it had to last to matter.

    These people—these ghosts of almost-love—they carved something into me. Patience. Wonder. The ability to sit with longing without demanding it become anything else.

    There’s a lesson in that. One I only understand now, looking back.

    That a crush is not about possession. It’s about recognition.

    Seeing something beautiful in someone else and allowing it to stay beautiful without needing to hold it.

    I think of the boy in Krakow. The girl in the train to Split who fell asleep on my shoulder without apology. The bookstore clerk in Aso who laughed too hard at my bad Japanese.

    They are part of me. Not in the way lovers are. In the way landscapes are.

    You pass through them. They shape you. And when you leave, you carry their weather in your bones.

    And so, I return to the beginning.

    There is no such thing as a single first crush.

    Every time the heart opens, even a little, it feels like a miracle.

    And maybe it is.

    Not because it lasts.

    But because you let it happen at all.

    Wabi-sabi lesson:

    Nothing incomplete is worthless. No brief encounter is meaningless.

    To see beauty and not try to claim it is a quiet strength.

    And sometimes, the best part of falling is the knowing—you’re still capable of feeling that much.

    Even if it doesn’t become a story.

    Even if all it leaves you with is the memory of red boots on a dry summer day.

    And a name you never said aloud.

  • The Countries I Still Carry

    “I’ve been meaning to ask,” she said, her voice a warm thread in the crisp silence, stirring her tea with a spoon that looked like it belonged to another time. “What countries do you still want to visit?”

    We were sitting on a stone bench behind the small station in Samedan. Early spring still held the Alps in its teeth. The train had gone, the square was quiet, and the clouds hovered like indecisive thoughts just above the peaks. Her scarf was wrapped twice around her neck, its ends trailing like punctuation marks for something unsaid.

    I could have said Iceland. I could have said Mongolia. Or Madagascar. But instead, I looked at her for a moment, then down at the gravel by my boots, and said, “I don’t really think in countries anymore.”

    She raised her eyebrows in the way she did when I said something either poetic or evasive. “You’ve stopped believing in stamps?”

    “Maybe. Or maybe I just started noticing what it was I was really searching for.”

    She didn’t respond. Just tilted her head slightly and waited. That was her gift. Letting silence do the work without ever making it feel awkward.

    I took a sip of my tea. Lukewarm already.

    “There’s a version of me I met in Japan,” I began. “Somewhere north. In a ryokan near the edge of Tohoku, not far from Ichinoseki. It had snowed that morning, enough to soften the outlines of everything. I didn’t check my phone that day. Didn’t have to. There was no signal. No notifications. Just a kettle, a view of bare trees, and a futon on the floor. I folded my clothes carefully and sat still for longer than I usually let myself. That place? That was the country of Patience. And I didn’t even know I’d arrived until I left.”

    She exhaled softly, the way one does after opening a window into someone else’s memory.

    “I think I went there once,” she said, almost to herself.

    “Where?”

    “Not Japan,” she clarified. “But that country you just named. Patience. I was nineteen. I had just broken up with someone I thought I would marry. I spent three weeks alone in a cabin near Lake Bled. There was no heating except a wood stove. I had to chop wood every day just to stay warm. I thought I was being punished. But now I think… maybe I was just learning how to sit still. How to not run away.”

    We were both quiet then.

    The mountain shadow moved a little further across the square.

    “There’s another country,” I said after a while. “One I visited in Coimbra. In Portugal. It was hot. I was reading a book on a cracked balcony while old men argued below about football and something that sounded like politics but could’ve just been about fishing. I realized then how much of life is background noise. And how little of it needs translating. That country? I call it Enough.”

    “That’s a rare one,” she nodded. “Harder to find than any capital city.”

    “And then there’s the place where grief doesn’t ask to be solved. Where you just carry it, like a stone in your pocket. Not heavy. Just there.”

    She reached for her tea again. The spoon had stopped spinning. “What’s that place called?”

    “Still working on the name,” I said. “But I think it’s somewhere in Slovenia. Maybe a bus stop between towns. Maybe in the guestbook of a hostel where someone wrote a message to someone who’d never read it.”

    The sun slipped behind a cloud. Her face lost its golden edge.

    She said, “I think I’ve only ever lived in the country of Trying.”

    “That’s not a bad place.”

    “No. But it’s exhausting. The currency there is effort. And it depreciates quickly.”

    We both smiled. Then she added, more serious now, “Sometimes I want to leave. But I don’t know how.”

    I looked at her. Really looked.

    “Maybe,” I said slowly, “you don’t have to leave. Just stop asking it to be more than it is.”

    She turned toward the mountains. There was something in her expression that reminded me of driftwood. Weathered, but not ruined.

    The train would come again. But not yet.


    That evening, back at the guesthouse, I thought about her question again. What countries do I want to visit?

    I thought about a man I met in a ramen shop in Takeo, Kyushu. He was sixty-something, waiting for a diagnosis. Stage four. He spoke English haltingly, but with the rhythm of someone who had learned it from songs, not textbooks. He had four grandchildren and a dog he adored. He said the best ramen is the one where the onions make you cry. He didn’t mean from spice.

    That country? I call it Surrender. He lived there. I only passed through.

    I thought about a night spent in Ljubljana, walking alone through Šiška after a failed attempt at conversation. I remember standing in front of a vending machine, not knowing what to choose, not caring. A boy on a skateboard passed by and nodded at me like I mattered.

    That country? Belonging.

    I want to go back.

    And there’s the country I visit in dreams. The one where I’m not trying to fix myself. Just being. Drinking lukewarm coffee on the veranda of a house I’ll never afford. My grandparents are still alive there. My sister is always laughing. The birds never leave.

    It smells like basil and rain.

    No capital. No flag. No anthem.

    But it’s home.


    Wabi-Sabi Lesson from the Borderless Map

    The places that shape us are rarely on maps. They live in glances, in gestures, in the tea that goes cold before you finish it.

    Not all journeys ask for passports. Some just ask for presence.

    So next time someone asks where you want to go, maybe tell them about the country of Enough. Or the country of Letting Go. Or Stillness. Or Belonging.

    And if they look confused, just smile.

    They’ll get there.

    Eventually.

  • The Best Parts of Me Were Never Mine



    borrowed from the wind
    a kindness I wore gently—
    it stayed, and I grew


    It began in a damp train station in Porto. I was 21 and lost—lost in the good way, the kind where you know there’s no map, and that’s the point. I had just missed my connection, and the rain was coming sideways. The vending machine ate my coin. The air smelled of seaweed and exhaust. And still—someone offered me half their sandwich. An old woman with thin, paper-like skin and a face shaped like time itself. She didn’t speak English. I didn’t speak Portuguese. But I understood the gesture.

    That’s where it started. Not my journey—those are dime a dozen. No, that was the first time I understood that the best parts of myself were borrowed.


    In Naples, it was a baker named Carlo who taught me the value of rhythm. Not spoken rhythm, not music—but the cadence of routine. I lived above his bakery for three weeks. At 4:42 every morning, I’d wake to the sound of dough being slapped against wood. One morning, I asked him how he did it without getting tired.

    He looked at me and said, “Because I’m not trying to be anything. Just bread today.”

    That stayed with me longer than any philosophy book I’ve read.


    In Jeonju, South Korea, I was twenty-six and in love with someone who wasn’t in love with me. She’d gone back to Seoul. I stayed in a hanok guesthouse run by a former monk who brewed his own tea. He didn’t talk much, but when he did, he looked you directly in the eyes, like he wanted to see what you weren’t saying.

    Over hojicha, he said, “Attachment is not love. Love is letting the other go and still staying soft.”

    I didn’t write it down. But I never forgot it.


    In rural Slovenia, where my grandparents still live, I watched my grandfather dig out weeds from under a cherry tree. It was July. The sky was bruised with heat. I was impatient.

    “Why don’t you just cut them all at once?” I asked.

    He smiled, not looking up. “Because not all roots are visible. You’ll just be cutting the leaves.”

    He wasn’t talking about gardening, but I only realized that years later, in a Zurich park after a long walk alone.


    In Oaxaca, I shared a ride with a woman who had lost her child and now volunteered at a birth center. We didn’t talk for the first hour. Then she asked me if I believed pain made people better.

    “I don’t know,” I said.

    “Me neither,” she replied. “But it makes us real.”

    She gave me a bracelet she’d woven from palm leaves. It broke a few weeks later. But I still have the bead.


    In Bern, Switzerland, I met a retired architect who built nothing after sixty. He just walked. One day, we sat together near the Aare river, watching the ducks.

    He said, “I spent my life trying to leave something behind. But the most lasting thing I ever did was listen when my wife spoke.”

    I never met his wife. But I felt like I had.


    In the Berner Oberland, I biked for six hours on a heatwave afternoon with someone I barely knew. We didn’t talk much. Just sweat, sun, and mountains. That kind of silence becomes its own language.

    At the end, we collapsed in a field of wild thyme and dandelions. He said, “You know, the only way I know who I am… is by noticing how I change around others.”

    That sentence still echoes.


    Wabi-Sabi Lessons from the Road

    • What we call “ourselves” is often made from others. The kindnesses. The pauses. The small beliefs they passed on in silence.
    • Nothing has to be perfect to shape you. Most of the people I carry in me were imperfect—some deeply flawed—but their fragments made me more whole.
    • Travel doesn’t just show you the world. It shows you the mirrors in other people. And if you’re lucky, you see enough reflections to piece yourself together differently.
    • When you walk through life open—even a little—you collect seeds. Some sprout decades later, quietly, in places you never planned to visit again.

    A Final Thought

    What I love most about myself are the invisible fingerprints of everyone who’s left something with me. Their rhythm, their words, their silence. Even the heartbreaks, the strangers, the ones I disappointed and the ones who forgave me.

    They’re in me. All of them.

    And maybe that’s the most human thing about any of us:
    We are not our own creations.

    We are mosaics of fleeting kindness.

    A thousand quiet borrowings held together by time.

    A self made of selves.

  • I Don’t Want to Retire

    やめるより 続けるほうがいい 波の音と

    Better to go on
    than stop—like the sound of waves
    that never clock out.


    I don’t want to retire. Not because I love work. Not because I’m some stoic disciple of hustle culture. But because I never imagined a version of myself that simply… stops.

    Maybe that’s a flaw. Or maybe it’s a kind of loyalty—to the quiet pulse of doing something that matters. Even when no one notices.

    I come from a long line of people who never stopped. My grandparents worked until their hands gave out. Until their knees could no longer bend. Until their breath turned shallow but their will remained deep. They were farmers, builders, seamstresses, nurses. People who understood that meaning wasn’t given, it was made—in the cracks of dawn and the sore-shouldered evenings.

    My grandmother used to rise before the sun, cook for the family, and tend a garden that fed more than just our stomachs. It fed our dignity. She grew potatoes that tasted like kindness and beans that hummed with quiet strength. I remember her hands. Bent, scarred, gentle. She never called herself tired, even when she was. Work was not what took from her—it was what kept her.

    She would wipe her brow with the hem of her apron, and then pause just long enough to listen. To birds. To weather. To silence. That pause was her prayer.

    My grandfather built houses. Laid bricks with the same precision he used to stir sugar into his coffee. He never had much to say about his work. Just that “it stood.” That was his measure of pride: it stood. I used to think that was too small a dream. Now I think it was the biggest kind of love. To make something that stays upright, even when you’re gone.

    He once let me carry his level. A simple tool—a small vial of liquid inside a metal bar. “The bubble tells the truth,” he said. “It doesn’t care how hard you worked if the wall’s not straight.”

    They didn’t retire. They slowed. And then, one day, they simply didn’t wake up to the alarm.


    My parents followed suit. They left their hometowns to find factory jobs and make enough to raise kids in a world that had already outrun them. My mother cleaned hotel rooms for thirty years. She never once complained. I asked her once if she ever wanted to stop.

    She looked at me, half-laughing. “Stop and do what? Wait to die?”

    At the time, I thought that was tragic. Now I think it was honest. She found rhythm in the repetition. In knowing what each day would ask of her. In folding sheets with corners so tight they held the shape of her pride. She didn’t want to stop. She wanted to matter.

    She told me once that when she made a room beautiful, she left a little piece of herself behind. A perfectly folded towel. A window that let in morning light. A bed smoothed so clean it looked like calm.

    My father was quieter about it. He worked construction, wore the same boots until the soles gave in. Even now, he still “helps out” at his friend’s small carpentry business. Says he likes the sawdust. The smell of real things being shaped. He has arthritis in both hands, but says it hurts less when he’s busy.

    I think that’s true for a lot of us.


    When people talk about retirement, they speak of leisure like it’s salvation. Travel, hobbies, golf. But I’ve seen too many people disappear into that stillness. Not in a peaceful way. In a forgotten way. They go from being someone to no one. From having a reason to wake up, to sleeping in without hunger.

    I’m not afraid of aging. I’m afraid of being unnecessary.

    Maybe that’s why I keep doing things that don’t make sense on paper. Writing blog posts that earn nothing. Fixing broken bowls with gold because I can’t stand to see something tossed away. Having long, meandering conversations with strangers at flea markets. None of it pays. But all of it matters.

    Because I was taught that the value of a thing isn’t in how long it lasts, but in whether it left something behind. A repaired cup. A cleaned room. A sturdy wall. A sentence that held someone’s breath for a moment longer than usual.


    I think about the kind of old man I want to become. Not the kind who sits by the window waiting for someone to visit. I want to be the one who still shows up, even if no one asks.

    To still write, even if the eyes blur. Still shape clay, even if the fingers stiffen. Still fix what I can. Still grow something from soil.

    I don’t want to retire because I don’t want to drift. I want to keep swimming until the tide turns me over. I want to keep saying thank you to the world, in whatever small ways I still can. With hands, with words, with presence.

    To retire would mean to step out of that conversation. To go quiet when there’s still something worth saying.

    I think that’s the saddest thing of all.


    People think work is what burns us out. But I think it’s the absence of meaning that does. To work without joy, yes—that will eat you alive. But to do something out of love, out of care, out of need? That is a kind of fuel.

    My grandmother kept weaving long after her vision failed. She wove by feel. The blankets got crooked. The patterns broke. But she said they kept her warm. And not just physically.

    I understood too late.


    Sometimes I imagine a different life. One where I made more money, saved better, bought a house early, planned for a smooth retirement. But that version of me is someone I don’t know how to love. He is quiet in a way that feels like absence, not peace.

    I want noise. I want the clatter of tools, the smell of old books, the soft crack of glaze cooling on a freshly fired cup. I want to wake up tired because I gave the day something.

    Even if it’s just one person reading this.

    Even if it’s just me.

    I don’t want to retire. I want to keep walking until the shoes wear out. Then I’ll go barefoot.

    Then I’ll crawl.

    But I’ll still be going.


    There is a Japanese phrase I love: 『ikigai』. A reason for being.

    It is not your job. It is not your title. It is the thing that makes you glad the sun came up again.

    Some find it in raising a child. Some in fixing an engine. Some in writing words no one may read. But it’s there. And when you find it, you don’t want to stop. You don’t want to retire. You want to keep honoring it, however you can.

    So I keep writing. I keep fixing. I keep listening. I keep showing up, even when the voice is quiet.


    Wabi-sabi teaches us this: there is beauty in what is worn, what is chipped, what is fading. Not because it is broken, but because it has endured. Retirement, for me, feels like an attempt to polish what should be left raw. Life is not a bowl to be stored on a shelf. It is one that should be used, repaired, used again. And again. Until the gold lines of all its cracks gleam with memory.

    Like my grandfather’s level. Like my grandmother’s bent fingers. Like my mother’s quiet pride. Like my own scratched desk, still bearing the weight of these words.

    So what does this mean for you, reader?

    Maybe you’re wondering if you’re wasting your time on small things. Maybe you’ve been told you’re too old to start over, or too young to matter. But maybe—just maybe—the small things are the whole point. Maybe it’s the way you greet the mailman. The way you mend your coat. The way you pick up the phone when it rings.

    You don’t need to do what I do. But you do need to keep doing what keeps you human. Stay useful. Stay soft. Stay in motion. Make something that outlives you.

    And if you have no idea where to begin, maybe start here:

    What small thing could you do today that leaves a trace of care?

    Tell me in the comments. I’ll be here, still writing. Still listening.

    Because we don’t stop.

    We continue.

  • My Body. My soul. the Oldest Companions

    It was a soaked morning in Snowdonia—mist clung to every branch, rain drummed the cottage roof like distant thunder—and still, my friend and I set out before first light. We slipped into sodden jackets, boots gurgling with cold water, and followed a trail that vanished into gray nothingness.

    As we climbed, the world narrowed to rhythm: boot on stone, breath in, breath out. Every tendon and sinew in my legs and back argued with fatigue, yet carried on, whispering: one more step. My lungs burned with chilled air; my heart pounded in an ancient drumbeat; my skin prickled with purpose.

    Near the summit, the clouds thinned for a breath. Gold light spilled over jagged fells, igniting droplets on bracken and rock. My friend whooped—an unrefined cry of delight—and I felt tears mingle with the rain on my cheeks. My body, that familiar vessel of scars and strength, had guided me through mud and gale and doubt to this unguarded wonder.

    Descending, each foothold demanded attention: loose scree, hidden roots, moss-slick stones. My muscles remembered every uphill battle, every tremor of exertion. I pressed a palm to an ancient oak’s damp trunk, feeling sap pulse beneath the bark—nature’s mirror to my own living frame.

    At the cottage, I shed drenched layers until only my skin remained—each droplet a testament to the morning’s journey. I stepped into the shower’s embrace, hot water cascading like absolution. Steam curled around me, and every ache sighed into warmth. I pressed my back to cool tile, closed my eyes, and whispered:

    “Thank you.”

    Because this body—my oldest and most enduring possession—has carried me through storms and summits, through doubt and delight, and still wakes each day ready for the next path.


    Wabi-Sabi Lessons from the Body’s Journey

    • Imperfection is proof of life: Every ache and scar tells a story.
    • Strength grows through surrender: Yield to discomfort, and you discover resilience.
    • Presence over perfection: The summit’s beauty isn’t in conquest but in mindful steps.
    • Rhythm is its own wisdom: Boot on stone, breath in, breath out—find your flow.
    • Gratitude is the final warmth: Even the hottest shower is richer when you’ve earned it.

    からから道
    心の奥まで
    あせをかく

    dusty summer path
    sweat trickles into the soul
    quiet endurance

    We started early, not because we were prepared, but because the sun hadn’t yet decided to punish us. I met Leo at the edge of the old city, both of us squinting through sleep and sunscreen, bikes already sticky from the day before. The idea was vague: ride as far into the Berner Oberland as we could before one of us gave up or the weather made the decision for us.

    We didn’t talk much at the start. The hum of the tires on the asphalt was enough conversation. Past small villages, through patches of forest that offered momentary mercy, then into open fields that shimmered like heat was something you could see.

    By midday, the silence between us was no longer comfortable — it was just all we had energy for.

    “You think we’re lost?” Leo finally asked, not really caring.

    I looked around. Everything was green, but aggressively so. Wildflowers like spilled paint. Cows that didn’t even lift their heads as we passed. A wooden sign pointed vaguely toward something that sounded Swiss enough to trust. I shrugged.

    “We’re somewhere,” I said. “That counts.”

    The climb started around two. The kind of incline that didn’t look bad until you tried pedaling up it and realized your body had been lying to you all morning. Sweat started in earnest. Dripped into my eyes. Into my thoughts.

    And somewhere in that struggle — in the burning of thighs and lungs and sunburned shoulders — I remembered something I hadn’t thought about in years.

    A conversation I had with my mother after my first heartbreak.

    “You’ll get through it,” she’d said. “You always do.”

    “How do you know?”

    She paused. “Because that’s who you are.”

    That’s the thing about the soul. It remembers who you are when your mind is too tired and your body’s too sore to pretend anymore. It’s the part of you that doesn’t care about the climb, the destination, the Instagram photo.

    It just… endures.

    It stays. Quietly. Even when everything else wants to quit.

    We finally reached a plateau — not the top, but enough to breathe. Enough to collapse into grass that felt like cold water for the spine. Leo lay flat on his back, eyes closed.

    “You ever think about how long we’ve been riding?” he said.

    “Too long.”

    “No, I mean… not just today.”

    I looked at him. He wasn’t talking about bikes anymore.

    “Yeah,” I said. “I think about it all the time.”

    Later, we found a small alpine hut that served coffee. The kind of place with handwritten prices and flies that couldn’t be bothered. We sat on a bench. Shared a lukewarm espresso. Watched a cloud drift so slowly across the face of the Eiger it felt like it might never arrive.

    And I thought: This is the soul, too.

    Not just the part that survives.

    But the part that learns to sit still.
    To notice.
    To receive the day without needing to improve it.

    Notes from a Quiet Soul on a Hot Day

    • The soul doesn’t rush. It endures.
    • Some climbs aren’t for views — they’re for remembering who you are.
    • Pain can clean out the noise. Make room.
    • Endurance is sacred.
    • The road doesn’t always tell you why. Sometimes the soul answers later.

    We rode back slower. Not because the terrain changed. But because we had.

    We didn’t speak much.
    We didn’t need to.
    The wind had picked up, and for a few blessed kilometers, it was at our backs.

    And somewhere inside me, beneath the burn and the bruises of the day, I felt something old and quiet still holding the handlebars.

    Still guiding me home.

  • A Moment That Belongs to Everyone

    There’s this one moment that keeps coming back to me, like a stray note from a song I heard long ago. It doesn’t stand out. No fireworks. No breakthrough. It wasn’t the kind of moment you’d write home about. But it stayed.

    It was early June, one of those in-between days when Switzerland forgets what season it’s in. The morning still carried the cool hush of spring, but the light had already changed. It was gentler, warmer, like a hand resting quietly on your shoulder.

    I was walking a narrow trail somewhere above the Lauterbrunnen valley. No destination. No pressure. Just walking. The river kept me company, flowing with that soft glacial clarity, cold and honest. I remember passing a field where cows grazed without urgency. The sound of their bells rang low and soft, like the world itself was breathing slowly.

    And then, a bench.

    Wooden. Slightly tilted. One leg shorter than the rest. Half in shadow, half kissed by sunlight. It wasn’t special. But something about it called me. Maybe it was the tiredness in my legs. Maybe it was the quiet. Maybe it was just time.

    I sat.

    I didn’t reach for my phone. I didn’t take a photo. I didn’t try to think anything useful. I just sat and let the sun touch the back of my neck. It wasn’t hot. Just warm enough to remind me I was still here. Still a part of this world. Still breathing.

    The smell of pine and something faintly sweet—wildflowers or memory—drifted past. I could hear the wind in the tall grass, in the trees above, in my own lungs.

    And then I noticed something strange:
    For a moment, the constant hum inside me—the one that keeps track of time and worth and goals and loss—went silent.

    Just for a moment.

    And in that silence, I felt something unclench inside me. Something I didn’t even know I’d been holding.

    We talk a lot about favorite moments. Big ones. Loud ones. First kisses. Graduations. The kind of things people cheer for.

    But this? This was different.

    It didn’t want anything from me.

    It didn’t care who I was, or who I was trying to be.

    It just let me be.

    And maybe that’s what I’ve learned over the years. That peace isn’t something you fight for. It’s something you stumble into, when you stop fighting yourself. When you stop trying to curate your joy, and instead just let it happen. Let it arrive unannounced.

    That bench, that breeze, that day—I carry them with me.

    Not because they changed everything.

    But because they reminded me that nothing needed to be changed in that moment.

    And sometimes, that’s more than enough.

    If you ever find yourself tired of everything—of people, of noise, of trying too hard to be someone you’re not—go find a quiet place.

    Sit down.

    Let the wind do the talking.

    You might be surprised how much of yourself returns to you when you stop searching.

    The next day it was barely dawn when I continued my journey, slipped out of the cottage, the world still wrapped in mist. The air tasted of damp stone and distant pine, and every step on the dew-soaked grass felt like an invitation to something unnamed. I hadn’t planned on walking. I only meant to clear my head before breakfast, to shake loose the weight of restless nights and half-formed worries.

    The lake lay flat and silver behind the trees—so calm it looked like glass untouched since summer began. A lone fisherman stood at its edge, rod in hand, waiting. His silhouette didn’t startle me. He seemed part of the landscape, as if he’d been there all his life, learning how patience contours itself around water.

    I wandered toward the hills, following a faint footpath that curved through wildflowers. Each bloom bowed under its own color—bluebells, daisies, pale lavender—reminding me how insistently small things persist. The sun was still low, sending pale fingers of light between the trunks. I felt the chill in my chest loosen, inch by inch, as if the morning itself were breathing life back into me.

    Somewhere along the way, I passed an abandoned stone wall, moss-covered and leaning at an angle. I paused, tracing its rough edge with my fingers, imagining the hands that once built it—steady, unhurried, certain. There was no hurry now. No plan beyond moving forward until the path asked me to stop.

    Later that evening, I found myself back in town, sitting at the edge of a half-empty beer garden. Nothing fancy—wooden benches, chipped paint, the hum of conversations I wasn’t part of. I had a Rivella and a small plate of something fried. The sun had begun its slow descent behind the hills, and everything was dipped in that golden syrup light that makes even sadness look holy.

    An older man sat across from me without asking. Maybe in his sixties, wearing a worn denim shirt with sleeves rolled up. His hands were calloused. He had the kind of presence that doesn’t enter a room—it quietly reveals it.

    We sat in silence for a while. He lit a cigarette, not out of need, but routine.

    “You’re not from here,” he said finally, in German thick with the Alps. “But you sat on that bench up by the pines. I saw you.”

    I looked at him, a little surprised. Nodded.

    “Nice view,” I said.

    “It’s not the view people sit there for,” he replied. “It’s the weight they need to put down.”

    He tapped his ash into a makeshift tin ashtray, then looked out at the distant peaks. “I used to go up there after my wife passed. I didn’t want to talk to anyone. But the bench didn’t ask questions.”

    I didn’t say anything, but something in my chest responded—like someone tuning an instrument I didn’t know I had.

    He looked at me again. “You’re carrying something too, aren’t you?”

    “Maybe,” I said. “I don’t always know the name for it.”

    “You don’t have to,” he said. “Some things are too old for words.”

    We sat there for a long while, watching a dog circle a tree in slow loops. Then he spoke again, softer this time:

    “People always think healing is a loud thing. That you cry or scream or confess something and then it’s done. But real healing is boring. It’s sitting with yourself. Letting the silence touch the parts you keep hidden.”

    He stubbed out his cigarette, then stood. “Keep sitting. The world has enough people running around.”

    He left without saying goodbye.

    And somehow, it felt complete.

    Later, walking back through the village, I passed the pine-covered trail that led back up to that bench.

    And I thought—maybe that’s all a good day really needs:

    A warm beam of light on your back,
    a stranger who doesn’t ask for your story,
    and a place where the silence doesn’t make you feel alone.

  • A Pine Tree, A Pair of Old Hands, and a Thought That Stayed Longer Than It Should Have

    Coming home is always a little off-tempo.

    Not because the house has changed. Not because the furniture is different.
    But because the air is.

    It smells fuller now—sweet and wild, the kind of fragrance that only rises when roots have had time to spread and tangle beneath the surface.

    I stepped off the bus and walked the old path through the fields, noticing how the wind moved differently here—slower, gentler, as if it had finally remembered how to breathe.

    Pine needles lined the gutters. The garden hummed with invisible wings.
    Even the soil seemed to pulse underfoot—richer, more alive, like time had been quietly composted into something fertile.

    The house stood like a memory I wasn’t quite ready to touch.
    Faded shutters. The tiled roof still holding onto summer heat.
    And the faint, familiar sound of the coffee machine—grinding beans with a tired purr—echoing through the window like the opening note of a well-worn song.

    My grandfather sat outside on the old wooden chair, the one that leans slightly left.
    A cigarette in one hand, the other tucked into his cardigan.
    He looked out over the garden the way some people watch the sea.

    I joined him in silence.

    After a while, he blew a long stream of smoke toward the trees.
    “Still walking too fast, are you?”

    I smiled. “Trying to slow down.”

    The coffee machine clicked off inside, but he didn’t move.

    “Why did you build it like this?” I asked, nodding toward the uneven path, the crooked shed, the wild rows of herbs.

    He didn’t even blink.
    “Because it’s beautiful,” he said, like that was enough.

    And maybe it was.

    Inside, my grandmother poured the coffee into two mismatched porcelain cups.
    Not fancy. Not perfect. But they fit the hand just right.
    Steam curled up into the green air of the kitchen. Earth and roast and time.

    She handed me a cup and walked toward the window—the one with the wide ledge and the little bird-shaped dish that never held anything.

    She pointed.

    “See that pine?” she said. “I planted it when I was about your age. I thought maybe… if I was lucky, one day I’d sit here and drink coffee and watch the birds play.”

    She looked away from the tree, back to her hands.
    “I sit here now. And they come. Every morning. Drinking coffee from the machine you bought us with your first salary.”

    She didn’t look at me.
    But she smiled, small and quiet. The kind of smile that doesn’t need an audience.

    I stayed a while, just watching them.

    The way he tapped his cigarette against the ashtray he made with his own hands decades ago.
    The way she moved through the kitchen with the grace of someone who knows where everything lives—not by sight, but by rhythm.

    When I was young, I didn’t understand how they could seem so full while doing so little.
    I thought they were stuck. Or bored.

    I didn’t know the effort it takes to keep something quietly alive.

    To tend a garden—not for show, but to keep the weeds at bay.
    To boil the same water each morning—not for change, but for steadiness.
    To sit beside someone day after day—not for excitement, but because it matters.

    Wabi-Sabi Lessons from the Quiet

    • To build a life, you don’t need noise. You need care.
    • Beauty doesn’t come from perfection, but from presence.
    • What you tend grows—not just plants, but people, places, and mornings like this.
    • A pine tree planted with intention can become a companion 40 years later.
    • You don’t have to do much to live deeply. You just have to pay attention.

    Later, as the shadows stretched long across the fields, I walked back down the path.
    The trees rustled above me.
    Birds dipped low through the evening air.

    And I realized—
    maybe what makes this place smell so alive isn’t just the flowers or the soil.

    Maybe it’s the years.
    The quiet acts of care.
    Still echoing in the air.

  • The Way People Change a City (And How a City Changes Them Back)

    two cups still steaming—
    only one pair of hands moves,
    the story begins

    We were sitting in a dim café near Bern’s old clocktower, the kind that still smelled faintly of roasted chestnuts and old wood polish. The café had chipped brick walls, small arched windows fogged with breath and winter, and tables that wobbled if you leaned too hard into your elbows. The ceiling hung low, giving it that cloistered monastery feel, and the lights—bare bulbs wrapped in paper lanterns—cast a drowsy amber glow that made time feel soft around the edges.

    She wore a green scarf tucked tightly around her collarbone, like someone who had been walking into wind for a decade. We hadn’t seen each other in five years. Five years that had curled inwards like a fern under frost.

    “Still chasing storms?” she asked, her voice playful but hushed, stirring her tea absentmindedly. She didn’t lift it. Just watched the swirl of milk vanish like a thought half-remembered.

    “More like learning to watch the sky first,” I said, trying to match her metaphor. “You?”

    She smiled—tired and bright at the same time—the way people do when they’ve learned how to hold disappointment like an old friend.

    “I left New York,” she said, and something in her posture softened. “Again.”

    I looked up. “But that was the plan, wasn’t it? The rooftop parties? The subway poetry?”

    “I thought so too,” she said. “But it turns out, being good at surviving isn’t the same as being passionate.”

    She told me how London taught her to perform poise under fluorescent light, how to cry in a bathroom stall at work without smudging her eyeliner, how to talk about the weather when her world was collapsing.

    She said New York taught her velocity—that you could move every minute of the day and still go nowhere. That you could be in a room full of people and feel like wallpaper.

    “In London, people pretend not to see you. In New York, they see you too fast. I got tired of both.”

    There was a silence then. Wide, unhurried. A silence that felt earned.

    “What about you?” she asked.

    I shrugged. “Still restless. But a bit less eager to call it passion.”

    She laughed. “That’s the most honest thing you’ve ever said.”

    We talked about jobs we didn’t care for—spreadsheets, branding decks, campaigns with no soul. Apartments that smelled like mildew and someone else’s cologne. Mornings when waking up felt like starting someone else’s life.

    “You know what I envy?” she asked, tilting her cup just to hear the last sip shift inside. “People who grow roots without feeling stuck.”

    I nodded. “And people who grow wings without needing a runway.”

    She looked at me. “So what are we then?”

    “I think we’re just people who got good at noticing. That’s a kind of passion, too.”

    She finally finished her tea. Held the cup with both hands as if she were weighing a memory.

    “I used to think passion had to look like fire,” she said. “Like urgency. Like being consumed. But now I think it’s just showing up. Not letting the days blur. Letting a place touch you, without letting it own you.”

    From her bag, she pulled out a notebook—creased at the corners, held together by a rubber band.

    “This is the only thing I’ve kept from every city,” she said.

    Inside were quick sketches—graffiti tags, hands, shadows on fire escapes. Snippets of conversations overheard on trains. A pressed flower between two ticket stubs. And in the middle, on a torn page, a line written in pen that had bled slightly:

    It’s not about what you love.It’s about how you love, quietly, consistently, even when no one is watching.

    What She Taught Me (Even If She Didn’t Mean To)

    • Passion doesn’t shout. It stays. It notices. It remembers.
    • The places you live aren’t trophies. They’re weather systems. Let them change you.
    • You don’t need a calling. You need a rhythm—your own way of showing up, curious, honest, unfinished.
    • Sometimes, passion is the ability to sit across from someone, let them speak their truth, and not feel the need to correct it with your own.

    Outside, the bells of Zytglogge rang. We both turned toward the sound, as if some part of us was still synchronized with old machines.

    I asked, “Will you stay in Bern?”

    She stood, adjusting her scarf. The green was starting to unravel at the end.

    “Long enough to learn something.”

    She walked out into the wind.

    And I stayed there a little longer, holding her empty cup.
    Still warm.

  • Seasons Don’t Wait for Us— a story from a bus ride through the Balkan coast

    We were somewhere near Budva when the road curved tight around the cliffs and the sea opened up below like a secret. That soft turquoise clarity that always makes you feel like the world is older than anything you’ll ever understand.

    It was early spring. The kind that still has winter in its lungs.

    I was sixteen. The bus smelled like damp backpacks and potato chips. A mix of excitement and sweat. The kind of travel that runs on youth and low expectations.

    Next to me sat a boy from the back row. I don’t remember his name. Maybe his name didn’t matter. But I remember his eyes—dark, still, with that look some people get when they’re always listening even if their mouth is moving.

    He said something I’ve never forgotten.

    “You always talk about how you love summer,” he said, looking out the window. “But I think it’s a waste to wait for one season.”

    I laughed. “Summer is the best. Long days, no jackets, the sun actually wants you to exist.”

    He smiled. “Sure. But don’t you think it’s human to want to make the most out of whatever you get?”

    There was a pause, the kind that feels bigger than the conversation.

    “I love winter,” he continued. “I love hot drinks, and seeing my breath when I talk. I love how it slows everyone down. Autumn smells like school books and wet trees. Spring is messy and awkward and alive. And summer—yeah, summer’s great. But if I only waited for that, I’d spend three quarters of the year being disappointed.”

    Outside the window, the Adriatic glistened like a mirage. We passed laundry lines flapping on small balconies, kids chasing balls barefoot, old women sitting in pairs by empty roadside stands. Time, somehow, didn’t feel linear. Not in the Balkans. It felt circular, like seasons.

    Maybe that’s when I started thinking differently about time.


    Wabi-Sabi of the Rotating Sky

    I used to think summer was the destination. Now I think every season is a window, a lens.
    They don’t exist to be compared.
    They exist to be entered.

    What that boy taught me on that road to Montenegro still rings true:

    • Winter teaches presence. It strips life down to breath and shelter.
    • Spring reminds us that growth is never graceful, but it is persistent.
    • Summer gives us ease. But ease is only precious when it’s not permanent.
    • Autumn tells us how to let go with dignity. How to rust beautifully.

    Now I live by a rhythm, not a preference.
    I sweat when it’s hot.
    I shiver when it’s cold.
    And I try not to wish for anything other than what’s already here.

    That boy—I never spoke to him again after that trip.
    But his words followed me.
    Through the cities I moved to.
    The rooms I sat in.
    The seasons I stopped waiting for.

    Because life doesn’t slow down for our favorites.

    It just keeps turning.
    And if you’re lucky—really lucky—
    you get to turn with it.

    Even once around the sun is a gift.
    So try to enjoy all of it.

    Even the rain.

    Even the wind.

    Even the years that don’t make sense until much later.

  • The Quiet Grace of Hot Water

    For years I never saw it for what it was. Just a stream. A twist of the wrist. A pulse from some unseen boiler behind the wall. Nothing remarkable. Just hot water.

    But the things we think of as basic are often the ones holding our lives together.

    It was in Birmingham, during the worst winter I can remember, that this truth began to unfold. I was living in a shared flat, the kind that makes you question your decision-making at least once a day. The bathroom walls were damp year-round. The extractor fan didn’t extract anything but hope. There was mold near the ceiling that looked like some ancient map of a country no one survived.

    Our water heater had moods—angry, sullen, silent. Mostly silent. The water that came out of the tap was cold enough to hurt. You could feel your bones retract. You learned to time your shampooing like a military operation. Rinse. Lather. Gasp.

    One evening, after coming home soaked by an unforecasted rain, I stood in front of the sink and stared. That night, for some unknowable reason, the water came hot.

    And I cried. I didn’t sob. No heaving chest. Just tears, sudden and uninvited. Not because of pain. But because of warmth.

    I remembered Ljubljana that night. A converted attic apartment near Šiška, beside the tram line that rattled like memory. The windows let in every whisper of winter, and the floors creaked like they had stories to tell. But there was a tiny bathroom. An old boiler. And when it worked, it worked like magic. The room steamed up in minutes, fog curling on the mirror, warmth rising like incense.

    It wasn’t about being clean. It was about return. About feeling like you still had some softness left in you. That no matter how fragmented the day, you could gather the pieces and stand still.

    Even now, in better places and warmer spaces, I never take hot water lightly.

    It became my definition of luxury—not designer clothes or rare wines or airport lounges. Just hot water on skin. The sound of it. The feel of it. The transformation it brings. The weight it rinses away.

    And when I travel now—when I walk under sun-heavy skies in Regensburg or through alpine mornings in Bern—I notice the taps. I test the temperature. And I never forget to thank the invisible systems that bring that simple heat to my hand.


    Wabi-Sabi Lessons from a Boiler:

    • Gratitude doesn’t need to be loud. It needs to be honest.
    • Comfort isn’t always about what’s new. Sometimes it’s what flows, what holds, what warms.
    • Even the most mundane rituals can become sacred when you’ve known their absence.
    • Real luxury is not what impresses others. It’s what brings you back to yourself.

    We talk a lot about optimization these days. More productivity. More gain. Better routines. Faster mornings.

    But sometimes, the most human thing you can do is step into a hot shower, close your eyes, and let the steam pull you back to stillness.

    So if you ask me what I can’t live without, I won’t say status or gear or gourmet this or that.

    I’ll say water. Warm. Running. Quiet.

    And I’ll mean it with all I have.

  • Greedy for Light


    sun slips down too fast—
    but I chase it with bare hands,
    greedy for the gold


    It always creeps in. That first day in April when the light outlives the workday. Not by much. But enough. Enough to stretch the walk home. Enough to put your phone away. Enough to stop at a bench that doesn’t ask for anything but presence.

    It begins then. This yearly pact I make with summer. That I won’t waste a second of it. That every ray, every soft beam bouncing off the cobblestones, every golden breath through leaves—I will meet it. Outside.

    It’s been like this for over a decade now. Ljubljana, Regensburg, Basel. Places I arrived at first unsure and always pale from too much indoor thinking. And always, when spring arrived, it taught me again how to live in a body.

    I become solar. I plan my days around light. A coffee in a paper cup by the riverside. Sweaty shirts from uphill walks. Books half-read in parks. And the same playlist that never gets old.


    When the Coffee Stops Tasting Right

    There is no alarm for burnout. For digital overload. For dopamine fatigue. It doesn’t come with red lights or alerts. It sneaks in. You don’t notice it at first—until the coffee doesn’t hit the same. Until the scroll is automatic. Until your feet itch, but you tell them to wait.

    When that happens, I go back to basics. Not productivity hacks. Not resets. Just sun. Just silence. Just moving through the world again without checking in.

    Because real presence doesn’t come through a screen. It comes through the weight of the air. The sound of bees. The moment your shadow gets long and you realize it’s already 7:00 p.m.


    Wabi-Sabi in the Long Light

    • You don’t have to fix everything. Just feel the sun on your face.
    • You are not behind. The light always returns.
    • Not all beauty is urgent. Some of it is quiet and waits by the bench.
    • Let the world soften you. Let the light pull the edge off your ambition.
    • Even the unproductive days teach you how to be whole.

    There are summers I barely remember. But I always remember how they felt. The taste of warm water. The stickiness of fruit eaten standing up. The way a city breathes differently when everyone stays out late.

    So I keep showing up. One walk at a time. I keep chasing that sun with open palms. And when it slips away behind the roofs and hills—I thank it. Because I was there. And that’s enough. What about you?

  • The Things I’ve Learned with Each Passing Year


    early rain whispers
    words I never dared to say
    now fall without weight


    If humans had taglines, mine would be: “No is a full sentence.”

    I didn’t learn these lessons all at once.
    They came quietly, like light slipping beneath the door at sunrise.
    One arrived while folding socks. Another during the silence after an argument.
    Growth rarely shouts. It rustles.

    These are the truths I carry now:

    • “No” is a full sentence. You owe no justification for honoring your peace.
    • Being unbothered is a skill. Not indifference—discernment.
    • Silence is a response. And sometimes, it’s the most respectful one.
    • Most “urgent” things can wait. True emergencies are rare. Most things can simmer.
    • Respect > Attention. One is felt in your absence. The other fades with the scroll.
    • Apologies mean nothing without action. Words are easy. Movement is rare.
    • Movement is medicine. Not for the body alone, but for the spirit.
    • You’re not for everyone—and that’s freedom. You stop shrinking when you accept it.

    I scribbled these once on the back of a receipt in a café near Ueno Park.
    Outside, rain stitched the pavement with quiet insistence.
    Inside, the barista wiped down empty tables while an old stereo murmured Chet Baker through static. A cat sat on the windowsill, half-asleep, entirely whole.

    At the next table, a man stirred his coffee and said, to no one in particular:

    “Funny how silence becomes more generous the older you get.”

    I looked up. He didn’t look at me.
    But I knew exactly what he meant.


    Since then, I’ve let notifications pile up.
    I’ve stopped responding just to be polite.
    I’ve found beauty in unread messages, in unanswered questions.
    I’ve learned that slowing down isn’t laziness—it’s listening.
    And running in the early morning, before the world has a name, has become my form of prayer.


    What this post wants you to learn:
    That your time is sacred.
    That urgency is often artificial.
    That boundaries—real ones—don’t require apology.
    That you don’t need to be louder to be heard.
    You just need to be clear.

    If you’re feeling burnt out, pulled in ten directions, or unsure why your days feel so noisy—try saying less. Try moving more. Try listening to the quiet between things.


    Your turn.

    If humans had taglines, what would yours be?
    Mine is: “No is a full sentence.”
    It took me years to speak it with a calm heart.

    Maybe yours is:
    “I bend, but I do not break.”
    Or: “Still water runs deep.”
    Or: “I leave room for silence.”

    Have you learned anything lately that feels like it’s shaping you quietly from within?

    Write it here.

  • What Do You Need to Have a Good Life?

    There was a café I used to sit in during winter.
    No latte art. No curated playlists. Just silence interrupted by spoon clinks and the occasional cough from the kitchen.
    The heat came from a rusting wall unit that wheezed like it was tired of trying.
    Toast always arrived just slightly burnt, butter folding into the charcoal edges like it was trying to fix something too late.

    She’d been working there since ’72. Same apron. Same hair bun held by a pencil.
    I never asked her name. She never asked mine.
    But on my sixth morning, unshaved and unread, she said:

    “A good life? Something warm in your hands. Someone who knows when you’re quiet.”
    Then she turned and disappeared into the back like it was nothing.

    But it wasn’t nothing. It was everything.


    We’re taught to chase the full cart.
    Full schedule. Full inbox. Full fridge. Full body.
    But I’ve seen people with six-figure watches tapping the table, restless, empty.
    And people eating cold rice in a corner who still smile like the world hasn’t let them down.

    So what makes a life good?

    Maybe:

    • A chair that fits your back.
    • A book you’ve reread but keep returning to.
    • A kitchen that smells like garlic at 6 p.m.
    • A voice that says “Come home” without needing to raise its volume.

    Maybe it’s a dog that waits for you at the door.
    Or a playlist made just for you.
    Or a friend who texts “Just checking in” when you’ve been off the radar too long.


    We want it to be profound.
    But life doesn’t ask for big answers. Just honest ones.

    You don’t need a mountain.
    You need a hill you can walk every day.
    You need to sweat for something that makes you feel proud—even when no one’s clapping.
    You need to wake up knowing someone would notice if you didn’t.


    The café is gone now.
    Boarded up, windows clouded with time. No sign. No farewell.

    But I still remember how the margarine melted too fast.
    How the cup stayed warm just long enough.
    And how, for ten quiet mornings in a row,
    I wasn’t lonely.
    I wasn’t striving.
    I was alive in the most ordinary way.

    Maybe that’s what a good life is.
    Not constant joy.
    Not constant progress.

    Just presence.
    Just softness where the world expects hardness.
    Just enough.

  • The Buzz That Breaks the Thread


    Some mornings begin with silence.
    Others begin with noise you can’t hear—
    A hum behind the eyes, a tremble in the fingertips, a feeling like your thoughts are being chased by invisible dogs.

    That’s caffeine.

    Not the romantic kind. Not the kind Hemingway sipped in a Paris café while thinking about lost wars and simpler sins.
    No, this is the sharp-edged kind.
    The kind that disguises itself as ambition.
    That tells you:
    Go faster. Work harder. More. Now.


    I used to think coffee made me sharper.
    More precise. Like I could cut through the fog of the day with a well-caffeinated blade.

    But lately, it just makes everything… too loud.
    I answer one email and forget the point of the next.
    I write a sentence and rewrite it five times.
    I start a task, and thirty seconds later I’m checking the weather in a country I’ve never been to.


    I remember once, in 2017, I was living in a small apartment near Shinozaki station. The walls were the color of old paper. The window looked out onto a laundromat and a crooked persimmon tree.

    I drank three cups of coffee that morning. Not out of desire, but out of ritual.
    And by 10:04 a.m., I was spiraling.

    I remember trying to write a short story.
    It started with a man sitting on a bench.
    By paragraph two, he was already divorced.
    By paragraph five, he’d joined a cult in Hokkaido.

    I don’t know if the story was good. I never finished it.
    Instead, I vacuumed the floor three times, alphabetized my tea collection, and googled “how to know if you’re too awake.”

    At 2 p.m., I found myself in a FamilyMart buying melon bread and staring at the instant noodles like they might whisper the answer back.

    I wasn’t tired. I wasn’t lazy.
    I was just vibrating at a frequency that didn’t match the world.


    That’s the thing about caffeine.
    It doesn’t always speed you up.
    Sometimes, it just pulls you apart.

    Like your soul is racing ahead of your body,
    And your brain is somewhere on the highway shoulders,
    Trying to hitch a ride back home.


    So today, I skipped the third cup.
    I made hojicha instead. Watched the steam curl like a ghost in reverse.
    And let the silence spread out across the room like a soft rug.

    I wrote slower. But better.
    I stared out the window for five full minutes.
    I remembered something someone told me once in Kyoto—
    That focus isn’t about attention.
    It’s about returning.

    Returning to the moment.
    To the sentence.
    To yourself.


    If you’re reading this with three half-drunk coffees on your desk and thirteen tabs open:
    Breathe.
    Not everything urgent is important.
    And not everything important moves quickly.

    You don’t have to match the speed of the noise.
    Let it pass.

    Write your story at the pace it asks for.
    Even if it begins with a man on a bench,
    And never ends at all.

  • The Person You Always Come Back To

    “Who do you spend the most time with?”

    We were sitting on the roof of his building in 2013, just past midnight. It had just rained. The kind of summer storm that passes through without warning and leaves everything damp and electric.

    He was drinking canned coffee. I had a cheap beer I didn’t like but kept sipping.

    We were 24. Or maybe 25. That blurry stretch of years where you still believe that everything unresolved will somehow resolve itself.

    He lit a cigarette and asked,
    “Who do you spend the most time with?”

    I thought he meant romantically. Or maybe family. But he just kept looking at the cloudless sky like it owed him something.

    I said, “I don’t know. I guess my coworkers?”

    He nodded. “Yeah, but I meant… when you’re walking alone. When you’re lying in bed. When you’re waiting for your train. Who’s there with you?”

    I knew the answer.
    He did too.

    It was me.
    It’s always been me.


    You don’t realize it at first. How much time you spend with your own voice in your head.
    The one that second-guesses what you said at dinner.
    The one that wonders if your best years already happened.
    The one that gets quiet when things go well, then panics in the silence.

    People come and go.
    Cities change.
    Jobs end.
    But that voice? That version of you you carry around?
    That one doesn’t leave.

    And if you don’t learn to live with it—
    If you don’t learn to sit beside yourself without flinching—
    You’ll spend your whole life trying to fill that space with noise.


    That night on the rooftop, the conversation drifted. We talked about how we’d both read Norwegian Wood too young.
    About the girl he used to love who only texted him when she was sad.
    About how we both wanted to go somewhere quieter, maybe a cabin, maybe the coast.

    But what stayed with me wasn’t the cigarette smoke or the stars or the sound of the AC units humming below.

    It was the question.

    Who do you spend the most time with?


    Ten years later, I still think about it.
    When I cancel plans.
    When I walk home alone.
    When I catch my reflection in a dark window and feel like a stranger to myself.

    I don’t always like the answer.
    But I’ve stopped trying to escape it.

    I take myself for coffee.
    I sit on park benches without looking at my phone.
    I forgive myself more than I used to.

    Because if I’m going to spend a lifetime with someone,
    I might as well try to make peace with them.

    Even if they still flinch at the sound of their own thoughts sometimes.
    Even if they’re still learning how to stay.


    Lessons From the Rooftop

    • You will always spend the most time with yourself. Learn to make it bearable.
    • That voice in your head? It’s not always right, but it’s always there.
    • Don’t rush to fill silence. Let it teach you something.
    • Some people leave. Some cities forget you. But the person inside your chest doesn’t go anywhere.

    So take them with you.
    Be kind to them.
    And maybe—just maybe—start liking their company.

    Even if they still drink beer they don’t like sometimes.


    If this moved you, share it with someone else who’s spending a little too much time alone with themselves lately. And if you haven’t already, subscribe below—so we can keep having these conversations, quietly, when you need them most.

  • The Jazz Bar of Shifting Timelines

    Aki: “So you had those dreams—visions of places and moments you couldn’t quite place—before you even met her. And now, with the breakup, it feels like part of that map has disappeared.”

    Ren: “Dreams are strange—like stray cats that visit you at dawn, purring secrets you only half-understand. When the cat leaves, you wonder if its purrs were meant for someone else.”

    Aki: “But some cats linger, right? You feel certain those remaining dreams still have somewhere to go, even if the path you expected has vanished.”

    Ren: “Let me tell you about what happened to me. A few years back, I found myself dreaming of a hidden jazz bar down a narrow alley—smoky lights, cherry-blossom petals drifting in from an open window. I’d never been there, but every detail felt carved into my bones. Months later, I wandered into Tokyo at midnight, got lost, and stumbled on that exact bar. The dream was leading me. I met a woman there. Things felt fated—until they weren’t.”

    Aki: “So you understand how it feels when part of the story dissolves.”

    Ren: “Exactly. Years later, I still dream of that bar, but in my dreams it’s empty—no pianist, no petals, only the echo of a single saxophone note. It’s like the bar exists on another timeline, a place I can’t step back into.”

    Aki: “So what do you make of those lingering dreams?”

    Ren: “They’re not unfinished errands; they’re reminders that life’s dream-map is fluid. When one path ends—breakup, for instance—that jazz bar transforms. Maybe it becomes a place to write your own melody instead of reliving the old one. The lesson is this: your dreams are invitations, not blueprints. Even if the path you saw has vanished, you can honor the feeling behind it by creating something new—another melody in that same, empty bar.”

    Aki: “So those dreams can still guide you, but not to her. To whoever or whatever you become next.”

    Ren: “Precisely. Sometimes the most meaningful journeys begin when the old map burns.”

  • A Name of a Thousand Faces


    no name stays untouched—
    weathered by mouths and meanings,
    still it holds its shape

    There’s a question that floats around sometimes.
    In conversations that veer a little too close to icebreakers,
    or in forms that assume you want reinvention.

    “If you had to change your name, what would it be?”

    And I always pause.
    Not because I haven’t thought about it—
    but because I have.

    I’ve imagined names softer at the edges,
    names that might fit easier into foreign mouths,
    names that don’t have to be repeated twice,
    then spelled out loud like a puzzle.

    I’ve imagined names that sound like they belong to someone more decisive.
    More elegant.
    Less of a question mark.

    But then I return to mine.
    Always.

    Because my name isn’t just syllables.
    It’s dirt and dialect.
    It’s snow in the gutters outside my childhood home in Slovenia.
    It’s the rust of bikes leaned against concrete stairwells.
    It’s the sound my grandmother made when calling us in for soup.

    It has softened and sharpened through three alphabets.
    Been mispronounced in Japan,
    mangled at airports,
    clipped short by bank clerks.

    But it’s held.

    And in some strange way—
    all those missteps became part of it.
    A name worn smooth by other people’s hands.
    A stone passed around long enough to shine.

    Not One, But Many

    I’ve used different names in cafés,
    when I didn’t want to explain again.
    Nicknames that slid off like jackets.
    Online handles that let me disappear.

    But underneath,
    there was always the original.

    Not perfect.
    Not poetic.
    But real.
    Tested by years,
    by friendships that didn’t last,
    and ones that did.

    Wabi-Sabi in the Identity That Stays

    A name doesn’t need to be elegant.
    It needs to fit—not in the world,
    but in your own bones.

    It needs to echo.

    And mine does.

    So if someone asks me now what I’d rename myself,
    I smile and think: I already have a name with a thousand faces.

    It’s been spoken in at least four countries,
    written in journals I’ve never shared,
    and whispered in love once or twice.

    Why would I trade that for anything smoother?

    I’ve worked too long to grow into it.
    Let it carry the weight of who I was.
    Let it stretch to hold who I’m becoming.

    A name like that doesn’t need changing.
    It needs to be lived into.

    Again and again.

  • Whisper of Imperfection

    :
    A fragment of fleeting solace drifts between tongue and chest, teaching us to embrace the cracks that shape our moments. In the hush between heartbeats, imperfection becomes a quiet sanctuary—a reminder of the beauty found in what is incomplete.


    I hold a slender shard of dusk in my palm. It feels cool—almost damp—like a stone smoothed by forgotten streams. Its surface bears tiny fissures, delicate as spiderlegs. I press it to my lips. A soft resistance yields, releasing a faint, earthy sweetness that lingers in the air like smoke at dawn.

    I close my eyes. In that darkness, the world shifts. The grit of memories—rain on bamboo leaves, a chipped teacup’s hesitant drip—melds into a single, continuous sensation. Each nuance unfolds like the slow bloom of a lotus: slow, deliberate, patient.

    Breathe in. Exhale. I taste rain-drenched soil, the first page of a book left open under a drizzle. My mind wanders to an old wooden chair, its varnish worn away by years of shifting weight. It creaks with every movement—a small concession to time’s erosion. Yet it stands.

    A simple ritual unfolds. I press the shard against my tongue. At first, bitterness scratches like wind through bare branches. Then gentle warmth follows, softening edges I never noticed. Familiar warmth, as if someone has lit a small candle somewhere deep inside me. For a moment, I am fully present—an observer in my own life.

    A chipped teacup sits nearby. Its glaze chipped at the rim reveals clay beneath, raw and unguarded. It holds water that trembles with each breath. I imagine tracing those cracks with my fingertip, mapping the journey of every imperfection. There’s poetry in that form of wabi-sabi: finding grace not in flawless surfaces, but in the scars that tell our stories.

    Light shifts through the window. Shadows stretch like slow dancers across the tatami floor. I lift the shard again, staring at its uneven silhouette. There is no rush. No need for grand gestures. Just this small, imperfect fragment—its edges worn, its texture uneven—offering comfort in impermanence.

    How often do we chase perfection? We polish until there’s nothing left but cold hardness. But here, in this moment, the brittle surface yields to a tender surrender. I taste memory: a childhood afternoon chasing cicadas beneath maple trees, the metallic tang of excitement on my tongue. I taste solitude—warm, but not lonely—like sitting quietly in a garden of stones.

    Imperfection reminds me to notice what is. To feel the rough grain under my fingertips. To hear the silence between each breath. The shard dissolves, leaving behind nothing but a faint echo in my mouth. I bow my head, offering silent gratitude for that echo.

    Outside, neon lights cast fractured reflections on wet pavement. Passing cars hum through puddles. In the distance, an old man feeds stray cats beneath a flickering lantern. Each moment is fractured, imperfect—yet alive with restless beauty.

    When I rise, I carry that whisper of imperfection with me. It settles in my chest like a hidden melody, a subtle rhythm that guides each step. I walk into the night, footprints soft against the asphalt. The world around me continues—shopfronts closing, crickets beginning their evening song. And I am here, flawed and breathing, alive in the gentle decay of what was and what will be.

  • The Books That Always Return

    I don’t remember when I first read it exactly—maybe I was eight, maybe nine.
    But I remember the cover: thick font, bright blue, a sketch of Saturn’s rings drifting behind a white rocket. It was a children’s encyclopedia of science.
    Not fantasy. Not fiction.
    Just friction. Pressure. Electricity. Stars.

    I read it in the hallway, sitting cross-legged beside the heating pipe in our tiny socialist flat in Slovenia. I liked how the hot air from the pipe curled into my sleeves as I flipped pages about magnetic fields and volcanoes. There was something comforting about reading facts. How certain they were.
    No plot. No drama. Just: “this is how it works.”

    At school, other kids were reading adventure stories or comics with talking animals and sword fights. I had a book that showed me why the sky is blue and how levers amplify force.
    And somehow, it felt just as magical.


    Years later, in Ljubljana, I carried that same sense of wonder in a different form.
    The facts had changed, grown more complex—quantum tunneling, neuroplasticity, entropy—but the feeling was the same.
    I still liked reading about how the world fit together.
    Especially when mine didn’t.

    Then came university.
    And with it, Darwin.

    I’d heard of evolution before, of course—basic schoolbook gloss—but it was there, in the quiet university library, with cheap instant coffee and that dry winter air soaked into every page of my notes, that I finally understood it.

    Not as theory.
    But as rhythm.
    As the slow, almost imperceptible waltz of trial and error across millennia.

    It hit me that this wasn’t just about animals and fossils.
    It was about everything.

    About survival and change. About letting go of what doesn’t serve you.
    About the brutal, beautiful way that life reshapes itself again and again,
    quietly, stubbornly, without asking permission.

    And I remember staring out of the dusty window after reading that passage,
    watching a crow hop between patches of melting snow.
    It felt like something in me shifted.
    Like I had been trying to force too many things to stay the same.


    In Regensburg, it rained so much that year.
    I’d sit by the window with tea gone cold, rereading a book on first principles thinking.
    Stripping away complexity. Starting from zero.
    Those were the books that helped me move forward—not by giving answers,
    but by showing me how to ask better questions.

    Then came London.
    Birmingham, really.
    The books I loved then were still non-fiction. Still science. But the titles changed:

    • Thinking in Systems by Donella Meadows
    • The Selfish Gene by Richard Dawkins
    • The Body Keeps the Score by Bessel van der Kolk

    I didn’t finish all of them. Some were too heavy, too clinical.
    But even when I read just a chapter, I’d find myself slowing down—
    pausing at sentences that felt like someone had finally described something I’d never had words for.
    How the brain protects us. How patterns loop. How everything, eventually, seeks balance.


    It’s strange—when life falls apart, I don’t reach for comfort fiction.
    I reach for diagrams.
    For drawings of gears and tides and synapses.

    Maybe it’s because when I feel lost, I need something grounded.
    Something that doesn’t care how I feel.
    Something that reminds me:
    “This is how the world works. And you are part of it.”


    Wabi-sabi in the Equation

    I’ve come to believe there’s a kind of beauty in this, too.
    In knowing the rules,
    in relearning them when they change,
    in letting science be your candle through fog.

    There is no perfect book.
    But there are books that return to you—
    whispering familiar truths when you’ve forgotten your own.

    And sometimes the best story isn’t one someone else imagined.
    It’s the one that explains why your tea cools,
    why your heart races,
    why the sun still rises—
    even when you didn’t ask it to.

    Because maybe the most magical thing about the world
    is that it continues
    whether we understand it or not.

    But when we do—
    even just a little—
    we get to feel less alone.

  • The Cities Between Pages

    three cities, three spines—quiet lights beneath the skin,guiding me through dusk

    In Ljubljana, I first learned how quiet can hurt.
    A city just big enough to disappear in,
    just small enough to feel watched.
    It was the winter of my seventeenth year.
    Snow fell too softly to cover anything real.

    That’s when I read “Norwegian Wood.”
    A book that didn’t offer answers,
    but made me feel okay about not asking the right questions.
    I remember finishing it in my cramped room in Šiška,
    wrapped in two blankets,
    sirens sliding by on the icy street below.
    It made loneliness sound like jazz—
    melancholic, yes,
    but honest.

    I needed that honesty.
    The world had started lying to me:
    “Just be normal.”
    “Just want what everyone wants.”
    But the pages whispered,
    “It’s okay to be silent inside.”
    And I believed them.

    A year later, in Regensburg,
    the sun wouldn’t leave me alone.
    It was too bright, too warm,
    too full of things I didn’t yet believe I deserved.

    I spent afternoons by the river,
    feet in the water, head in “Letters to a Young Poet.”
    Rilke taught me that solitude wasn’t punishment.
    It was preparation.
    To become.
    To create.
    To wait for love that doesn’t ask you to shrink.

    He wrote:
    “Live the questions now.”
    And I did.
    With sticky fingers from too many Bavarian pretzels,
    and a cheap notebook filled with half-truths I was still trying to grow into.

    By the time I got to London,
    everything was loud again.
    My flat in Birmingham was damp and too expensive.
    Toast bred ants overnight.
    My laptop was stolen.
    I remember standing in Euston Station
    with one bag, no plan, and the quiet dread of being behind in life.

    That’s when I read “Meditations” by Marcus Aurelius.
    Yes, the Roman emperor.
    Strange companion in a cold British winter.

    But he didn’t tell me what to do.
    He reminded me:
    You can suffer with grace.
    You can observe your chaos, name it, and not become it.
    You can wake up in a moldy student dorm
    and still choose your next thought.

    It wasn’t stoicism as an armor.
    It was stoicism as a soft, quiet lantern.

    Three Books That Changed Me:

    1. “Norwegian Wood” – Haruki Murakami
      For teaching me that it’s okay to feel too much.
    2. “Letters to a Young Poet” – Rainer Maria Rilke
      For giving me permission to not know who I was yet.
    3. “Meditations” – Marcus Aurelius
      For helping me sit still inside the storm.

    Books don’t fix you.
    They echo back the shape of your questions.
    They become cities you walk in when your own feels too sharp.
    They give you language for your silence.

    And sometimes—if you’re lucky—
    they find you in just the right year,
    on just the right bench,
    under a sky that doesn’t need you to explain yourself.

    So if you’re lost,
    find the book that feels like a whisper.
    Let it sit with you.
    Let it mirror the part you’ve been trying to forget.

    And then—
    step forward,
    one paragraph at a time.

  • Ant Trails and Shared Threads

    ants weave silent lines
    burnt stains and toast slip away
    lives converge like steam

    I arrived at Aston University in late September, suitcase in hand and hope in my heart. The modern brick building stood against a charcoal sky, its glass corridors reflecting city lights. I’d imagined dorm life would begin with handshake greetings and echoing footsteps through tidy halls. Instead, I stepped into a cramped flat whose kitchen floor was alive with ants—tiny black specks marching in regimented rows toward unseen spoil.


    Living Among Ants and Ashes

    I’d barely unpacked when I spotted them: ant trails skirting beneath the fridge, snaking around the trash bin, disappearing under cracked linoleum. Every morning, I swept them away only to find them back by evening. The scent of burnt toast hung in the air—an invisible haze that clung to the cabinets and made my throat itch. Each week, I watched the diabetic lady next door scrub the stove’s charred residue with deliberate care. Her knuckles were ringed with scars, yet she moved in slow, patient arcs, wiping and rinsing until every blackened corner gleamed. She never complained; instead, she hummed a melody I couldn’t place—something like a lullaby for broken things.


    Three Flatmates, Three Stories

    The Iranian Biomedical Student

    In the living room, I met Navid: tall, soft-spoken, with his left arm bound in cloth. He was entering the biomedical program—dreaming of research that might one day heal injuries like his own. Six months earlier, a rocket attack in his hometown had shattered his elbow and scattered his future. He spoke in quiet bursts, his English halting but honest. When he removed the bandages, I saw deep pink scars beneath yellowing skin—proof that survival could be as jagged as artillery fragments. Yet he smiled each morning as he packed his books: Advanced Genetics, Cellular Pathology, Anatomy and Physiology. He said, “I study what nearly took me, so I can help others survive.”

    The Indian Toast Enthusiast

    On the other side of the flat lived Raj, whose presence was as warm as the buttered toast he loved. He rolled from his bed each morning to the kitchen stove, confecting slabs of white bread in thick rosettes of butter—crisply fried, then slathered in a second layer so glossy it gleamed under the fluorescent light. The aroma of melting butter became his signature; it drifted into hallways and across floors, announcing his arrival before he even spoke. He was studying Business Administration but claimed that the real education happened at 8 AM, when toast could feel like a celebration rather than a breakfast.

    Me, the Newcomer

    And then there was me—still raw from a breakup that had cleaved my heart into shards, still numb from the night my laptop was stolen at King’s Cross Station in London while I ate ramen. The files, music playlists, and half-finished stories vanished in an instant, like steam in autumn air. With no savings left, I had retraced my path to Birmingham, limping on borrowed courage and the last cash my parents had. They’d sacrificed their own needs to help me settle: rent for one month and a secondhand laptop so I could keep chasing words. Their quiet generosity felt like warm broth for a husk of a spirit.


    Morning Rituals and Hidden Lessons

    Each sunrise, I’d hear Navid weighting his backpack, followed by the scrape of Raj’s chair as he slid toward the stove. In the glow of dawn, I knelt on the kitchen floor, trying to stamp out ant trails before they reached the crumbs that Raj inevitably left. With each sweep, I realized the real battle wasn’t with bugs, but with surrender—against the inertia that threatened to swallow me whole.

    One morning, the diabetic lady appeared in the hallway. She introduced herself as Mrs. Hayashi—though no one was exactly sure of her nationality—and offered me a damp rag. “The ants come for crumbs,” she said, voice soft as falling snow. “Keep corners clean. And remember: even the hardest stain can be wiped away, but only if you don’t give up after one try.”

    Her words echoed in my mind as I scrubbed the stove with baking soda paste—white foam clinging to char, dissolving black into gray into gleaming steel. I’d arrived broken, but each plate I repaired and every counter I cleaned felt like an act of rebuilding.


    Converging Lives, Diverging Hopes

    Days blurred into weeks. I discovered Navid’s locked drawer, where he kept X-rays of his healed elbow. On slow afternoons, he described cellular regeneration as if recounting a victory. “Bodies remember violence,” he said, “but they also remember how to mend.” In return, I shared my fragments: a poem about ramen broth turning bitter, a short story about a cat that spoke only to broken souls. He listened with a careful nod, his eyes tracing the words like a researcher charting data.

    Raj, always barefoot and shirtless, draped his towel over his shoulder as he buttered another slice of toast. He offered me a piece one morning—golden, crisp, impossible to refuse. “Food feeds more than hunger,” he said, “it heals what you can’t see.” With each bite, I felt my chest loosen, a faint cinder of hope igniting.

    Mrs. Hayashi’s nightly visits grew from stove cleaning to shared tea and conversation. She told me about her own son who’d moved to Tokyo, chasing a dream of robotics. She’d stayed behind, living with diabetes, scrubbing stoves and battling ants to keep her small sanctuary intact. She said, “Life is a series of small wins. One clean plate, one hard lesson, one shared moment.”


    Wabi-Sabi in the Dorm’s Heart

    The flat was infested with contradictions: ants marching like clockwork, buttered toast like a sweet rebellion, a broken arm binding a dream, a stove scarred by past mistakes. And yet, amid that chaos, I found wabi-sabi lessons in every corner:

    Impermanence of Comfort: My laptop could vanish in one ramen-steeped moment; relationships could fracture like porcelain. Each loss reminded me that nothing stays pristine.
    Beauty in Fractures: Navid’s scar, like a golden kintsugi seam, spoke of survival. Raj’s toast, though messy with butter, was a small defiance against lack. Mrs. Hayashi’s rituals, humble and tireless, revealed tenderness in routine.
    Resilience in Community: Alone, I’d felt lost. Together, we shared our wounds—physical, emotional, financial—and became each other’s unexpected lifelines.
    Value of Small Acts: Each sweep of the broom, each slice of buttered toast, each clean plate built an unstable, imperfect sanctuary where hope could take root.


    Finding Light in Shared Shadows

    By midterms, I’d transformed that kitchen into a quiet battlefield won one morning at a time. The ants retreated when we eliminated every crumb. The stove gleamed under Mrs. Hayashi’s steady hand and my grudging gratitude. Navid’s elbow steadily regained its strength; his labs had come back showing progress in bone density. Raj’s toast aroma no longer felt like a nuisance but a reminder that pleasure could exist in simple excess. And I, I began writing again—on borrowed library computers, in dusty notebooks, in margins of textbooks.

    One rain-washed evening, as the city lights blurred into puddles of color, I stood by my dorm window, watching ant trails disappear beneath tiled floors and smoke curl from distant chimneys. I cradled a cup of tea borrowed from Mrs. Hayashi and thought of my parents: their last cash, a second chance, a lifeline cast across miles.

    I realized then: my legacy at Aston, my fragile imprint on this dorm, wouldn’t be spotless streaks of perfection. It would be the warmth I shared when the kitchen was cold. The empathy I offered when Navid looked at his scar. The laughter I joined when Raj smeared butter on toast. And the acceptance I found in myself when I stopped resisting every crack in my story.


    Wabi-Sabi Lesson: Embracing Shared Imperfections

    In a dorm where ants marched like ghostly echoes and lives converged in mismatched routines, I discovered that true beauty lies in raw, unguarded moments:

    • Small Acts Forge Bonds: A slice of buttered toast, a wiped stove, a whispered poem—all can transform a cold flat into a home.
    • Fractures Illuminate Strength: A rocket-scarred arm, a stolen laptop, diabetic routines—each fracture became a testament to resilience.
    • Imperfection as Connection: In sharing our broken parts, we found common ground where hope and kindness grew.
    • Grace in the Everyday: Each ant swept away, each burnt residue cleaned, each butter-laden toast eaten—these were everyday rituals that echoed larger truths about survival and grace.

    When you find yourself standing alone in a kitchen overrun by tiny marchers, remember: the cracks you fear can guide you toward unexpected kinship. Let the raw threads of your story weave into the lives around you, and you’ll discover that satin-like sheen isn’t found in perfection, but in the gentle glow of shared humanity.

  • The Apricot Jam Ritualone toast each dawn—a small spoon of apricot sun,makes the morning sing

    There’s something quiet and defiant about choosing joy in the morning.

    Not the sweeping, cinematic kind of joy you chase with credit cards or weekends away.
    Not the kind you post about.
    But the slow kind—
    the kind that comes with the right spread of apricot jam on a single slice of warm bread.

    I’ve done this for years.
    It started without ceremony.
    A leftover jar in a sublet kitchen in Ljubljana,
    one winter morning in a room too small for anything except a bed, a kettle, and an old tin toaster that sparked when you looked at it wrong.

    I remember it clearly because I didn’t expect anything from that day.
    I had no plans. No ambition.
    Just toast. And jam.

    The Unremarkable Becomes the Sacred

    It sounds absurd to write about this.
    I know.
    But that’s the thing—
    The absurd is where joy lives.

    Every time I open a fresh jar of jam,
    there’s this moment of pause—
    the subtle pop of the seal breaking,
    the thick amber sheen at the top catching a slant of morning light.

    I don’t eat it quickly.
    I spread it with care.
    I sit down.
    No phone.
    No background noise.
    Just the slow bite of sweet and sour,
    like memory itself crystallized in fruit.

    Some mornings, I cry without knowing why.
    Not sadness exactly—
    More like something unspoken loosening inside me.

    From Small Things, A Rhythm

    What began as nothing has become everything.

    It teaches me to:

    • Slow down when everything says rush.
    • Choose sweetness even when life is salt.
    • Find rhythm in the ritual, not the result.
    • Remember that simplicity isn’t lack—it’s precision.

    I’ve done this in Japan, in Basel, in a cheap hostel in Birmingham with terrible tea and brilliant sunrises.
    Always with the same intention:
    To begin the day with one thing that reminds me I’m not just surviving it.
    I’m inhabiting it.

    The Wabi-Sabi of a Toasted Life

    Wabi-sabi says:
    Imperfect things, tended to daily, become beautiful.
    And so I tend to my mornings.
    Not with grand affirmations or productivity hacks.
    Just toast.
    And apricot jam.
    And stillness.

    Because when life gets too much—
    when news cycles spin and algorithms seduce and our dreams feel like rusted-out cars on cinderblocks—
    what brings me back isn’t more ambition.
    It’s less.

    One small joy, chosen deliberately.

    If you’re lost,
    don’t reach for the next big thing.
    Reach for your version of apricot jam.
    One tiny thing done every day
    until it anchors you back to yourself.

    That’s how joy arrives.
    On quiet feet.
    Through a cracked window.
    In a spoonful of something golden.

    Not loud.
    Not dramatic.
    Just true.

    And just enough.

  • When the Coffee Stops Tasting Like Coffee

    first sip goes silent—
    dopamine still whispering
    but nothing lands right


    It doesn’t announce itself.

    Burnout. Overstimulation. The slow fuzz of too-muchness. It doesn’t come with sirens or red flags. It creeps.

    It looks like productivity. Like research. Like staying connected. It dresses up as curiosity, ambition, even care.

    You tell yourself you’re just catching up. Just one more scroll. Just one more article. Just one more message to reply to.

    You’re good at it. Better than you realize. Gathering dopamine like berries in a forest. Every ping, every click, every tiny red bubble—a soft hit. A little reward. A hit of novelty. You become a collector of fragments.

    Then one day the coffee doesn’t taste like anything.

    Not bad. Not good. Just… flat.

    That’s when I usually know. Not from my sleep, or my thoughts, or even my body. From that cup. The ritual that usually centers me. Suddenly unmoored.


    A few years ago, I stayed in a rented room above a ceramic studio in rural Nara. The owner, a man in his seventies who had stopped glazing pottery because he said the silence became too loud, lived below.

    Every morning, he would make coffee. One single cup. Always black. Always the same chipped mug.

    One morning, I asked him how he knew when the seasons were changing. There had been no shift in weather, no announcement.

    He didn’t look up.

    “The ants walk differently,” he said. “Faster when the rain comes. Slower when it leaves.”

    He paused.

    “And the coffee loses its shape in the mouth. Like it wants to be tea.”

    It didn’t make sense at the time. It does now.

    The body knows. The ritual knows. Long before the mind catches up.


    So much of modern living is frictionless. That’s the trap. It allows you to glide right past the red lights inside you. You become so used to being slightly overstimulated that silence feels like a glitch. You start chasing stimulation not for pleasure, but for regulation. You forget what baseline feels like.

    And then the coffee goes quiet.


    Wabi-Sabi Reminders for the Unplugging Kind:

    • The signal to unplug rarely feels urgent. That’s why it matters.
    • When simple joys dull, it’s not your fault. It’s your capacity.
    • The most dangerous addiction is the one that feels productive.
    • Your clarity returns when your input slows.
    • Familiar things change shape first. Watch the coffee. Watch the ants.

    So I unplug. Slowly. Not with a grand digital detox. But by washing the dishes without music. By walking without my phone. By making one good cup of coffee and doing nothing else until it’s gone.

    Because when the taste returns— when the first sip lands again like sunlight through fog— that’s when I know I’m back.

    And until then, I rest. I rinse the sponge. I let the noise dissolve.

    Not because I’m done. But because I want to be ready when it’s time to begin again

  • The Friend Who Told Me When I Smelled Bad

    honesty like wind—
    it stings, it chills, it clears paths
    and still I thank it

    We were both nine.
    That brutal age when you’re still mostly soft but starting to grow sharp edges.
    He lived one street over, in a row of cracked socialist blocks that looked exactly like mine.
    We weren’t best friends because of some cosmic connection.
    We were best friends because we had no choice.
    The world was too small to be picky.

    His name was Andrej.
    He had short hair that always grew out unevenly and ears too big for his head.
    He was the first person who told me I smelled bad.

    “You smell like onion,” he said one day after school, without looking at me.
    Just tossed the words like he was pointing out the weather.
    Not cruel.
    Just true.

    I froze.
    Then laughed.
    Then went home and asked my mother if it was true.
    She sniffed and gave a guilty smile.

    That day, I started wearing deodorant.
    And I never forgot it.

    Brutal Honesty is a Kindness in Disguise

    We went through many versions of ourselves together—
    skateboarders, video gamers, ghost-hunters, and for a brief but serious period, ninja apprentices.
    Through all of it, he never stopped being painfully, beautifully direct.

    “Your drawing’s off. The arms are weird.”
    “She doesn’t like you, you know?”
    “Stop copying me. Just do your own thing.”

    Every time it hurt, I knew it came from a place that didn’t need to lie to be liked.
    He wasn’t trying to impress.
    He was trying to tell the truth.

    A Rare and Underrated Trait: Clarity

    In a world where most people dress up their words,
    serve compliments laced with obligation,
    or go silent when things get uncomfortable—
    a friend who tells you the truth is sacred.

    • They anchor you.
    • They hold up a mirror, even when it’s cracked.
    • They love you without needing you to perform.
    • They risk your discomfort to protect your growth.

    These are not small things.

    These are the foundations of real friendship.

    We lost touch for a while—university, different countries, the slow drift that happens when nobody says anything for too long.
    But once, when I was already living abroad, he messaged me.
    Just five words:

    “Still wearing onion deodorant?”

    I laughed for five minutes straight.
    Because nobody else could say that.
    Nobody else would.

    Wabi-Sabi and the Gift of Unpolished Friendship

    Wabi-sabi teaches us that real beauty is not flawless.
    It is cracked, raw, honest.
    It does not flatter.
    It reflects.

    And the same is true for friendship.

    Give me the friend who tells me I’m wrong.
    The friend who says “You’re better than this.”
    The one who doesn’t care how it lands—only that it’s real.

    Because that kind of love, even if it bruises,
    always heals stronger.

    So if you’re lucky enough to have someone like that—
    the one who says what they see,
    who speaks even when silence is safer—
    hold on.

    That’s not rudeness.
    That’s devotion.
    That’s the onion-scented kind of loyalty that sticks to you
    and makes you better,
    year after year.

    And if you ever find yourself being that kind of friend,
    don’t hold back.
    Say it.
    Kindly, clearly, cleanly.

    Because someone’s waiting to hear it.
    And one day, they’ll write about you too.

  • The Man Who Ordered Whipped Cream

    steam drifts in still air—
    a silence sweetened slowly
    by cream and small truths

    It was the kind of coffee shop that didn’t need to try.
    Nothing was overly curated. The chairs didn’t match. The menu was printed on paper slightly warped from steam and time. The walls smelled faintly of old wood and burnt toast. But people came. They always came.

    I was just starting there. An apprentice, though nobody used that word. My job was simple: mop the floors, wash the cups, wipe the windows in slow circular motions until I could see myself less clearly in them.

    The owner, a woman in her late fifties, had run the place for nearly thirty years. She didn’t speak much, but she saw everything. The smudges I missed. The way I tapped the filter too quickly when making pour-over. The exact moment I stopped paying attention. She let me fail without interruption. That, I would learn, was her teaching style.

    One rainy Wednesday, an older man came in. He wore a jacket two sizes too big and walked with a limp that didn’t seem to bother him. He sat in the far corner, near the coat stand, and waited. When I came to take his order, he didn’t even look up.

    “Coffee,” he said, “drip. With whipped cream. Lots.”

    I blinked. “Whipped cream?”

    He finally looked up. His face was a patchwork of deep lines, the kind you get from laughing and surviving. “Yes,” he said, “like in the old days. You know the kind?”

    I didn’t. But I said yes anyway.

    The Hesitation of the Young

    In the kitchen, I paused. I’d never made that combination before. There was no button for it. No picture of it on the wall. No memory of someone else doing it to follow. I checked the notes. Nothing. Just black coffee, and a can of cream I’d assumed was for desserts we didn’t serve.

    I made the coffee. Poured it slow. Perfect bloom. Solid extraction. Then I froze. The can in my hand felt like a weapon.

    “You’ll ruin it,” I whispered.

    “Then serve it ruined,” the owner said behind me. I hadn’t heard her approach. She didn’t look at me when she said it.

    “Better ruined and done than perfect and never.”

    The Cream on Top

    So I did it. I added the cream. A soft spiral, a little clumsy. A dollop too much.

    When I brought it out, the old man smiled like I’d just played him a song he hadn’t heard in decades.

    “Ah,” he said, “like when I was young. You know, back then, we didn’t need latte art. Just warmth. And cream.”
    He stirred once. Then drank, eyes closed.

    He didn’t say it was good. He didn’t need to.

    Wabi-Sabi Behind the Counter

    Learning isn’t just watching.
    It’s trying. Failing. Serving a thing that might not be right but is, at least, yours.
    And seeing how it lands.

    The lesson that day wasn’t about cream. Or coffee.
    It was:

    • You don’t learn to make a thing until you give it away.
    • You don’t know what you understand until it leaves your hands.
    • Mistakes become your teachers the moment they touch the world.
    • The confidence you seek won’t come from knowing, but from doing.

    I saw the old man again the next week. He ordered the same thing.

    I made it faster this time. Less fear. More care.

    He sipped and gave a tiny nod, as if to say: you’re starting to get it.

    And I was.
    Not the coffee.
    The rhythm.
    The willingness.
    The release.

    Because that’s what output is.
    A letting go.
    A permission to be real.
    And the beginning of becoming more.

  • The Many Jobs We Do, and the Ones We Never List

    There was a time in my early twenties when I counted jobs like coins.

    Not for their value, but for their noise. Each one made a different sound when it hit the table. Some dull, some sharp, a few so quiet I wondered if I’d made them up.

    At last count, I’ve held twelve part time jobs.

    Barista, temp librarian, pharmacy assistant, bartender, dishwasher, private tutor, hostel cleaner, translator, bike courier, data entry clerk, warehouse picker, and—for three unforgettable weeks—a man who handed out free energy drinks in a bear costume on a city square.

    Each role shaped me, even when it scraped.

    But I rarely mention the invisible jobs. The ones nobody pays you for, yet still require all of you.


    When Work Isn’t a Title

    Like the job of learning to sit still in an unfamiliar room.

    Or the one where you try to carry your heartbreak quietly so it doesn’t leak into your emails.

    Or the invisible shift where you hold space for a friend, even when your own heart is a threadbare futon on a cold apartment floor.

    We don’t add those to our CVs.

    No one asks how good you are at grieving gracefully between two meetings.
    Or how you’ve mastered the art of pretending to be fine at birthdays.
    Or how well you fold your loneliness into your coat pocket during the morning commute.

    But those are jobs, too.


    The Summer of Dead Ends

    The worst job I ever had was in the warehouse district of Basel.

    It was 2014. A brutally hot summer. One of those dry ones that makes concrete shimmer and bread go stale by noon.

    The job was simple: pack pharmaceuticals into cold boxes, tape them, and label. But the room had no windows. Just industrial fans and fluorescent lighting that never blinked.

    We worked in silence, mostly. Everyone wore hairnets and gloves. It felt like an assembly line of ghosts—moving, sweating, existing without consequence.

    There was a woman who worked next to me, maybe fifty, with a face like a shuttered bookstore and the kind of hands that told stories about raising too many kids on too little sleep. She barely spoke. Except once.

    She caught me staring at the clock too long.

    “You waiting for your life to start?” she asked, still folding a box. “Maybe you’re in it already.”

    I nodded. Or maybe I didn’t. I just remember the way the cardboard felt in my hands—thin, disposable, somehow too real.


    Lessons You Don’t Get Paid To Learn

    Some jobs teach you how to count.
    Others teach you what not to count.

    In one of those many jobs, I learned how to mop a floor so well it shone like memory.
    In another, how to fake a smile in five different languages.

    But in all of them, I learned to watch.
    To observe the rhythm of people who had stopped asking what came next.

    There was always someone who moved differently—like a man who sliced onions in silence as if praying to them. Or a woman who folded towels like each one was a piece of cloth from her childhood.

    You start to notice that mastery isn’t always loud.

    Sometimes it’s the quiet elegance of someone doing one thing very well, without needing to tell anyone.


    The Sword You Cannot See

    There’s a teaching I carry—sharpened over time—that says:

    “Your enemy is not always outside you. Often, it’s your need to prove you exist.”

    That hit hard at 3 a.m. shifts, when no one was watching.
    That hit harder in good jobs that drained my soul and bad ones that forced me to feel alive again.

    There is no perfect job.

    There is only how you show up for the role you’ve been given.

    Whether it’s sweeping floors or signing contracts, what matters is the form you bring into the form-less.
    To approach the small with stillness.
    To slice through ego like a blade through silence.

    Not because someone’s watching.
    But because you are.


    Wabi-Sabi Reflections from a Broken Clock In a Break Room

    • The most sacred work is often invisible.
    • A job is not what you do. It’s how you do it.
    • Mastery doesn’t announce itself. It just repeats, until the repetition becomes art.
    • You’ll never find the perfect job—but you can become the person who makes any job meaningful.
    • Let the cracks in your path show you where the light is coming from.

    So no—I’m not good at climbing ladders.

    But I’m good at waiting.

    At listening for what doesn’t want to be said.
    At cleaning bathrooms without resentment.
    At making coffee for someone I’ll never see again and still hoping they had a better day because of it.

    And sometimes I still think about that summer job.

    How the light buzzed.
    How the boxes stacked like silent regrets.
    And how, one day, I stepped out into the sun, no different on the outside, but knowing, deep in my spine, that every job I had—paid or not—was slowly sharpening me for the ones that would never end.

    The job of becoming.
    The job of being.
    The job of letting go.

    And I’m still at it.

  • The Things You Bow To

    It began with an umbrella that wouldn’t close.

    A cheap, black one I’d bought at Ichinoseki Station because the snow had turned to rain, and my coat—already too thin for February—was losing the battle. When I arrived at the entrance of the forest path to Haguro Shrine and tried to fold the umbrella—nothing. The spokes were caught in some invisible resistance. I shook it. Spoke to it. Nothing.

    A man walking past, in a navy work jacket and mismatched gloves, glanced at me, then at the umbrella, then back at me.

    Mujō desu ne,” he said with a dry smile. Impermanence.

    Then he kept walking.

    I eventually forced the umbrella shut and left it under a pine tree like an offering. That was when I noticed the sound.

    Not wind. Not birdsong.

    A hum. Low and electrical, like an old vending machine just out of sight.

    It was my last evening in Tōhoku.

    I hadn’t meant to visit the shrine at all.

    The plan had been to catch the train back to Tokyo that night. Bags packed, room cleaned, goodbyes quietly muttered. But at check-out, the hostel owner—an older woman with a black apron and the voice of someone who used to sing—told me about a place locals rarely spoke of unless asked.

    “Most people only go when they’re lost,” she said.

    “Lost how?” I asked.

    She only smiled and handed me a hand-drawn map. “You’ll know.”

    And so, with no luggage and the faintest sense of deadline, I walked through slush and back roads to the trailhead.

    It was nearly dusk. Not golden-hour-beautiful, but blue-hour-honest. The trees—sugi, tall and stoic—stood like monks who had long since stopped speaking. My breath made fog in the air. There were no other hikers, no tourists, just the occasional rustle of some small animal staying out of sight. It felt like a place I wasn’t meant to be. Or maybe a place meant only for people like me.

    At the top, the shrine waited. Not grand, not imposing—just quiet. A structure older than anything I’d touched in years. I stood at the base of the steps for a long time, staring up.

    That’s when I heard the voice.

    “You don’t look like the praying type,” it said.

    I turned. No one.

    “You look like the waiting type.”

    There, just beyond the temizuya water basin, was a vending machine. Coke, Pocari Sweat, green tea. And leaning against it: a boy, maybe twelve years old, barefoot, holding a rice ball.

    “Did you say something?” I asked.

    He nodded toward the shrine. “It doesn’t care if you believe. Just cares if you bow.”

    “Do you live here?” I asked.

    He shrugged. “Sometimes.”

    “And you hang around vending machines?”

    “Only the working ones.” He bit into his onigiri.

    The moment passed. I bowed. Not for anyone. Not for anything. Just because it felt right. The snow had started again, lightly, as if it were unsure. I could smell cedar and rusted coins.

    When I turned around, the boy was gone. The vending machine, too.

    Just a water basin. And steam from my breath.

    Back in town that night, I ducked into a kissaten. It had the kind of yellowed menu with handwritten prices that hadn’t changed in years. The old man running it poured my coffee without asking what I wanted. No cream. No sugar. Just the cup and his silence.

    I thought about the shrine. The boy. The voice. Maybe he was a spirit. Maybe just someone who’d wandered too long.

    Or maybe he was just me, ten years ago. Saying things I wish I’d heard sooner.

    A Quiet Religion

    I never prayed growing up.
    But I’ve always noticed things.

    The way light pools on cracked tile.
    The softness of tatami in an empty room.
    The hush in a forest too old to name.

    That’s my faith, I guess.

    Not godly. But real.
    A belief in small reverent acts.
    The bow of a head,
    the hush of trees,
    a barefoot boy reminding you that life doesn’t need to be believed in to still be sacred.

    Wabi-Sabi, and the Things You Can’t Force Closed

    • Sometimes, broken things don’t need fixing. They need noticing.
    • Not every strange moment needs explanation. Some just need to be lived.
    • Reverence isn’t about rules—it’s about rhythm.
    • You don’t need to know why you bow. Only that you chose to.

    When I returned to the station the next morning, my umbrella was still where I’d left it. It folded easily, without a sound.

    The vending machine was back, humming faintly.
    But the boy was gone.
    Or maybe he never left.

  • A Brief Pause Between Pages

    Sometimes, it feels right to look up from the path,
    brush the dust from your sleeves,
    and say thank you.

    Not in capital letters.
    Not with banners or blinking lights.
    But like you would to a friend who walks beside you —
    not speaking all the time,
    but still there.

    If you’ve been reading this blog —
    whether for one post or many —
    I just want to say:
    thank you.

    For making time.
    For letting silence do some of the talking.
    For sitting with the fragments, the slow thoughts, the half-shaped stories that aren’t always trying to teach, but still want to leave something behind.

    This isn’t a platform.
    Or a brand.
    Or a chase.
    It’s just a trail of pages.
    Some longer.
    Some cracked around the edges.
    But all honest.

    And if you’ve found something in them —
    a sentence that lingered,
    a story that reminded you of someone,
    or even just a kind of quiet you don’t often find —
    I’d love for you to stay a little longer.

    There’s more coming.
    Not faster.
    Not louder.
    But deeper, I hope.

    If you haven’t yet, you can subscribe below —
    not for spam, or noise,
    but for reminders that something slower is still possible.
    And sometimes, worth returning to.

    Thanks again.
    For the eyes.
    For the time.
    For walking with me,
    even just a few steps.

    See you soon.

  • The Snow That Didn’t Need Explaining

    I must have been five.
    Maybe a little older, but not much.
    The memory has no date, only weather.

    It was winter.
    Thick winter.
    The kind of snow that doesn’t fall — it settles.
    Quietly.
    Like it’s remembering something.

    We lived then in a small town you wouldn’t find unless you were looking for it, tucked between hills that didn’t quite qualify as mountains and fields that faded into forests. A town with one shop, two buses a day, and houses that all looked like they’d been poured from the same grey mold.

    Our apartment was in one of those low, blocky buildings built in the old socialist style — square, sturdy, and uninterested in aesthetics. The walls were thin, the radiators loud, and the floors made that particular hollow sound only worn parquet knows how to make.

    But it was warm.
    And quiet.
    And ours.

    I remember sitting on the windowsill with my legs pulled up under me, resting my chin on the cold glass. Outside, everything was white. The trees, the ground, even the clothesline across the yard. It was the kind of snow that made the world feel like it had been erased and drawn again — slower this time.

    No internet.
    No screens.
    Not even a TV in our flat that day — it was broken, or someone else was using it.
    Just the snow.
    And me.
    And the silence.


    My mother was folding laundry nearby. My father was out, probably clearing snow off the old Yugo parked downstairs. I didn’t speak. I didn’t want to break the spell. I just watched.

    A cat passed below, black against the white.
    A man carried firewood to a shed.
    Two children across the road rolled snowballs that would never become a snowman.

    Time moved differently then.
    Not slower — just wider.
    Each moment had more space in it.

    I didn’t know it then, but I was learning something important.

    That you can sit without needing to do anything.
    That you can observe without reacting.
    That you can feel full — deeply, warmly full — without having anything new or exciting happening.

    I didn’t need to share the moment.
    Didn’t need to capture it, or explain it, or understand it.
    It just was.

    And that was enough.


    Years later, when the internet arrived, it felt like magic.
    It made the world bigger, faster, louder.
    And it gave me things I love — voices, music, friendships stretched across oceans.
    But sometimes I forget the earlier magic.

    The kind you find in a small apartment, in a town no one talks about,
    with snow outside and nothing else going on.


    The Stillness Beneath the Signal

    When people talk about life before the internet, they speak of boredom.
    Of waiting.
    Of not knowing.

    But that’s not what I remember.
    I remember attention.
    I remember noticing things.
    The way snow curved around the edge of the bench.
    The way silence felt heavy, but not sad.
    The way a moment could stretch out so long it felt like you were inside it.

    That’s the life before the internet.
    And it still exists.
    Even now.

    It exists when you let a moment be enough.
    When you watch something without needing to document it.
    When you choose not to reach.
    When you move only when it’s time to move.

    It’s the difference between reacting and responding.
    Between flinching and seeing clearly.
    Between motion and meaning.


    That day on the windowsill, I didn’t learn a fact.
    I learned a posture.
    An orientation toward the world.
    One that says:
    Sit.
    See.
    Wait.
    And know — not everything needs your hand.

  • The Stillness We Carry

    Basel, August 2014. The air was thick with summer, the kind that hums in your ear and hangs in the corners of stairwells. We sat on the worn stone steps by the Rhine near Mittlere Brücke, paper cups in our hands, condensation slipping down the sides like the heat itself was trying to escape.

    The sun was just starting to fall behind the roofs. Across the river, the windows of old buildings caught the light in a way that made everything look slightly unreal, like we were sitting in a painting someone had never quite finished. The smell of grilled onions drifted faintly from a street cart nearby. Somewhere, a kid played saxophone—not well, but loud enough to feel brave.

    “You’ve changed,” she said.

    It wasn’t an accusation, more like a soft fact she was holding up to the light, turning it in her hands.

    I looked at her. Still the same careful eyes. Still the voice that could say more in silence than most people managed in paragraphs.

    “Maybe,” I said, after a long breath. “It’s hard to tell when you’re the one inside it.”

    She smiled at that, not because it was profound but because it was true.

    There was a pause, the kind that only exists between people who have already survived awkwardness together.

    “So,” she said, stretching her legs out in front of her, “what are you good at now?”

    I took a sip of coffee. Lukewarm. Bitter. Exactly what I needed.

    “For a while, I thought I had to be good at something impressive,” I said.
    “You know—like building apps, or speaking five languages, or pretending I knew how wine worked.”

    She laughed. “And now?”

    “Now, I think I’m good at… waiting.”

    Her eyebrows went up a little.
    “Waiting?”

    “Yeah. I mean it. I’m good at being still. At not forcing things. At learning slowly. I can sit in silence for hours without reaching for my phone. I can spend a day walking with no destination and feel like it meant something. I can be content with almost nothing, and not feel like I’m missing out.”

    She didn’t say anything right away. Just held the cup close to her face, as if trying to drink the steam.

    “You know,” she said after a while, “I remember when you first arrived here. Summer of 2014. You looked—how do I put this—like someone who’d just lost a fight he didn’t know he was in.”

    I laughed. “That’s accurate.”

    “You had that one bag, a sunburn, and no idea where your flat was.”

    “Fifth floor in Gundeldingen. I remember climbing the stairs and wondering if I’d made a mistake.”

    “And?”

    “I had. But it turned out to be the right kind.”

    I told her about that room again—how the window barely opened, how the air hung like warm soup. The bakery across the street that smelled like yeast and sugar. The electric fan that spun slowly and sighed like it was tired of being alive. No AC, of course. But at night, the streets were quiet. And if I left the window cracked, I could hear people talking from balconies—laughter, long pauses, the sound of plates being cleared.

    I didn’t have much. A few books. A used kettle. A journal I kept meaning to write in but never quite did.

    “But I sat still,” I said.
    “I watched light move across the walls. I listened to the city like it was trying to tell me something. I made pasta and overcooked it and didn’t mind. I learned not to flinch when nothing was happening.”

    “And it helped?”

    “More than anything else.”

    She turned and looked at me.
    “That’s rare, you know. Most people panic in that space.”

    “I used to. But at some point, I realized stillness wasn’t absence. It was attention. I just hadn’t learned how to notice it yet.”

    She tapped her finger on her cup. “You sound like someone who’s been meditating in the mountains.”

    “Just sweating in a hot room above a bakery.”

    She laughed again.

    The river moved quietly behind us, wide and forgiving. A family passed, pushing a stroller. The baby pointed at the water. The mother smiled like she’d seen that look a hundred times and it still didn’t get old.

    “I think we underestimate how powerful it is,” I said. “To want less.”

    She looked at me. “You mean like minimalism?”

    “Not really. I mean not craving things. Not needing every day to be exciting. Not needing recognition. Not needing your apartment to look like it belongs in a magazine. Just… learning to be where you are.”

    “And be okay with that?”

    “Not just okay. Grateful. Because the moment you stop needing more, everything gets brighter. The coffee. The walk. The silence.”

    She nodded slowly. “Like a kind of wealth.”

    “Exactly. The kind you can’t see, but you can carry.”

    What You Learn from Stillness

    We sat for a while without talking. The saxophone player had stopped. The breeze had returned, soft and aimless.

    “You know,” she said, “I think people confuse stillness with laziness. Or passivity. But you’ve changed my mind a little.”

    “I think we all need to,” I said. “Because the truth is, being still is one of the hardest things you can do. Waiting without resentment. Learning without proving. Being content without being numb.”

    “And you’re good at that now?”

    “I’m learning. But yes. I think it’s the one thing I’m good at. Sitting with life long enough to let it show me where to go next.”

    She leaned her head back against the stone.
    “You’d be surprised how few people can do that.”

    “Yeah,” I said, and watched a leaf land gently on the surface of the river,
    “but you’d also be surprised how much it gives you back.”

    And neither of us spoke for a while after that.

    Because some truths, when spoken aloud, don’t need echo.
    They just need time.

  • The Toast and the Ants

    I lived for a year in Birmingham, in a flat that was never really mine.
    It was in a part of town no one spoke of fondly — rows of red brick houses with front gardens that had given up trying. Plastic bins left out longer than necessary. Cigarette butts lodged between cracks in the concrete. Everything permanent, but tired.
    I had come from a sunnier place, a calmer year — a town in Bavaria where the streets gleamed in late evening light and the bus drivers said “Servus” like you belonged there.
    Regensburg.
    There, time moved gently.
    In Birmingham, time groaned.

    The flat was technically “student accommodation,” which was another way of saying overpriced, under-loved, and under-heated.
    I shared it with three others, none of whom I’d met before arrival.
    The rooms were arranged like someone had drawn them in a rush — one slightly too large, one a converted storage unit with no real window, mine long and narrow like a train carriage with a single radiator that hissed in protest whenever it was asked to work.
    The walls had once been white but now wore the greyish tint of too many seasons without repainting.
    And the kitchen… the kitchen belonged to the ants.

    They arrived sometime in October.
    First, in small numbers — bold scouts crossing the windowsill like they had business to attend to.
    By November, they had organized.
    You couldn’t leave toast unattended.
    Not for five minutes.
    Not for two.
    They didn’t just go for crumbs. They went for the whole slice, as if mocking the idea that this was your space and not theirs.
    We tried everything: sprays, cinnamon, vinegar, sealing things in bags, sealing those bags inside other bags.
    They came anyway.
    Persistent. Tireless.
    Like regret.

    Every morning was a decision: make toast and stand guard, or just go without.

    The flat was always cold.
    Not in the romantic, blanket-wrapped, snowy-window sort of way.
    Cold like your bones noticed.
    Like you hesitated to take a shower because it meant leaving the only warm layer you had managed to create with your body heat.
    The kind of cold where you’d boil water just to hold the mug.
    Sometimes I’d sit at the little desk pressed against the wall, wrapped in my coat, typing half-sentences into a document that wouldn’t go anywhere. The window next to me let in more wind than light. You could hear the buses on Bristol Road before you saw them, brakes squealing like a child had been let loose on a trumpet.

    Some nights, sirens echoed down the street.
    Ambulances slicing through the dark.
    I’d lie in bed and wonder who they were for.
    Sometimes I imagined them coming for a version of myself that couldn’t quite manage.
    I wasn’t sad exactly, just… fogged.
    Like the kind of rain that falls sideways — gentle, but inescapable.

    But for all that, it wasn’t a bad year.
    Not really.
    I made friends.
    The kind you don’t keep forever, but who matter in that specific chapter.
    We met in shared lectures and kitchen run-ins, in library corners where we were supposed to be writing essays but ended up whispering about everything else.
    There was a girl from Manchester who could name every tree on campus. A guy from Cairo who always made too much pasta and left half of it in the communal fridge with notes that said “help yourself.”
    We had movie nights in the common room, sitting on beanbags that felt like they’d been dragged through war.
    Someone always brought cookies. Someone always forgot the plot halfway through and asked too many questions.

    I laughed a lot that year.
    More than I expected.
    It surprised me — that laughter could survive so much mildew and mold.
    But it did.

    There’s one night I still remember with strange clarity.
    It was February.
    Cold.
    We had lost power for some reason, and the whole block was dark.
    Instead of complaining, we gathered in the hallway with flashlights and candles.
    Someone played music through a speaker charged earlier in the day.
    And we sat.
    Four people who barely knew each other, wrapped in coats and scarves, telling stories as the wax puddled and the walls breathed.
    I think I might have been happy.
    I think I didn’t realize it at the time.

    And that’s the part that stings, looking back.
    Not the ants.
    Not the damp.
    Not even the awful electric shower that never worked right.

    But that I didn’t enjoy it more.

    I spent so much time waiting for it to get better,
    telling myself it was a transitional year,
    that real life would come afterward —
    in the next flat, the next country, the next season.

    But what if that was it?
    What if that was real life?
    The toast.
    The hallway candles.
    The Monday lectures and Wednesday beers and Sunday mornings where the light hit the carpet in a way that made you want to forgive everything.

    What “Having It All” Means

    Now, when someone asks me what it means to “have it all,” I don’t think of success or money or anything shiny.
    I think of that cold kitchen.
    I think of the moment when I stopped wanting it to be different.
    Not because it was ideal —
    but because, for a brief moment, I was fully inside it.
    Not wishing it away.
    Not measuring it.
    Just… there.

    And here’s the lesson I didn’t know then:
    Not wanting something is just as good as having it.

    Maybe even better.
    Because once the wanting quiets down,
    you start to notice what’s already in your hands.

    And it’s always imperfect.
    Always incomplete.
    Always full of ants.

    But it’s yours.

    And sometimes, that’s everything.

  • To the Boy in the Cold Room in Šiška

    If I could sit across from anyone right now, it wouldn’t be a famous writer, or a friend I’ve grown apart from, or someone I miss but don’t know how to talk to anymore.
    It would be you.

    Seventeen.
    In that shared room in Šiška, Ljubljana.
    Late winter.
    Your first time living away from home in a way that felt real, not just temporary or exciting or new.
    The kind of solitude that sinks in after the initial rush fades.
    The bed by the cracked window, the sound of the main street below never quite letting you sleep fully. Trams gliding like slow insects. Ambulances cutting the night open, disappearing into silence again. The radiator clanking every few hours like it was remembering how to work but never quite succeeding.

    It was the kind of room where you kept your socks on even in bed. Where the floor was always cold, and the steam from your breath stayed longer than it should.
    The kitchen was small, shared, uninviting. You wiped the counters before you used them, then again after, not out of politeness, but because you didn’t know how else to belong. The hallway light flickered. The bathroom fan made a noise like a tired animal. But you lived there, and that meant something. It meant you were starting.

    That morning — the one I still think about more than I should — you decided to try pour-over coffee for the first time. Not because you wanted to impress anyone or because you thought you’d be good at it. You didn’t even really know what it was supposed to taste like. You just wanted to make something. Something small and deliberate that felt like it belonged to you.

    You had found the dripper in a corner of a kitchen supply store. Cheap plastic. The kind that feels like it might melt if the water’s too hot. The filters didn’t fit exactly, but you figured it didn’t matter. The beans were stale, you knew that, too — but they were the only ones you could afford. Some brand with a picture of a mountain on it, sealed but scentless.

    You boiled water in a dented pot on the shared stovetop. Watched the bubbles rise without knowing when to stop. Poured too quickly, unevenly. The coffee bloomed and collapsed all at once — no timing, no care. The smell filled the room: sharp, smoky, a little like wet paper burning. You poured the dark liquid into the chipped mug someone had left behind. You didn’t love the mug, but it had weight. It felt real.

    The first sip was terrible.
    Bitter.
    Hollow.
    Like something had been overcooked and underdone at the same time.
    But it was warm.
    And you had made it.
    So you drank the whole thing, sitting on the floor with your back against the heater, notebook in your lap, trying not to be disappointed that the moment didn’t feel more cinematic.

    And yet that cup — that terrible cup — is something I return to often.
    Because that was the first thing you made just for yourself.
    Not to prove anything. Not to show anyone.
    Just to feel alive in the morning.
    To mark the beginning of a day that otherwise might have blurred into the one before.

    You didn’t realize it then, but that was the first act of devotion.
    Not to coffee, not even to writing — but to your own presence.
    To being there, even if it didn’t feel particularly special.

    You did it again the next day.
    And again the day after that.
    You learned to pour slower.
    To listen to the sound of water on grounds.
    To be gentler with your expectations.

    Not just of coffee, but of yourself.

    I would tell you now, if I could, that this is how everything starts.
    Not with certainty.
    Not with skill.
    But with a cold room, a bad cup of coffee, and the quiet courage to keep showing up anyway.

    You will move through brighter rooms and darker ones.
    You will make coffee that tastes like ritual.
    You will write things that matter.
    You will lose people, and find them again in dreams.
    You will hurt, but not forever.
    You will change, but not all at once.
    And you will always remember that first cup.
    Because it wasn’t about taste.
    It was about attention.

    And that, more than anything,
    is what I’d want to thank you for.

  • The Weight of Seventeen Books

    If my apartment ever caught fire, I know what I’d take.
    Not my passport. Not my laptop. Not even the jacket I bought in Kyoto that still smells faintly of cedar and cigarette smoke.

    I’d take the blue cloth box.
    The one tucked quietly behind the extra blankets.
    Inside it: seventeen notebooks.
    My collection.
    Not of stamps, or records, or photographs.
    But of myself.

    I started the first one at seventeen.
    Bought it on a humid afternoon in Ljubljana, impulsively, after missing a train.
    The paper was thin, the cover was soft, and I thought I wouldn’t finish it.
    But I did.

    And then I kept going.

    It became two and a half notebooks per year.
    On average.
    Some years more, some years less.
    But that’s the rhythm.
    Two and a half chances every twelve months to write myself into existence.

    Some people post. I wrote.

    I wrote on buses and rooftops, in café corners and windowless rooms. I wrote while waiting for someone who didn’t show up, and again after they did. I wrote drunk. I wrote alone. I wrote when I didn’t have anything to say, just to remember the feeling of movement.

    One of the notebooks still smells like Regensburg.
    There was a year I lived there — a full year of wide skies and sunlight that lasted until almost ten at night.
    It was the kind of place where even mistakes felt polite, where rivers carried thoughts downstream and strangers always returned your nods.

    I wrote a lot that year.
    Long walks along the Donau.
    Even longer summer evenings with beer that came in tall glasses and made time feel slow in a good way.
    Most of those entries are quiet.
    Grateful.
    Full of small pleasures — fresh cherries, a folded map, an old man who played jazz guitar near the bridge like he had nowhere else to be.

    The year after, I ended up in Birmingham.
    Different kind of place.
    Different kind of year.
    The pages turned darker. Not melodramatic — just gray, like the skies that refused to break open all winter.
    Crappy flat. Strange landlord.
    People who asked how you were but didn’t wait for the answer.

    There’s an entry from November. It says only:
    “Today I bought bread. It was the best part.”

    Sometimes that’s all there is.
    Sometimes that’s what keeps you going.

    I didn’t love that year.
    But I don’t regret writing it down.
    Even pain deserves paper.
    Especially pain.

    If you stacked them all, the seventeen books, they’d rise just high enough to rest your elbow on.
    Some are bound in leather.
    Some are softcover, already fraying.
    A few have ticket stubs taped to the back pages — trains I barely remember riding.
    Receipts for meals I do.

    And through them, the seasons repeat.
    Warm summers.
    Gloomy winters.
    People arriving.
    People fading.
    The same doubts with different handwriting.
    The same hopes, slightly bruised, but still there.

    What surprises me most is not what I wrote.
    It’s what I didn’t.
    Whole heartbreaks reduced to a single sentence.
    Life-changing conversations left unmentioned.
    And yet a bowl of ramen in Kyushu gets three pages of description,
    down to the exact shape of the naruto swirl floating on top.

    That’s how memory works.
    We don’t choose what stays.
    We just record what we can
    before it fades.

    Wabi-Sabi Between the Lines

    I don’t read them often.
    Only sometimes—when I’m not sure who I am and need to remember who I was.
    When I flip through them, I see the cracks.
    Pages ripped. Ink blurred.
    Whole months where nothing made it to paper.
    Mistakes circled. Apologies crossed out.

    But I never feel embarrassed.
    Only tender.

    Because that’s what a diary is.
    Not a performance.
    Not an archive of brilliance.
    Just presence.
    Proof that you were there.
    That you tried.
    That you changed.

    And that somehow, through the years,
    you kept moving.

    So yes, that’s my collection.
    Seventeen notebooks.
    Two and a half each year.
    A life in pieces.
    In layers.
    In loose pages that smell like different countries.

    And when I hold them all at once,
    it feels like I’m holding something sacred.
    Not perfect.
    Not complete.
    But honest.

    And that
    is enough.

    Daily writing prompt
    What personal belongings do you hold most dear?

  • The Drawer with No Label

    Someone once asked me if I collect anything.
    We were sitting outside a laundromat in Sangenjaya, waiting for the dryer to finish its second cycle.
    It was late autumn.
    You could smell sweet potato from a nearby cart.
    The question came out of nowhere, as such questions do.
    And I didn’t know how to answer.
    Not right away.

    I don’t collect stamps.
    Or coins.
    Or vinyls, though I admire people who do.
    My shelves aren’t curated. My books are dog-eared. I’ve lost more keepsakes than I’ve kept.

    But later that night, walking home, it came to me—
    I do collect things.
    They’re just harder to see.

    I collect small silences.
    The kind that appear when you’re sitting next to someone you trust, and neither of you feels the need to fill the air.
    The kind that live in early trains and late diners and bedrooms right before one of you says something that changes everything.

    I collect almosts.
    Almost said it.
    Almost stayed.
    Almost made it to the station on time.
    Almost changed your life with one sentence.

    I collect faces of people I never spoke to
    a girl who sat across from me in a ferry to Yakushima reading Banana Yoshimoto,
    a man in a beige coat who lit a cigarette in the exact rhythm of my father,
    a boy in Kyoto running after a crow like it had stolen his name.

    I collect things I regret throwing away,
    old letters,
    a scarf from a stranger,
    the sweater I wore the night I fell in love and didn’t realize it.

    I collect misunderstandings,
    half-heard phrases that burrowed too deep,
    texts I reread too many times,
    moments I thought meant nothing that turned out to be the hinge of everything.

    And lately,
    I’ve been collecting versions of myself I’ve outgrown.
    Not to mourn them,
    but to keep them close—
    like faded Polaroids I don’t want to display,
    but can’t bear to lose.

    People think collections are neat things, labeled and arranged.
    Mine aren’t.
    They live in the back of drawers.
    In playlists I never finish.
    In the smell of old tea.
    In photos I never took but remember clearly.
    In words I haven’t said out loud yet, but whisper to myself before falling asleep.

    Wabi-Sabi in the Unsorted

    Not all collections are trophies.
    Some are evidence.
    That you were here.
    That something mattered, even if no one else saw it.

    And maybe that’s enough.
    Maybe that’s what it means to be a person—
    to keep picking up little fragments
    of days,
    of feelings,
    of almosts,
    and carry them with you quietly.

    Not because they’re worth something.
    But because they are yours.

    So yes.
    I collect things.
    Even if no one would pay for them.
    Even if they don’t fit on a shelf.

    Especially then.

  • Shards in the Stream of Time

    cracked teacup gleams bright
    golden veins map broken past
    new stories take root

    There’s a moment when you hold a broken tea bowl in your hands—fragments of glaze and clay that once formed a perfect vessel, now lying in pieces. Do you discard the shards and mourn what’s lost, or do you let the fractures guide you toward something new? It was on a misty afternoon in Hasami that I discovered the answer.


    Discovering the Kintsugi Workshop in Hasami

    I arrived in Hasami, the Japanese town famous for its centuries-old porcelain tradition, just as a light rain began to blur the distant hills. Steam rose from the kilns like ancient spirits, and narrow lanes wound between workshops and pottery shops. Guided by the scent of earth and clay, I found her studio tucked beside the Ōyama River—a modest building with sliding doors and lanterns swaying in the breeze.

    Inside, lacquered tables held hundreds of ceramic fragments: teacups splintered by time, bowls chipped at the rims, plates cracked down the center. Each piece looked abandoned—until the workshop’s master appeared, her silhouette framed by kiln smoke.


    The Master and the Art of Kintsugi

    At ninety-two, she moved with serene intent. Silver hair coiled into a low bun; her hands trembled only slightly as she selected a cracked tea bowl. She mixed powdered gold into a clear lacquer, the adhesive turning molten and bright in her palm.

    “When something breaks,” she said, voice soft yet unwavering, “we choose how its story continues. We can hide the damage or celebrate it.”

    With delicate strokes, she applied gold-laced lacquer along the fracture. Each thin line glowed like a sunrise, binding clay and memory. She set the bowl aside to dry, then turned to welcome her students—local potters and visitors eager to learn kintsugi techniques firsthand.


    Learning to See Beauty in Imperfection

    I settled at the workbench, where her apprentices arranged broken pieces before us. She guided our hands:

    1. Cleaning the Shards: Rinse each fragment, removing dust and debris that obscure its history.
    2. Mixing the Lacquer: Blend pine resin with powdered gold, silver, or platinum—metals that symbolize healing.
    3. Reassembling the Pieces: Press fragments together, letting the lacquer seep into crevices.
    4. Highlighting the Scars: Once set, brush excess lacquer away so only fine golden veins remain.

    As I pressed two clay shards together, I felt a connection to every craftsman who had shaped Hasami ware for generations. The broken tea bowl in my hands became a bridge between past and future.


    Teaching and Mentorship: A Living Legacy

    I spent the afternoon watching the master teach a new generation. A schoolteacher, her apron dusted with clay, learned to steady her breath as she aligned tiny fragments. A local potter, whose kiln had once closed for lack of apprentices, found renewed purpose in preserving this heritage.

    At dusk, I asked the master what legacy she hoped to leave behind.

    “My legacy,” she replied, “is not a museum piece or a single masterpiece. It is every student who carries kintsugi forward—every bowl they mend, every story they pass on.”

    Her words resonated like a chime in the hushed studio. Instead of seeking perfection, she celebrated imperfection as an opportunity for rebirth.


    Planting Shards and Growing Futures

    That evening, I carried my newly mended tea bowl to the riverbank. Under a cherry tree, I dug a small hole and pressed the bowl’s base into the soil, shards upturned like seeds. Around it, I scattered sakura petals and whispered wishes for resilience and compassion.

    Each morning since, I’ve watered that spot, imagining golden veins blooming into flowers of understanding. At home, I journal daily—writing letters to future generations, folding each page into an origami crane before releasing it into a stream of memory and hope.


    Wabi-Sabi Lesson: Legacy Beyond Perfection

    In the heart of Hasami, I learned that legacy is woven from fractured moments and imperfect choices. Wabi-sabi teaches us:

    • Healing Through Embrace: Mending what’s broken with gold reminds us that scars can become symbols of strength.
    • Shared Craftsmanship: Passing on techniques and stories ensures that tradition evolves rather than ossifies.
    • Impermanence as Gift: The very cracks we fear carry the potential for new beauty and deeper meaning.
    • Action Over Monument: True legacy lives in small daily acts—teaching, repairing, planting—more than in grand monuments.

    When you face your own broken moments, remember the golden paths that bind clay and memory. Choose to repair, to teach, and to plant seeds of possibility. In doing so, you leave behind a legacy that shines long after the last flame of the kiln has faded.

  • Frost-Laced Reverie

    frost-laced morning air
    silent breaths drift upward
    embers glow within

    There’s a moment when cold weather arrives—a bridge between sleep and waking—when each breath crystallizes in the air, and the world feels sharpened, as if life itself has been carved by frost. It’s the hush before dawn, when warmth is no longer a given, and every sensation belongs entirely to you.


    I arrived at the mountain ryokan just after the first snow of the season. The path was glazed in white, the trees bowed under icy weight. Inside, the hearth crackled, sending waves of heat across woven rugs. I shed layers by the door—wool scarf, down jacket, gloves stiff with chill—and felt the warmth seep back into my bones.

    A young innkeeper with cheeks bright as persimmons greeted me. He offered a mug of yuzu-infused tea, its citrus oil dancing on the steam. Outside, distant pines stood rigid against the pale sky; inside, the amber glow of lanterns softened every edge. I cradled the mug, noticing how the heat traced lines along my fingertips, reminding me how precious warmth can be.


    Later, I ventured into the courtyard. Each step crunched in rhythm—one, two, one—like a slow drumbeat. My breath formed clouds that drifted across snowdrifts. I paused by a stone lantern half-buried in powder and ran my gloved hand along its rim. The coldness of the stone felt alive, insistent, a tangible reminder of impermanence.

    The innkeeper’s grandmother emerged from the shadows, her shawl wrapped tight. At seventy-nine, she moved with deliberate grace. She pointed to the distant smoke rising from the chimney, then to the moon’s pale arc above the pines. In her eyes, I saw a welcome: cold weather is not an enemy, but a teacher.


    Back inside, I sank into a floor cushion near the hearth and opened a slim travel journal. I wrote slowly, guided by the hush that only cold can bring:

    Cold air sharpens senses
    Silence shaped by frozen breath
    Warmth glows like sunrise

    The fire’s crackle punctuated each line. Outside, the wind sighed through eaves, and snowflakes drifted against paper screens, tracing slow patterns before melting.


    That night, as the onsen’s steaming waters embraced me, I felt the contrast strike deeper than anywhere else. Skin that moments before had numbed to pain now tingled with vitality. My thoughts stretched out, unhurried—memories of childhood winters, first snowfall, hot cocoa shared with strangers. In that water, I discovered that cold weather does not harden the heart; it opens it, carving space for gratitude and presence.


    Wabi-Sabi Lesson: Embracing the Chill

    Cold weather teaches us that beauty often arrives in the harshest moments:

    Clarity in Contrast: Just as snow’s white reveals every green twig, cold air sharpens our awareness of warmth.
    Impermanence Made Visible: Frost melts at dawn; each crystal reminds us that change is the only constant.
    Resilience Through Discomfort: Enduring the chill deepens appreciation for simple comforts—a glowing hearth, a shared cup of tea.
    Stillness as Gift: In the hush of winter, we find the quiet between thoughts, the space where inspiration takes root.

    When cold winds blow, don’t retreat. Lean into the frost—let each frozen breath remind you that life’s warmth is all the more precious for its fleeting glow.

  • The Bone That Never Quite Set Right

    Have you ever broken a bone?

    People ask it casually. Like it’s a campfire story or a badge of childhood. Skateboard accident. Bike crash. Snowboard trip gone wrong. Something clean. Dramatic. Contained.

    I usually just nod and say yes. I don’t tell them which one.
    Because the one I broke wasn’t the kind they put in a cast.

    It was my collarbone.
    Winter.
    Years ago.

    Not from anything noble or cinematic. I wasn’t saving someone. I wasn’t on a mountain or in a fight. I slipped on a patch of ice outside a laundromat, holding a bag of oranges.

    I remember how the world tilted mid-fall. How everything slowed just long enough for me to register that I was alone. That no one saw. That I would have to get up by myself.

    The fracture was small. Hairline, they called it. Just a crack. But for weeks I couldn’t lie on my side, couldn’t lift my arm without that dull ache pulsing like memory under the skin.

    Funny thing is, it healed. Like they said it would.

    But not quite right.

    To this day, when the weather shifts—when it rains in the wrong direction or the wind carries too much history—I feel it again. A ghost pain. A reminder that healing doesn’t always mean untouched. Sometimes it means changed.

    And I think we all have bones like that.

    Not literal ones.
    But the kind you can’t point to on an x-ray.

    The trust that shattered when someone didn’t come back.
    The confidence that cracked under too many late-night self-doubts.
    The quiet part of you that once felt safe in the world, until it didn’t.

    We get up. We walk again. We smile.
    But we carry the ache.
    Invisible. Unspoken.
    Present.

    And maybe the real question isn’t have you ever broken a bone?
    Maybe it’s what have you learned to live with?

    The ache that teaches you to slow down.
    The fracture that makes you more careful with others.
    The healed part that still twinges, reminding you where you’ve been.

    That day outside the laundromat, my bag split open. Oranges rolled out onto the sidewalk like coins in a rigged slot machine. I remember chasing them with one arm pressed to my ribs, laughing—not because it was funny, but because it wasn’t.

    Because sometimes all you can do is laugh, gather what you can, and carry the rest differently.

    Years later, I still reach for my shoulder when the sky feels off.

    And I remember: healing doesn’t mean forgetting.
    It means knowing your limits.
    Honoring the crack.
    And walking forward anyway.

    Even if you carry a little more weather than before.

  • The 2,000 Yen Masterpiece

    Are you a leader or a follower?

    It was the kind of question we used to get in school, right before they handed out some color-coded personality test and told us who we were supposed to become. Red if you were bold. Blue if you were thoughtful. Yellow for the dreamers. Green if you followed the rules.

    I never knew how to answer it. I still don’t.

    I’ve followed people into places I didn’t belong, just to feel less alone. I’ve led people into situations I wasn’t ready for, just because I couldn’t bear to disappoint them. Some days I move like water, adjusting to every curve. Other days, I am the stone that refuses to shift.

    And I’ve come to believe the question itself is flawed.

    Most of us aren’t one or the other. We’re just trying to find our footing. Some seasons we lead. Some seasons we follow. Some seasons we just try to stay standing.

    I was thinking about all this the day I found myself in the Mori Art Museum.

    It had been one of those shapeless afternoons—too early for dinner, too late to go home. I wandered into Roppongi Hills with nothing in particular to do. The mall was pulsing with soft jazz and the gentle perfume of polished ambition. Shoppers moved like they had somewhere to be. I didn’t. So I kept walking.

    Past cafés where the chairs were too elegant to sit in for long. Past boutiques filled with linen shirts folded with the kind of reverence usually reserved for scripture. Up escalators, through corridors, following signs not because I was curious, but because it was easier than deciding.

    And then: the museum. Tucked into the sky like a secret only the quiet ones find.

    Admission: 2,000 yen.

    I hesitated. That was two meals. That was laundry money. That was more than I’d usually spend on something with no tangible return. But something inside nudged me. A quiet, unreasonable voice. Not logic. Not budget. Just… go.

    So I went.

    And what I found wasn’t just art. It was a recalibration.

    Large-format canvases that seemed to breathe when you blinked. Sculptures suspended mid-air, defying gravity and reason. Video installations that washed over you like dreams you didn’t know you remembered. Rooms built to confuse your sense of time. Light bent in ways that made you question whether you’d ever actually seen it before.

    One piece was made entirely of steel thread. Just lines and tension. But it hummed with presence. It had no meaning unless you stood still, unless you offered it your time. And I did. Not because I understood it. But because it asked nothing from me except stillness.

    I thought about that question again.

    Leader or follower?

    But what if the better question is:

    Can you be led by wonder? Can you follow beauty into places where logic says you don’t belong?

    I remembered being younger, broke, anxious, always calculating. Always hungry—for certainty, for validation, for meaning. I remember passing galleries with my head down, pretending I wasn’t curious. Pretending I couldn’t care less. Because I thought beauty was something you earned. Something reserved for those who had already made it.

    But there I was, high above Tokyo, standing face-to-face with art that asked nothing of me. No degree. No credentials. No invitation.

    Just 2,000 yen and a willingness to be moved.

    And in that moment, I realized: the doors aren’t always locked. Sometimes we just forget to knock. Or we tell ourselves it isn’t meant for us. Or we wait for someone to lead us inside.

    But the truth is, we’re already allowed.

    Even if we’re lost. Even if we don’t know what the piece means. Even if we feel small, or uncertain, or unworthy.

    Especially then.

    Because some things—some true, unforgettable things—aren’t waiting for leaders or followers.

    They’re waiting for you to stop walking past. To stop saying maybe next time. To stop assuming that a masterpiece requires a map.

    And sometimes, all it takes is 2,000 yen and the courage to be a little foolish. To stand still in front of something you don’t understand. To follow the part of you that doesn’t speak in logic.

    And maybe that’s leadership too.

    The kind that starts with admitting you don’t have the answers.
    The kind that dares to follow awe.
    The kind that leads you quietly back to yourself.

    No spotlight. No applause. Just a long hallway, a silent room, a feeling you can’t quite name.

    And a version of you—older, maybe—who finally steps in.

  • The 2,000 Yen Masterpiece

    I was standing in the Mori Art Museum, five floors above Tokyo. Maybe more. High enough that the windows looked like they had given up trying to frame the city and instead just surrendered to it. The view stretched past Shibuya and beyond, all silver angles and blinking lights, like the inside of a machine trying to dream.

    The entrance had cost me 2,000 yen.

    World-class art, the sign said. And it was true.

    Large-format pieces that took up entire rooms. Sculptures with their own gravitational pull. Video installations that whispered strange truths in half-languages. One wall pulsed with projected light like a living organism. Another held a canvas so quiet you could barely look at it without blinking too fast.

    But what struck me wasn’t the art itself.

    It was how close I was allowed to stand.

    No velvet ropes. No glass. Just me and a work someone had maybe poured years into. Inches apart. I could see the cracks in the paint, the hesitation in the brushstroke. I could feel the heat of a thought made visible.

    And for 2,000 yen.

    A bowl of ramen cost almost the same.

    I stood in front of a piece made entirely of steel and thread. The kind of thing that made no sense unless you stood very still for a very long time. And there was something so unbearably human about that—how the piece asked for your attention, not your approval. How it didn’t try to sell you anything. How it just… existed.

    And I remembered a time, years ago, when I couldn’t have afforded even that.

    Back then, I’d walk past galleries with my head down. Pretend I wasn’t interested. I’d eat convenience store bread in Yoyogi Park and wonder how people made it work. How they got inside the buildings with warm lighting and clean bathrooms and drinks that came with napkins.

    I thought, then, that access came after success. That beauty was something reserved for later.

    But now I know—sometimes, it only costs 2,000 yen.

    Not everything worthwhile is behind a gate.

    You just have to know when to stop walking past. When to go up. When to pay attention.

    And maybe that’s the secret of it all.

    You won’t always be able to afford everything.
    But there will be moments—small, quiet ones—where the world opens up and says, this one’s for you.

    Even if it’s just for an afternoon.
    Even if you leave with nothing but a softened heart and a little less noise in your head.

    Some days, that’s the masterpiece.

  • The Guardrails You Don’t See

    Watching that young couple up there—him with his onigiri, her with the custard crepe—I couldn’t help but think of a time when I stood in nearly the same spot. Different roof, different view, but the same city. Same soft hope.

    I was about their age then. Maybe a little older. Living in a one-room apartment in Suginami with a view of a concrete wall and a laundry pole that squeaked in the wind. I used to eat conbini dinners on my balcony—if you could call that slab of concrete a balcony—and dream about making it. Though I didn’t quite know what “it” was yet. Just not… this. Not instant curry. Not a futon with a thin middle. Not checking my bank app before every convenience store purchase.

    I remember once walking home from an interview that didn’t go anywhere. I stopped at a vending machine and bought a black coffee in a can because it felt like the kind of thing someone decisive would do. I drank it under a rusted streetlamp and thought, How do people survive this?

    Life, I realized slowly, has edges. Invisible ones.
    On both sides of the road you’re trying to walk, there’s a steep fall.

    One side is apathy—the temptation to stop trying, to settle into the softness of giving up. It feels safe, at first. Like rest. But it’s a trap. A slow erosion of your spirit disguised as “being realistic.”

    The other side is obsession—the kind of hunger that devours your present in the name of some imagined future. It promises success, meaning, freedom. But it comes at the cost of your health, your peace, your relationships. You can win, yes. But you can also burn out before the winning means anything.

    You think the path forward is obvious.
    But most days it’s like walking a tightrope in the fog.
    There are no guardrails. No signs. Just your breath, your intention, your balance.

    I’ve swayed toward both sides. Too tired to care. Too driven to rest.
    I’ve lied to myself in both directions.

    But here I am now. Still walking. A little slower. A little quieter. Less interested in proving anything, more curious about what it means to stay standing.

    So when I saw that young man watching Shibuya race beneath him—with his girl by his side and his 100 yen rice ball in hand—I wanted to say:

    Be careful with your hope. But don’t let go of it.
    Stay on the road. Even when it disappears beneath you for a while.
    Let love help you balance.

    There’s no map. No guaranteed reward. But there’s something to be said for walking your own way and learning not to fall for the promises on either side.

    Sometimes, that’s enough.
    Sometimes, that’s what makes the difference.

  • The Lawson on the Top Floor

    I hadn’t meant to go up that high. I’d ducked into Hikarie mostly to use the restroom—maybe wander the basement levels and touch things I couldn’t afford, as one often does in places like that.

    Hikarie, for those who haven’t been, is a glass-and-steel tower that rises like a shard of light above Shibuya. It’s sleek, modern, and designed to be many things at once—shopping complex, art gallery, office space, gourmet maze, event hall, quiet retreat, and hyper-curated lifestyle display. A vertical city for people who move fast but still want beauty in the in-between.

    You enter straight from the station, and the hum of Shibuya’s chaos is swallowed almost immediately by soft jazz piped through invisible speakers. Escalators take you up like conveyor belts through different strata of intent: floors of artisan kitchen knives, minimalist home goods, niche perfumes, concept cafes with velvet chairs and matcha lattes that arrive with edible flowers balanced on top.

    It’s the kind of place that wants you to believe in a more elegant version of yourself.

    I wasn’t there to buy anything. Just to walk through, float a little, let my mind rest in the spaces between things.

    But somehow, I kept going up. Past the department store calm, past the galleries and open atriums, until I ended up on the top floor.

    And that’s where I saw it.

    A Lawson. A small, quietly glowing convenience store tucked into a corner like a secret—offering the same onigiri, same plastic-wrapped sandwiches, same Vitamin C drinks and aluminum-wrapped nikuman as the one next to your neighborhood train station. It felt out of place, and yet absolutely right.

    Next to it was a terrace. One of those rooftop spaces where the city falls away beneath you. The kind of view you forget you’re allowed to stand in front of without paying for a ticket.

    And that’s where I saw them.

    A young man and a girl. Early twenties, maybe. He wore a grey hoodie pulled slightly over his head, the kind that softens with age and holds the shape of someone trying. In one hand, a 100 yen onigiri. In the other, nothing. She stood beside him with a custard crème crepe, wrapped carefully in its paper sleeve, holding it like something she didn’t want to finish too fast.

    They weren’t talking. They were just watching Shibuya move.

    And there’s something about that—watching the city from above—that strips people down. They weren’t checking their phones. They weren’t posing. They were just there.

    And in that stillness, I saw it: hope.

    Not loud, inspirational hope. Not the kind made for motivational posters. But the kind that hums beneath your ribs when you’re trying to build a life.

    He wanted to succeed. You could feel it in the way he held himself, even as he rested. The way he watched the city below like it held a future he hadn’t quite stepped into yet. Not fame. Not money. Just something better than what he had. Something he could build with his own hands. Stability. Health. A kind of freedom.

    She wasn’t rushing him. She wasn’t asking for more. Her body language said: this is enough. For now.

    And maybe that’s the kind of love that survives. The kind that lives in shared onigiri and rooftop silence. In being seen. In being allowed to dream quietly, together.

    I stood there a while. Long enough to finish the tea I’d bought out of curiosity more than thirst. Long enough to feel that strange, aching kind of gratitude for strangers you’ll never know.

    I didn’t take a photo.

    I didn’t need to.

    Because I knew I’d remember it—not the view, but the feeling. That moment when two people looked out at a hard, glittering world and quietly decided not to be afraid of it.


    What You Learn in a Place Like That

    You go into a place like Hikarie expecting design and polish. A curated experience. Something removed from the messiness of real life.

    But sometimes, at the top, in the corners, where no one is really paying attention, you find something far more important.

    You find two people eating convenience store food, watching a city that might never give them everything they want—but still daring to want anyway.

    And in that moment, you remember:

    Hope doesn’t have to be loud.
    Success doesn’t have to be fast.
    And the future doesn’t need to be glamorous to be worth reaching for.

    Sometimes it’s enough to just keep standing beside someone with a crepe in one hand and a view in the other.

    And to believe, quietly, that you’ll both find a way.

  • The Morning I Slept In

    That Monday I didn’t wake up on time. Not because I was tired, or sick, or overwhelmed. I simply didn’t move when the alarm buzzed. I watched the sunlight stretch across the floorboards, let it crawl up the side of my bed like an old friend, and didn’t chase the day like I usually do.

    Somewhere, meetings were starting. Emails were being written. People were rushing into subways and fumbling with their umbrellas and pretending the start of the week didn’t ache a little.

    But I stayed in bed.

    There was guilt at first. The kind that wears a tie and calls itself responsible. But after a while, the guilt quieted. Gave way to something gentler. The understanding that rest is not laziness. That some days are not for chasing.

    I boiled water. Made tea. Ate a banana slowly. I sat by the window and watched the neighbors hang out their laundry, the fabric snapping like flags in a war I no longer felt pressed to fight.

    I watched a crow land on the telephone wire, then take off again, as if the pause was enough. I listened to the faint sound of jazz coming from a second-story apartment, the trumpet notes curling like smoke above the rooftops.

    There was something sacred about how little happened. And how full it still felt.

    And I realized, somewhere between the second sip and the sound of someone’s radio leaking through the window:

    Not every moment must be filled. Not every day must be seized. Some days ask only for presence. For noticing. For being alive enough to say no to the noise.

    Freedom, I thought, is not about doing whatever you want. It’s about knowing when not to. It’s about feeling your own pulse again in a world that races past it.

    That morning I missed work.

    But I didn’t miss myself. I met myself again. And he was quieter than I remembered. And kinder, too.

  • Freedom and the Showa Sento

    I stepped into the sento just after noon. A weekday, late enough for the morning crowd to be gone, early enough to avoid the post-work regulars.

    The tile was pale blue, worn smooth by decades of soap and water and skin. Steam curled from the baths like a sigh. The mural on the wall was a mountain—somewhere between Fuji and a dream—painted in faded pastels, the kind that only grow more beautiful once the original colors forget their names.

    There were no digital clocks. No music. Just the occasional splash, the rustle of towels, the hollow sound of water dripping from ladles into tubs.

    I sat on a low stool, washed slowly. The way they do here—not rushed, not distracted. Just the rhythm of soap, rinse, repeat.

    When I slid into the hottest bath, the heat climbed up my spine like a long-forgotten memory. My muscles let go of something I hadn’t realized I’d been holding.

    There was an older man across from me. He wore a towel over his head like a crown and didn’t look up once. We didn’t speak. But his stillness mirrored mine. Not silence as in absence, but silence as in presence.

    And it hit me, somewhere in that fog of heat and chlorine and mountain mural:

    Freedom isn’t escape. It isn’t a plane ticket or a blank schedule. It’s the ability to be completely where you are. To stop fleeing your own mind long enough to inhabit your body.

    To sit in a tub that has held a thousand bodies before yours and not feel lost among them. To be alone, and not lonely. To be bare, and not ashamed.

    That was freedom.

    I stayed longer than I meant to.

    There was something unspoken in the air—an understanding between the tiles and the skin and the heat—that this moment did not need to be improved. It was enough, exactly as it was. The air was heavy, but not oppressive. It held you in place. As if asking you gently: where else do you need to be?

    A boy came in with his grandfather. They spoke in soft Kansai dialect. The boy giggled when he poured too much water on his back. The grandfather didn’t scold him. Just smiled. Adjusted the faucet.

    It felt like watching a lesson being passed on—not in words, but in repetition. In the act of doing a thing well, with presence.

    Eventually, the old man across from me stood, dried off with slow, deliberate care, and stepped out. The echo of his feet against the tile followed him down the narrow hallway like a memory refusing to fade.

    I watched the steam settle where he had been. Nothing dramatic. Just the ghost of warmth.

    Outside, the air was cooler than I remembered. I passed a vending machine with glass so clean it reflected my face back at me like a question I wasn’t ready to answer. I bought a bottle of barley tea and drank it on the curb. The asphalt was warm beneath me. The world moved as it always did—buses sighing into stops, bicycles rattling by, a child crying somewhere in the distance—but something inside had shifted.

    Not with answers. But with space. A kind of lightness that had nothing to do with flight.

    I walked slowly. Past shuttered storefronts. Past the quiet hum of laundry behind windows. Past a cat asleep in a circle of sun.

    And for the first time in days, I didn’t feel like I had to be anywhere else.

    Not because life had changed. But because, for a brief moment, I had remembered how to live it.

  • The Full Picture

    I used to catch myself believing I had to have it all figured out. That by a certain age, the questions would quiet, the map would be drawn, the steps would make sense. That there’d be a moment—clear, clean, cinematic—when I’d finally feel like I’d arrived.

    But life doesn’t unfold like that. It stutters. It doubles back. It asks you to choose with incomplete information and walk forward anyway.

    You see the outside of other lives—finished degrees, booked flights, babies held like miracles in arms that seem so sure. But you don’t see the unraveling beneath. The nights they doubted every decision. The ache of missing someone they can’t admit they still love. The weight of being strong too long.

    You don’t see the invisible repairs—stitched quietly with routine, laughter, silence. The moments they almost gave up. The slow rebuild. The daily decision to keep going.

    If you feel like you’re behind, lost, late to your own becoming—pause. Look again.

    Maybe you’re not off course. Maybe this is the work.

    Because the truth is, nobody arrives. We just keep unfolding. One step. One heartbreak. One ordinary Tuesday at a time.

    This life you’re living—its pauses, its uneven rhythm, its coffee-stained notebooks and too-late apologies—it’s not a detour. It’s the story.

    And maybe, like a Murakami character drifting through strange, quiet cities, you’re not meant to reach a destination. Maybe you’re meant to notice the music in the vending machines, the poetry in the sidewalks, the strange clarity that only comes in moments of uncertainty.

    Because Wabi-sabi reminds us: nothing is perfect, nothing is complete, nothing is permanent.

    That person who seems at peace? They’re still finding their way too. Just in a different light.

    So stay with your life. Especially when it makes no sense. Especially then.

    The longer you walk beside it, the more it starts to feel like a companion instead of a puzzle.
    Not something to fix.
    But something to walk with. Even when it’s quiet. Especially then.

  • Pages and Lullabies at Takeo Onsen

    stories drift like steam
    a newborn’s breath cradles hope
    book spines guide the lost

    I arrived at Takeo Onsen just as the earliest light braided through bamboo groves. Steam curled from hidden springs, carrying the scent of hinoki and hot earth. In the soft glow, I spotted the sign for the new youth hostel: a simple wooden board painted pale green, the name almost swallowed by morning mist. Pushing open the sliding door, I stepped into a world where warmth and stories intertwined.


    First Impressions

    Inside, tatami mats softened my footsteps. Lanterns hung low, their paper shades warmed by gentle bulbs. Along one wall, shelves bowed beneath well-loved books: weathered travel memoirs, dog-eared poetry collections, novels whose covers had faded to whispers of color. A hand-written sign read, “Take a book if your heart needs it, leave one when you can.” I felt a tug at my chest—this was more than hospitality; it was an invitation to belong.

    Behind the reception desk, a young couple moved in easy harmony. He was folding laundry, his hands steady despite the hush of dawn; she was cradling their infant daughter, whose soft coos punctuated the silence. Their eyes met mine with a gentle welcome, as if they’d been waiting not for guests, but for companions in this quiet sanctuary.


    Morning Rituals

    Each day began before the onsen’s communal bath ever warmed. I watched him stoke the cast-iron stove, water hissing into readiness. She arranged green tea and homemade onigiri on low lacquered tables, then tucked a blanket around their baby, whose small fist curled around a stray page of a poetry chapbook. In that moment, I understood: they were weaving routine from the raw threads of new parenthood and fledgling business.

    I browsed the shelves. A volume of Bashō’s haiku fell into my hands, a scratch along its spine guiding me to a poem about dewdrops on bamboo leaves. I carried it to a cushion by the hearth, where the steam’s warmth and the baby’s breathing formed a silent lullaby. Outside, the mist drifted through sliding windows; inside, each syllable felt like a breath of unhurried time.


    Borrowed Stories

    As the sun climbed, guests trickled in—backpackers with mud-spattered boots, cyclists whose tires still dripped forest damp, a lone writer chasing solitude. They moved toward the shelves with a reverence I hadn’t expected: fingertips brushing spines, eyes closing as if to drink in the weight of each story. Some slipped paperbacks into their packs; others paused, reading lines aloud to no one in particular.

    A solo traveler from Osaka found a battered travel diary and shared a passage about desert skies with me. Two German cyclists discovered a novel about mountain pilgrimages and praised its loose binding—proof it had been loved on many journeys. I realized then that the books were more than decor; they were moving companions, connectors between strangers, carriers of the hostel’s quiet generosity.


    Midday Conversations

    By lunchtime, the lobby hummed with soft chatter. I joined the couple at a low table, steaming bowls of miso soup balanced before us. Between sips, I asked how they managed a newborn alongside a hostel. She smiled, brushing a lock of hair back. “We rest when she rests,” she said. “And when we can’t, we trust that the books will hold our guests.” His eyes shone with pride. “Every volume is a gift—and a promise that kindness travels.”

    I thought of my own journeys, how a single act of generosity—offering directions, sharing a phrasebook—had once changed my path. Here, they’d amplified that gesture a hundredfold, embedding it in every corridor and cushion.


    Evening Lullabies

    As dusk settled, lanterns glowed like fireflies returned to earth. The baby’s first cry—a small, clear bell—echoed through the hall. A guest paused mid-step, concern flickering across her face, then smiled as the mother scooped up her daughter and hummed a lullaby that mingled with the hiss of the onsen.

    In that soft cascade, visitors drifted back to the bookshelves. I watched one man tug a volume of Murakami short stories from the shelf, then settle beside me, the baby’s lullaby and page-turning the only soundtrack. Outside, the cicadas paused their evening chorus, as though to listen.


    Night’s Quiet Offering

    Later, when the doors were locked and only the baby’s breathing and the distant drip of baths remained, I found the couple at a low table under a single lamp. They shared a battered paperback between them, reading passages aloud in turn. The husband whispered, “We hope each story finds a home.” She nodded, tucking a bookmark into the worn spine. “And that every traveler leaves something behind—just as they take something with them.”

    I lingered in the doorway, realizing that this hostel was more than a stop on my journey. It was a living poem of hospitality, each borrowed book a verse, each lullaby a refrain.


    Wabi-Sabi Lesson: Stories in Motion

    In the gentle cradle of Takeo Onsen, I learned that sharing impermanence can create the deepest connections. Wabi-sabi reveals that value lies not in polished perfection, but in the humble exchange of hearts and pages:

    • Gifts of Impermanence: A borrowed book carries the hostel’s spirit into the wider world, returning changed.
    • Quiet Generosity: A lullaby and a loaned volume hold equal power to soothe and inspire.
    • Community in Small Acts: Each onigiri shared, each story passed hand to hand, weaves a tapestry of belonging.
    • Embrace the Unfinished: Like each reader’s notes in the margins, our lives grow richer in the incomplete stories we carry forward.

    I departed at dawn, book tucked under my arm, baby’s laughter echoing in my mind. The hostel faded into mist, but its stories—mine and theirs—continue to travel, drifting like steam across the landscapes of memory.

  • Soft Hands, Silent Paths

    soft hands steer the lost
    limestone shadows breathe softly
    lines grow in silence

    There’s a moment at Akiyoshidō’s bus stop—after the map unfolds, before the engine hums—when everything hangs between breath and intention. It’s the quiet in a limestone dream, where the world pauses and offers you a choice: guide or be guided.


    She arrived at dawn, as mist still clung to the karst hills. At ninety-five years, her gait was measured, deliberate—each footstep a conversation with gravity. Her silver hair caught the pale light like dew on spiderwebs; her coat, patched from decades of wear, bore faint chalk marks from countless classrooms long closed.

    Tourists clustered around the schedule board, clutching cameras and phrasebooks. Their voices collided in a tangle of languages—Korean exclamations, German laughter, murmured questions in English. She stepped forward, plainness radiating authority. In soft Japanese, she pointed them toward the visitor center. In halting English, she added: “Left at paper lantern, follow path beside sakura tree.”

    Without fanfare, she sketched invisible lines through the air. Couples and backpackers fell into step behind her as though pulled by an unseen tide. Their skepticism dissolved into trust, carried by the quiet certainty of her voice.


    Nearby, a group of schoolchildren pressed close to the platform’s edge, fidgeting like captive birds. She tapped her cane against the wood beams—tap… pause… tap—instilling a gentle rhythm. Heels aligned. Voices dropped to a whisper. They became a single-file river of uniforms and backpacks, moving forward with surprising grace.

    One boy glanced up, surprised by his own steadiness. A girl tucked a strand of hair behind her ear, as if noticing for the first time how the dawn light painted each tile of the platform. In the hush, they learned that order needn’t feel rigid; that waiting, when shared, can become an act of connection.


    When the bus arrived, engine thrumming like a great, contented beast, she offered her seat to a mother juggling two toddlers and a tote bag. The mother’s eyes widened in gratitude; one toddler reached out to touch the back of the old woman’s coat. She smiled as if it were the warmest greeting in the world.

    Finally, she boarded, settling into the window seat where morning light pooled like liquid gold. Around her, the cabin buzzed with newfound calm. The Italian couple shared a quiet exchange in broken Japanese; the German cyclists checked their GPS in unison, no longer flustered.


    As the bus wound its way along the limestone ridges, I watched her gaze drift beyond the glass. Perhaps she saw the years she’d spent teaching local children, the same hands carving chalk lines on blackboards, the same voice weaving lessons from simple words. Perhaps she saw herself as a young mother, lacing tiny shoes before a day at the market.

    Ahead lay the cave’s yawning entrance—Akiyoshidō’s silent cathedral of stone. There, her own children would wait: the daughter who remembered her mother’s laughter echoing in lecture halls, the son who once chased fireflies through these very fields. They would greet her with boxed lunches and gentle embraces, the warmth of family dissolving any ache of age.


    Yet her true legacy was not the reunion to come, but the paths she’d drawn for strangers. In that early hour, she had shaped community through small acts: pointing tourists toward wonder, teaching children to move as one, offering comfort without expectation. Each gesture rippled outward, softening the edges of isolation.

    I thought of my own journeys—times when direction meant comfort, when guidance transformed anxiety into curiosity. We all reach crossroads in empty moments, when no one’s looking, and must choose whether to share what we know or retreat into silence. Her choice was simple: to guide.

    Wabi-Sabi Lesson: Leadership in Quiet Moments

    Akiyoshidō’s caverns formed over eons, drop by drop, echo by echo. So too does gentle leadership: imperceptible, enduring. Wabi-sabi teaches us that:

    Small Acts Resonate: A quiet suggestion can reshape a journey more profoundly than any grand speech.
    Flawed Hands, True Direction: Weathered fingers tracing invisible paths carry more wisdom than polished guides.
    Presence Over Performance: To lead without expectation is to forge real bonds, not mere compliance.
    Embrace Impermanence: Just as cave walls shift over centuries, our roles change—teacher, traveler, child—yet each moment holds its own quiet power.

    In the space between motion and stillness, we discover that guiding others can be its own form of pilgrimage—a chance to leave a gentle mark on someone else’s story, even as we continue writing our own.

  • What You Choose When No One’s Watching

    There’s a moment at the end of a journey—after your luggage is stowed, the onsen bath waits, and every itinerary box has been checked—when the world pauses and offers you one last choice. It doesn’t come with fanfare. It’s the stray second before you turn for the hot spring. But if you lean into it, you’ll find a sliver of freedom.

    It happens when the bustle behind you softens.
    When the map no longer speaks.
    When every footstep feels less like a plan and more like a question.

    Most of us don’t notice that instant.
    We rush toward comfort.
    We slip into routines.
    We trade curiosity for convenience.

    But real discovery lives in that breath of possibility—when no one’s watching and nothing compels you to proceed.

    I was poised to sink into Hagi’s famous onsen—steam rising in practiced arcs, the promise of smooth stones and weightless warmth. Instead, I turned left onto a narrow alley flanked by weathered earthen walls. The mud plaster was scored with age, as if each crack whispered stories of samurai and merchants long gone.

    The air smelled faintly of sugar and sea salt. A wooden sign swung overhead, its kanji worn thin: 甘味処 (kanmidokoro), “sweet spot.” Inside, lacquered counters gleamed beneath paper lanterns. Rows of yokan and daifuku sat like tiny monuments, each one polished to a soft glow.

    Behind the counter stood a woman of ninety-five years: hair silver as moonlight, spine curved like an ancient cedar, yet her voice rang clear and bright—an unexpected hymn. She greeted me with a bow that seemed to carry centuries of gratitude.

    I watched her hands move: wrapping a gossamer sheet of mochi around sweet bean paste, dusting it with kinako, then sliding it onto a plate as if presenting a treasure.

    “Try the yuzu manju,” she said, voice bubbling like warm sap. “It’s summer’s poem in pastry form.”

    Her eyes danced as she spoke, unfurling memories of citrus orchards and childhood laughter. I bit into the soft cake: citrus spark, cloud-white dough, a sweetness that spoke of patience.

    We talked—her youthful cadence weaving through my questions. She told me how she opened this shop after the war, how she’d learned recipes from traveling tea masters, how each batch of sugar crystals was a lesson in impermanence. I asked why she stayed here, day after day, age after age.

    “Because people come and go,” she said, “but a taste can linger. And that’s my story.”

    Wabi-Sabi in the Unseen Path

    Wabi-sabi celebrates the quiet choices no one watches. It finds beauty in the trembling hands of a nonagenarian confectioner, in the cracks of an alley wall, in the last detour before a planned ritual. It reminds us:

    – True community lives in small exchanges, not grand gestures.
    – Presence is the sweetest ingredient—more potent than any recipe.
    – Imperfect moments, unhurried pauses, shape our memories more than polished tours.

    So next time the world nudges you toward the obvious, linger in that uncharted second. Turn down the silent alley. Choose the confection over the onsen. Listen to the voices that echo long after the lanterns dim.

    Don’t hurry back to the bath. Just walk.
    And let the sweetness of stillness be enough.

  • Rough Ground, Soft Voices.

    Over 300,000 years of restless fire have carved Aso’s caldera—Heian scribes marveled at distant smoke, Edo-era chronicles recorded the Tenmei eruption, and modern seismographs still chart Nakadake’s low rumble. On a Golden Week morning, I boarded the first bus from Aso Station under a sky that felt older than memory. Steam curled from the diesel engine as if the mountain itself were breathing.


    Inside, families argued over snacks; a photographer balanced a tripod; and then a married couple from New York squeezed in beside me. He was a journalist—pen poised above a small notebook—while she, a crossword expert, tapped clues about ash and wind. Their silent choreography: when he paused to capture a view, she slid her pencil across so he could whisper a hint; when she hesitated over a riddle, his voice was soft as dusk guiding her to the next letter. Golden Week had already turned timetables into polite suggestions, and with one shared laugh at the driver’s delay, we slipped into companionable quiet.


    Three hours on winding asphalt past emerald paddies and lichen-clad waymarkers, the bus hissed at the trailhead. Volcanic ash sifted through our boots like sand through an hourglass. At a lone stall, bitter tea laced with smoke was poured from a battered thermos—a reminder that fire still lived beneath our feet. Higher up, jagged boulders jutted like fractured memories of past eruptions. At Nakadake’s rim, steam billowed against a bruised-purple sky. The journalist fetched a small speaker and pressed play: Ryo Fukui’s piano drifted over the crater, each note soft as ash settling on green fields below. We shared water and a rice ball in reverent silence, letting the melody become part of the mountain’s slow exhale.


    Shadows lengthened on the descent as we retraced our steps past moss-clad relics and shuttered stalls. I turned to them: “I wanted to remember what it feels like to start from scratch—climb something older than myself.” The journalist closed his notebook and nodded gently. “Sounds like the real ascent.” Back on the bus beneath a rose-tinged sky, our shared silence felt more enduring than any summit.

    Wabi-Sabi in Impermanent Connections

    Mount Aso teaches that beauty often hides in the cracks—the ash, the steam, the unspoken moments between strangers. Like a crossword missing its final clue or a notebook half-filled with observations, our journeys remain inherently unfinished. True wabi-sabi emerges when we embrace impermanence: accepting that each eruption, every passing conversation, and every drifting note of jazz is fleeting and imperfect, yet charged with an undeniable vitality.

  • Pendulum Descent, Divided Skies

    We stepped off Nakadake’s rim as the sun dipped behind Aso’s distant peaks, stretching shadows long across the ash-dust path. Each footfall stirred faint puffs of grey—remnants of eruptions past—while the wind carried distant laughter and the low rumble of shifting earth. Descending felt like moving through layers of time, from ancient fury to present calm, each step a reminder that the mountain has witnessed more extremes than any headline could capture.


    Halfway down, the journalist paused to jot in his notebook, fingers stained with ash. He frowned at his phone’s screen, where notifications flickered like restless fireflies. “Every channel feels shouting,” he muttered. “Left, right, louder, louder.” His wife—the crossword expert—traced her pencil along a weathered rock, then looked up. “It’s like a pendulum,” she said softly. “It swings so far one way we can’t see the other. Then it swings back and we forget the space in between.” The trail curved beneath us in a gentle arc, as if echoing her words.


    Below, terraced fields sprawled in patchwork greens and golds. A lone tractor trundled along the horizon, its engine’s steady hum cutting through the tension of our talk. “Even this farmer,” the journalist mused, “must feel the pull of extremes—market prices, weather whims. Yet he finds rhythm in planting and harvest.” As dusk settled, the roar of global debates felt distant here. Between the ridges and rice paddies, balance seemed possible.


    As twilight deepened and fireflies blinked along the path’s edges, our conversation turned inward. The journalist closed his notebook. “Tell me,” he said, “in a world of constant branding and labels, what ‘brand’ guides you?” His question hung in the air, mingling with the hush of crickets.

    I answered quietly:

    The Brand of Impermanence
    A concept built on the beauty of fading moments—where value lives in the transient, the worn, the ever-changing.

    The Brand of Resonance
    Defined by echoes—stories and silences that linger, reminding us that meaning often emerges long after the first note fades.

    The Brand of Open-Endedness
    An identity shaped by questions, not answers—where half-finished ideas invite collaboration and unexpected discovery.

    The Brand of Quiet Revelation
    Centered on subtle transformations—soft glows, gentle shifts, unexpected insights that whisper rather than shout.

    They exchanged a glance. She tapped her pencil on her pad and wrote:

    ash drifts through the air
    split worlds search for common ground
    moonlight finds the seam

    He read it twice, then tucked the paper into his pack as though safeguarding a new refrain.


    At the timberline, stars began to pierce the violet sky. We halted on a lichen-rimed boulder, the world below absorbed in its nightly quiet. In that moment, our conceptual “brands” — impermanence, resonance, open-endedness, quiet revelation — felt less like abstract ideas and more like lanterns guiding us through an uncertain descent.

    Back on the final switchback, the path narrowed and the air cooled. We boarded the waiting bus in companionable silence, each of us carrying the weight of polarized voices in our pockets—and the memory of a mountain that knows how to hold the in-between. As the engine rumbled to life, I realized that the true descent wasn’t down the slope, but into that quiet midpoint where extremes soften and new perspectives can take root.


    Wabi-Sabi Lesson: Honoring the In-Between

    In a world swinging between fervent extremes, true wisdom lives in the grey space where opposites meet. Like volcanic ash settling into fertile furrows, the tension between “us” and “them” can nourish deeper understanding—if only we pause to listen. Wabi-sabi shows us that beauty arises not at the peaks or valleys of opinion, but in the imperfect balance that holds us all together.

  • The Man Who Was Almost Done Disappearing

    Takeo Onsen was nearly empty that day.
    It was late afternoon — that soft, bluish hour when steam hangs heavier in the corners and the world seems quieter than it really is.
    Outside, the sky had the washed-out tone of paper left in the rain.
    Inside, there were two pools: one marked 熱い — hot — and the other, in smaller writing, とても熱い — very hot.
    Most people, myself included, stayed in the first.
    The second wasn’t hotter.
    It hurt.

    I was rinsing off at the washing station when he first spoke.
    An old man — skin like weathered rope, back bent but not broken.
    He nodded at me and said, in slow, self-conscious English,
    “Hello. Un… English okay… little.”

    His name was Ichiro.
    “It means first son,” he said, smiling like it was a secret he hadn’t shared in years.
    And then added, “But my parents, they had five.”
    He laughed to himself.
    It was the kind of laugh that folded in on itself.

    We slid into the hot pool side by side.
    He waved at the very hot one.
    “Not hot. Hurts.”
    Then:
    “Strange. Everyone wants strong feeling, but not too strong.”
    He tapped his chest.
    “Same with life.”

    Ichiro spoke in fragments, each one separated by a long “un…” — his tongue searching through old songs and memories for the right words.
    “I learn English… music. Beatles, Rolling Stones. Un… Simon… Garfunkel.”
    He looked proud.
    He hummed a line from Angie, but forgot the second half, shrugged, and leaned back against the stone.

    He told me he had four grandchildren.
    Showed me their names on a crumpled page tucked inside his towel bag.
    “One trumpet, one dance. One always… angry,” he said, grinning.
    He also had a dog.
    “Ugly, small. I love him,” he said.
    “Name is… un… Mike. Like Tyson.”
    And he laughed again.

    He greeted everyone who entered the bath.
    Some he knew by name.
    Some not.
    Still, he offered each of them a short bow and a cheerful おつかれさま — as if he were the host of something more permanent than a bathhouse.

    Later, after the others left and the steam grew thicker, he grew quiet.

    “I have cancer,” he said suddenly, voice low and flat.
    “Lung. Four.”
    Stage four.
    He looked straight ahead.
    “Doctor say… I don’t need hospital. Because no money.”
    He paused.
    Then smiled, not with bitterness, but like someone who had long since handed over the weight.
    “But… it’s okay. I am… ready.”

    I didn’t say anything.
    I didn’t know what to say.
    So I just stayed there with him, shoulder to shoulder in the hot pool, nodding occasionally, not out of politeness, but because I wanted him to know I heard him.
    Not as a tragedy.
    Not as a story.
    But as a person.

    Wabi-Sabi in the Heat That Hurts

    Ichiro didn’t go to the hotter pool.
    He said it wasn’t worth it.
    Not just because it hurt.
    But because pain isn’t proof of anything.
    “You go too deep,” he said, “you forget what you came for.”

    He reminded me — maybe without meaning to — of something I’d once read in the Tao Te Ching:

    “Do your work, then step back.
    The only path to serenity.”

    Ichiro had done his work.
    He had lived.
    Raised kids.
    Made music part of his voice.
    Fed a dog named Mike.
    Laughed when he could.
    Suffered when he had to.

    Now, he was just letting go.
    Not with drama.
    Not with resistance.
    Just… readiness.
    Like a hand opening in warm water.

    When he left the bath, he stood slowly, bowed, and said,
    “Good talk. Un… take care.”

    I bowed back.
    “Take care,” I said.

    And then he was gone, towel over one shoulder, slippers shuffling lightly across the tiles, the steam folding back in behind him like a curtain.

    I stayed in the hot pool a little longer.
    The very hot one still bubbled beside me, empty.
    Too intense.
    Too much.
    Most people avoided it.
    Just like we avoid the parts of life that burn a little too clearly.

    But maybe, like Ichiro, we’re not meant to seek the strongest sensations — only the real ones.
    The ones that stay, even after we leave the room.
    The ones that don’t need to be remembered in full,
    only felt.

  • The Walk Between Bowls

    The day began in Arita, where the scent of old kilns still lingers in the streets.
    Every spring, this quiet town in Saga Prefecture transforms into a slow-moving sea of footsteps and ceramic clatter—the Arita and Hirasumi Pottery Festival. Rows of stalls stretch for kilometers, spilling porcelain in all shades of white and blue, from antique Nabeshima plates to imperfect yunomi cups, glazed like clouds with cracked edges.

    You go there not to shop quickly, but to wander.
    To feel texture with your fingers.
    To watch old potters who once fired with firewood now sell their legacy beneath plastic tents.

    I walked for hours.
    Arita to Hirasumi.
    Back again.
    Down side streets, into family-run shops with tatami mats and handwritten signs.
    Some vendors offered tea. Others stories.
    No rush.
    No pressure.
    Just clay shaped into permanence by patient hands.

    When I finally checked the bus schedule, I realized I had missed the last afternoon ride back.
    Typical.
    I didn’t feel annoyed, just tired—bone tired.
    So I walked again, slowly, to Takeo City.
    And there, almost without planning it, I ended up inside the Takeo City Library.

    It wasn’t like any library I’d been to.
    A long glass wall filtered the light just enough to feel like sunset all day.
    Wooden beams lined the ceilings like a temple.
    Books arranged with care, not crammed.
    There was a Starbucks inside, but it didn’t feel loud. Somehow, it fit.
    A quiet hum of life, not distraction.

    I sat for two hours without reading a single thing.
    Just listening.
    To paper sliding.
    To children whispering.
    To a student somewhere gently tapping a pencil, lost in thought.

    Sometimes rest doesn’t mean stopping.
    It just means stopping the need to make progress.
    And that’s what the library gave me—space to stop without guilt.

    When the sun began to slip behind the mountains, I walked to the Takeo Onsen gardens.
    No plan.
    Just enough light for the maple leaves to flicker like small lamps in the dusk.
    There’s an old camphor tree there—one of Japan’s largest.
    It looks less like a tree and more like a forgotten god, half-asleep, letting its moss grow wild and its roots split stones without asking permission.

    I stood in front of it for a long time.
    Didn’t pray.
    Didn’t think.
    Just stood.
    Sometimes, being in the presence of something ancient is more nourishing than food.

    But by the time I made it back to town, I realized I was starving.

    That’s how I found the ramen place.

    Tiny.
    Tucked into the corner of a silent block.
    One old woman slicing green onions, chop chop, with machine rhythm.
    One man behind the counter. Middle-aged. Wearing an apron stained by years of broth and time.

    When I walked in, he looked up.
    I asked, “What do you recommend?”
    He said, “Ramen.”

    I smiled.
    Tried again.
    “What kind of ramen?”
    He shrugged. “Ramen.”

    So I sat.
    And I waited.
    And eventually, a bowl arrived.

    Steam rising in soft spirals.
    The smell of green onion so thick it felt like air itself had been seasoned.

    The broth was clear, not showy.
    The noodles—chewy, almost elastic.
    No egg. No frills. Just onion, noodle, broth.
    A few slices of pork curled gently at the edge.
    Everything was touched by green onion.
    Every bite a variation of the same sharp, earthy note.

    It was perfect.

    The Simplicity That Doesn’t Apologize

    That bowl of ramen taught me something I’d forgotten:

    • Don’t explain too much. Let the thing speak for itself.
    • You don’t need variety to have depth. Just honesty.
    • Sometimes the clearest moves are the strongest.
    • When you strip away what’s unnecessary, the essence finally has space to shine.

    It reminded me of a principle once taught by a man who studied more than war—he believed in cutting clean, not to impress, but to end confusion.
    The way the ramen shop owner answered my question with the same word—ramen—again and again.
    Because sometimes, that’s all there is.
    The work.
    The bowl.
    The moment.

    The lesson is always this:
    Refinement is not addition.
    It’s subtraction.
    Keep removing until what’s left is undeniable.

    And that night, in a near-empty shop in Takeo, with steam rising in front of me and silence outside,
    what was left
    was ramen.
    And it was enough.

  • The Night the City Shrank to Two People.

    It was in Kagoshima, a night when the air smelled like warm asphalt after rain, when the neon signs hummed like insects and the ferries slept heavy against the docks.
    I had wandered too far from the station, too long down streets that curled in on themselves like lazy handwriting, without any real plan except to feel the shape of a city that didn’t expect anything from me.

    I stopped at one of those vending machines glowing too bright for the hour, bought a lukewarm bottle of green tea, and leaned against a stone wall, watching the mist rise from the wet pavement.

    That’s when she walked by.
    Small, wiry, wearing a navy skirt and a soft grey sweater two sizes too big, her bag swinging against her hip like it had been part of her since birth.
    She glanced at me, curious but not suspicious, the way people do when they recognize someone who isn’t quite part of the usual scenery.

    I nodded. She nodded back.
    And somehow, without anyone really deciding it, we started talking.

    Her name was Aki.
    She said it like it was obvious. No last name. No explanations.

    She had just finished a job—not office work, not school, something vaguer, something she didn’t dress up or apologize for.
    She told me she did delivery work sometimes, different kinds, whatever was needed.
    Driving. Picking up parcels. Sometimes escorting businessmen from hotels to hostess bars when they got too drunk to find their way.
    “I know Kagoshima better than taxi driver,” she said, smiling like it was a small joke just for herself.

    She was only twenty, but there was something in her voice that was older than that.
    Not jaded. Not bitter.
    Just… solid.
    Like a tree that had learned not to waste energy growing too fast.

    She asked me what I was doing in Kagoshima.
    I shrugged.
    “Looking for nothing,” I said.
    She laughed—quick, soft—and said,
    「いいね。なにも探さないとき、いちばんいいもの見つかるよ。」
    [That’s good. When you’re not looking for anything, that’s when you find the best things.]

    It didn’t feel like a line.
    It felt like she meant it.

    We sat down on the curb next to the vending machine, passing the tea bottle back and forth like we had known each other longer than fifteen minutes.
    The road glistened under the streetlights, empty except for the occasional cat slinking across like it had secret business to attend to.

    Aki told me about growing up here.
    How most people left if they could.
    How she stayed because she liked the mountains being close, liked that even when the city tried to grow loud and fast, the sea and the volcano kept it humble.

    “People rush too much,” she said, staring up at the black sky.
    「小さいこと、ちゃんと見たら、大きいこともわかる。」
    [If you learn to really see the small things, you can understand the big things too.]

    I thought about that.
    The way she said it, casually, like passing on something obvious—like telling me where the nearest konbini was, not something huge and philosophical.
    But it stayed with me.
    Hung there between us, bigger than the mist, bigger than the neon, bigger than the whole ferry port put together.

    Knowing Small Things First

    I realized then that she lived differently than most people I knew.
    She didn’t move like someone trying to win a race.
    She didn’t speak like someone gathering words to sound smart.
    She didn’t dream about faraway cities because she needed to prove she was too good for the one she was born in.

    She just lived exactly where she was.
    Paid attention to the cracks in the sidewalk.
    Knew which vending machine always ran out of milk tea first.
    Noticed when the stray cat that usually slept on the pachinko steps was missing.

    Small things.
    Quiet things.
    Things most people would miss, trying too hard to find something “important.”

    Maybe that’s what Musashi meant, long ago, in a language we don’t speak but still somehow understand—
    to know small things is to know the big ones too.
    To see the thread running through a girl’s beat-up sneakers and the whole wild history of human stubbornness braided together.

    Wabi-Sabi at the Edge of the Docks

    We didn’t exchange numbers.
    Didn’t pretend we’d meet again.

    When the tea bottle was empty and the night had thinned into that strange blue just before dawn,
    she stood up, dusted off her skirt, and bowed slightly.

    「じゃあ、がんばってね。」
    [Well then… do your best, alright?]

    I bowed back, awkward in my heavier way.
    「あなたも。」
    [You too.]

    She laughed once, short and real, and walked off down a side street that bent sharply out of sight.
    No looking back.
    No performance.

    Just moving forward the way trees lean toward the light—without thinking about it, without explaining themselves, without forgetting the ground they came from.

    I stayed a while longer by the vending machine, feeling the city breathe slowly around me,
    thinking how easy it is to chase after big things,
    how hard it is to notice the small ones when they’re already right in front of you.

    And when I finally walked back toward my little rented room above the izakaya,
    I moved slower,
    like I was practicing something I hadn’t known was important until now.

    The art of seeing without rushing.
    The art of knowing without needing to explain.
    The art of being where you are, even if only for one soft, breathing night at the edge of a city that nobody had really noticed was still dreaming.

  • The Talk Under Yakusugi Trees

    It was after three hours of walking through mist that smelled like wet stone and cedar, when I finally found the small shelter by the trail. It wasn’t a real hut—just a leaning structure made of old logs, roof patched with sheets of bark. The kind of place you might miss if you weren’t tired enough to need it.

    Inside, there was already someone there.
    An old man, maybe sixty, maybe seventy. Hard to say. His rain jacket was so faded it looked like riverbed stone. He was sitting cross-legged, pouring tea into a metal cup from a small thermos, steam curling up and disappearing into the cold air.

    When I slid the door open, he looked up but didn’t smile.
    He just nodded once, slow and tired like a tree bowing to wind.

    I stepped inside and bowed, brushing the rain off my jacket.
    「こんにちは。」[Hello.]

    He nodded again.
    「おつかれさま。」[You must be tired.]
    His voice was rough, but not unfriendly.

    I sat down a little ways from him. For a while we didn’t speak. Just listened to the rain tapping on the bark roof, the distant call of crows echoing somewhere deep in the mountains.

    Then he poured another cup of tea, and after a pause, slid it toward me.
    「どうぞ。」[Here you go.]

    I took it with both hands.
    「ありがとうございます。」[Thank you very much.]

    He sipped from his own cup, looking out at the mist, then said quietly,
    「今の世界、早すぎるね。」[The world today… moves too fast, doesn’t it?]

    I nodded, not sure yet if he was really talking to me or just saying it to the trees.
    He didn’t wait for an answer.

    「人間の心、そんなに早くできてない。」[The human heart isn’t built to move that fast.]

    His words hung there, heavier than the mist.

    I found myself saying,
    「たしかに。ついていけない気がします。」[True… feels like I can’t keep up sometimes.]

    The old man gave a soft laugh, almost like he didn’t expect me to reply.
    He took another slow sip, then said,
    「機械はね、人間の弱いところ、すぐ分かる。心の穴も、欲も、不安も。」[Machines… they quickly find our weak spots. The holes in our hearts, our cravings, our fears.]

    He spoke the way my grandfather used to—no rush, no need to convince. Just laying the words down like stones in a river, one after another.

    「悪いわけじゃない。ただ…うまく使われてる。」[It’s not exactly bad. Just… being used too well.]

    I didn’t answer. Only watched the steam from my cup disappear into the misty air.
    Somewhere far off, a branch cracked under the weight of rain.

    The Instincts They Learned Before We Could Defend Them

    After a long silence, he added,
    「昔、人間はね、寂しかったら、火を囲んだ。話した。黙った。泣いた。でも、今は…画面だね。」
    [In the old days, when people were lonely, they sat around the fire. Talked. Fell silent. Cried. But now… it’s screens, isn’t it?]

    His voice wasn’t angry.
    Only deeply, terribly sad.

    I said,
    「孤独を埋めるふりして、もっと孤独になりますね。」[It’s like… pretending to fill loneliness, but only becoming lonelier.]

    He smiled faintly.
    「そう。埋まらない穴に、小石を投げてるだけ。」[That’s right. Just throwing little stones into a hole that can’t be filled.]

    Outside, the rain picked up again, drumming harder against the roof, like it was trying to remind us of something older than all our machines.

    Wabi-Sabi in What Doesn’t Shout

    He looked at his cup, then at his hands, as if remembering them after a long time.
    「完璧なもの、続かない。早いものも、燃え尽きる。」[Perfect things don’t last. Fast things burn out.]

    I asked, softly,
    「じゃあ、どうすればいいんですか。」[Then… what should we do?]

    He didn’t answer immediately. Only closed his eyes for a moment, breathing so quietly I thought he might have fallen asleep.

    Then, still without looking at me, he said,
    「遅くてもいい。静かでもいい。写真も、”いいね”も、いらない。自分だけの時間を、ちゃんと生きること。」
    [It’s okay to be slow. Okay to be quiet. You don’t need pictures, you don’t need likes. Just live your own time, properly.]

    The words entered the space between us like mist, touching everything gently.
    No demand. No instruction. Just a simple truth, so old that maybe we were only now starting to remember it.

    I finished my tea in silence. It was lukewarm by then, but it didn’t matter.
    Nothing needed to be perfect here.
    Nothing needed to be shared.

    When the rain softened, the old man packed up his small thermos and stood up slowly, like a mountain rising from mist.

    He bowed slightly.
    「じゃあ、気をつけて。」[Well then… take care.]

    I bowed back, deeper.
    「ありがとうございました。」[Thank you very much.]

    He disappeared into the trees without a sound, swallowed by Yakushima’s endless green.

    I stayed in the hut a while longer, letting the silence wrap around me like another layer of skin.

    I didn’t take a picture.
    I didn’t post about it.

    I just sat there,
    listening to the slow, ancient language of the rain,
    feeling the weight of my own heart return
    to something closer
    to human speed.

    Something the machines could not touch.
    Something only the mist could understand.

    And when I finally stood up and stepped back into the forest,
    I walked slower.
    Much slower.
    As if remembering how to belong again.

  • What My Father Didn’t Explain

    Excerpt from a diary I kept in a shoebox under my bed, dated April 3, 1999:

    “Today I tried to hammer a nail into the bench behind the garage but it bent and I bent it again and now it’s a curve like a fish. I showed it to Dad and he said, ‘Sometimes things bend before they hold.’ I don’t know if that’s good or bad. Mom laughed when I said I’ll build my own desk. She thinks I won’t. I think I will.”

    I was ten when I decided I would stop asking for help.
    Not in a grand, dramatic way. There was no big speech or slammed door, no declaration of independence scribbled on loose-leaf paper.
    It happened quietly. Like most decisions that change you do.

    I had been building something behind the garage.
    A desk, I think. Or maybe it was a fort.
    The details blur. What I remember is the feeling: the ache of trying to make something real with your own hands, without the neatness of instruction manuals or adult interference.

    I was hammering nails into splintered wood I’d scavenged from the back lot. They kept bending. One after the other, a soft curl under too much force. I remember feeling embarrassed. I hadn’t yet learned that failure makes noise.

    My father was watching.
    Not looming, not lecturing. Just there. Drinking coffee in the background, like he had agreed not to intervene unless blood was involved.

    When I showed him the bent nail, he looked at it like it was a good question. Then he said something that didn’t quite land until decades later:
    “Sometimes things bend before they hold.”

    At the time, I thought he was just trying to make me feel better.
    Now I think he was telling me something harder.
    That force without timing doesn’t work.
    That pushing too soon makes even strong things useless.
    That knowing when not to act is sometimes more important than how hard you try.

    Not Every Battle Needs to Be Fought

    I think a lot about that lesson now—how much I misunderstood it.
    How I carried the idea that “never asking for help” was strength.
    That “showing up” meant “showing force.”
    That precision was something you practiced alone.

    But real precision—like real timing—comes from listening.
    To the resistance of the wood.
    To the sound a nail makes just before it bends.
    To the moments when silence holds more strength than strategy.

    When I was older, I read a lesson in a book I won’t name here—
    a lesson that said the timing of action is everything.
    That hesitation can be fatal.
    That once you decide to strike, you must strike.

    But I don’t fully agree.
    Because sometimes not striking is what keeps the structure standing.
    Sometimes choosing not to act is the hardest thing.
    And sometimes, what looks like hesitation is really something deeper—
    a kind of reverence.

    The wisdom to let things settle before you move.

    Wabi-Sabi in the Missed Hit

    I still build things with my hands sometimes. Not desks.
    Mostly meals. Letters.
    Small systems that hold larger emotions.

    And I still bend nails from time to time.
    Emotionally, if not literally.
    I still try too hard before I listen.
    I still jump into moments I should’ve sat with.

    But I return, again and again, to that crooked nail behind the garage.
    To my father’s voice, soft and half-distracted,
    not trying to teach—just observing.
    And I remember:

    Not all mistakes are failures. Some are warnings whispered in splinters.
    Timing isn’t about speed. It’s about alignment.
    Force is only elegant when it listens first.
    There’s more courage in waiting than in rushing forward without rhythm.

    Another diary excerpt from that same week, April 6, 1999:

    “Dad asked if I wanted help with the desk. I said no. I meant yes. But I didn’t want him to fix it. I just wanted him to see it was mine.”

    That’s what it was.
    I didn’t need him to do it for me.
    I just needed to feel like the act of trying mattered.

    And maybe that’s what precision really is.
    Not a perfect hit.
    Not flawless motion.
    But presence.
    Patience.
    The moment you almost act, but don’t—
    because you’re listening.
    And something inside tells you:

    not yet.

    Not now.

    Let the nail wait.
    Let the silence teach you
    when to hold,
    and when, finally,
    to strike.

  • Some Things You Only Learn By Not Flinching

    It happened last Thursday, sometime between the second and third cup of coffee, the kind of overcast day where the light never fully commits, where the sky feels like it’s thinking about something heavy but doesn’t want to talk about it. I had promised myself I would stay offline, but promises made to ourselves are often the first ones we learn how to bend.

    I ended up sitting in a tram that moved too slowly, surrounded by people who weren’t really there—heads down, headphones in, everyone scrolling through different versions of somewhere else. I was holding a book I wasn’t reading, watching a woman in the corner eat a sandwich like she was trying not to disturb it.

    And then I saw him.

    Across from me. Probably fifty-something. Wearing a dark coat that had seen better seasons and hands like he worked with things heavier than screens. He was staring straight ahead. Not at me. Not through me. But into something. Focused in a way that felt strangely old-fashioned, like a photograph from the 1940s had stepped into the carriage and decided to sit a while.

    We made eye contact. Not for long. Just long enough.

    And for a brief, barely noticeable moment, I looked away first.

    That’s it. That’s what this is about.

    That small, ridiculous, quiet moment of looking away.

    It bothered me more than it should have. I got off two stops early and walked the rest of the way, my hands buried in the pockets of a jacket that doesn’t keep out the wind anymore.

    And the entire walk, I kept thinking—Why did I look away?

    He didn’t scare me. He didn’t challenge me.
    But something in his stillness—
    his total lack of flinch—
    unsettled something I didn’t know was unsettled in me.

    We live in a time of hyper-movement.
    Swipe, tap, click, post.
    Reaction before reflection.
    And somewhere in all of it, we’ve become uncomfortable with stillness.
    With unwavering focus.
    With someone simply being there, not asking for attention, not performing their identity, just… watching.

    That man didn’t look away.
    Not because he was trying to assert anything,
    but because he didn’t need to retreat.
    He wasn’t threatened by presence—his or mine.

    And I, apparently, still was.

    On Not Flinching When It’s Easier To

    There’s a certain kind of strength that has nothing to do with force.
    It’s not loud.
    It doesn’t raise its voice or prove its position.
    It doesn’t scramble when silence stretches too long.

    It’s the strength of being able to hold stillness like a sword.
    Of watching without trembling.
    Of not needing to look away just because the moment becomes uncomfortable.

    There are lessons we cannot learn through thinking.
    Only through tension.
    Only through the practice of staying exactly where we are when everything in us wants to shift, fidget, escape.

    I used to believe action was everything.
    That movement was progress.
    That stepping forward—even blindly—was better than pausing.
    But now I wonder if the real difficulty is not in striking,
    but in waiting.
    Waiting without apology.
    Without collapse.
    Without hiding behind false humility or reaction.

    Wabi-Sabi in the Gaze That Holds

    Wabi-sabi teaches us to honor the flawed, the quiet, the enduring.
    But I think it also teaches us something else—
    to hold our gaze.
    Not with aggression,
    but with presence.
    To say, without saying,
    “I am here. I see you. I see myself.”

    It reminds us:

    You don’t have to react to everything. Some things are asking to be witnessed, not answered.
    Holding your ground is not about dominance. It’s about integrity.
    There is nothing shameful in silence. There is power in staying still.
    The person who flinches first often regrets it longer. Not because they lost—but because they blinked at their own truth.

    I got home that day and poured a cup of tea, the kind that takes its time to cool and doesn’t ask for sweetening. I didn’t open my laptop. I didn’t check the news. I sat there, letting the steam rise toward a ceiling that never answered my questions.

    I thought about that man.
    I thought about how I flinched.
    I thought about how, next time, I want to hold the stare.

    Not as a test.
    Not as defiance.
    But as a practice.

    Of presence.
    Of steadiness.
    Of letting discomfort pass through me without collapsing under it.

    Because maybe real strength
    has less to do with what you fight
    and more to do with what you don’t run from.

    And maybe, just maybe,
    everything we’re trying to become
    starts there—
    in that one small, almost invisible moment
    where we decide
    not to look away.

  • What You Choose When No One’s Watching

    There’s a moment after the rush—after the emails stop, the notifications dull, the messages go unread—when the world no longer pulls on you. It doesn’t last long. A breath. A blink. The quiet between two trains. But if you’re paying attention, you’ll feel it.

    It happens when the dust begins to settle.
    When the air clears just enough for you to see yourself again.
    Not the version you broadcast.
    Not the one that performs or responds or reacts.
    But the version that simply is.

    Most of us don’t wait long enough to meet that version.
    We move too quickly.
    Scroll too far.
    Answer before we’re ready.
    We confuse speed with clarity, visibility with purpose.

    But clarity doesn’t come from input.
    It comes from stillness.
    From the space between distractions.
    From watching how you choose when there’s no one left to impress.

    I once spent an entire weekend alone in a cabin outside Lucerne. No reception, no signal, just a kettle that hissed like it had something to say and a window that framed the mountains like a slow-moving painting. At first, the silence was unbearable. It itched. It buzzed. I kept reaching for my phone like a phantom limb.

    But then the noise inside me began to quiet. Not all at once, but gradually, like fog lifting. I started to notice my own rhythms—when I was hungry, not just bored. When I wanted to write, not just fill time. When I missed someone genuinely, not out of habit.

    And in that stillness, I realized:
    The truest part of me doesn’t need an audience.
    It just needs permission.

    Wabi-Sabi in the Unseen Choice

    Wabi-sabi honors what’s natural, what’s quiet, what endures. It teaches that the sacred often arrives without spectacle. That real beauty lives in the small, the ordinary, the moments that pass unnoticed by everyone but you.

    It reminds us:

    Your quiet choices are still choices.
    Doing something only for yourself is not selfish. It’s spiritual.
    There is dignity in privacy. In restraint. In presence.
    What you do when no one’s looking is the shape of your character.

    So let the dust settle.
    Then listen.

    Not to the algorithm.
    Not to the echo of everyone else’s urgency.

    Listen to the way you rise in the morning when no one expects it.
    To the meal you make with care even when it’s just for you.
    To the project you return to, not for praise,
    but because something in you wants to finish it.

    Don’t prove.
    Don’t post.
    Don’t explain.

    Just live.
    And let the sacredness of your quiet choices
    be enough.

  • What We Really Need

    The rain had softened by the time I reached the edge of Anbo village.
    The road was slick, shining like a polished stone under the early evening mist, and the mountains behind it stood heavy and blue, wrapped in layers of cloud that looked too thick to breathe but somehow didn’t seem to bother anyone.

    I passed a woman who was hanging fish to dry under a crooked awning, the smoke from her little fire twisting up into the damp air like it was trying to write something.
    Further down, two old men in rubber boots were kneeling in a muddy field, laughing at something I couldn’t hear, their bodies moving with that slow, worn rhythm that only comes from years of doing the same work, the same way, without apology.

    There was a boy sitting on a low wall, peeling a mikan with quiet precision, the orange scent breaking through the smell of wet earth and moss.
    He wasn’t looking at his phone.
    Wasn’t fidgeting.
    He was just peeling, piece by piece, like he had all the time in the world.

    I stopped for a long time on that road.
    Not because I needed to.
    Because something in me didn’t want to rush past what felt too rare to disturb.

    I thought about the city I had left behind.
    The dozens of rooms filled with blinking screens, the elevators that moved faster than thinking, the endless hollow negotiations of what was important, what was worth chasing.
    None of it felt real here.
    None of it felt necessary.

    Watching the woman with the fish, the men in the fields, the boy and his mikan,
    it struck me so sharply I almost said it out loud—
    Happiness wasn’t complicated.
    It wasn’t curated or performed.
    It wasn’t stitched together from long wishlists or career checkmarks or carefully constructed versions of ourselves.

    It was something else entirely.
    Something smaller.
    Something softer.

    Essentials, Nothing More

    In The Book of Five Rings, Musashi wrote that a warrior must know the essentials of his craft, and throw away anything that isn’t truly needed.
    “Do not collect weapons you will not use,” he said.
    “Do not burden yourself with armor too heavy to move freely.”

    Maybe it isn’t only about fighting.
    Maybe it’s about living, too.

    Maybe happiness comes down to the same idea:
    Know what you really need.
    And let the rest go.

    The woman needed fire.
    The men needed good soil and strong hands.
    The boy needed the simple pleasure of pulling something sweet from a peel with his own fingers.

    Nothing was missing.
    Nothing was wasted.
    Nothing was pretending.

    Wabi-Sabi in the Ordinary

    There was wabi-sabi everywhere on that street.
    In the sagging lines of the awning.
    In the lopsided way the drying racks leaned.
    In the muddy boots left at the field’s edge like silent sentries.

    Everything was worn.
    Everything was imperfect.
    Everything was enough.

    Maybe that’s the secret we forget when we move too fast, when we chase too many things we don’t really love:

    • That contentment isn’t a mountain you climb. It’s a garden you tend quietly, every day.
    • That joy doesn’t come from accumulating, but from shedding what isn’t needed.
    • That small satisfactions — clean air, honest work, good food, warm light — are not stepping stones. They’re the whole road.
    • That no one is coming to hand us meaning. We make it ourselves, in the way we hang fish to dry, or share a fruit, or kneel in wet earth without hurry.

    I stayed until the last light pulled itself out of the sky.
    Then I kept walking, slower than before, the way you walk when you know there’s nothing to catch up to,
    nothing to race toward.

    Yakushima breathed all around me — thick, alive, indifferent — and I let it carry me the way water carries a leaf: not quickly, not forcefully, but naturally, inevitably, enough.

    I didn’t take a picture.
    I didn’t write a list.
    I didn’t wonder if I was doing enough.

    I just breathed.
    I just watched.
    I just lived.

    And somewhere far beneath all the noise I usually carried with me,
    I felt something shift, something small but irreversible—

    like an old sword finally being put down,
    because the fight was never outside.

    It was always the weight of unnecessary things,
    the burden of forgetting
    how little we really need
    to be free.

  • The Quiet Return to Myself

    It started, I think, with the dishes. Not all at once—no dramatic avalanche of dirty plates, no sudden realization under fluorescent kitchen light—but with a single cup left in the sink longer than it should’ve been. Then another. Then a fork, a half-empty bowl, a pan with the quiet weight of old oil still clinging to it. I didn’t notice at first. That’s the strange thing. The unraveling was so slow, so quiet, it passed beneath my own attention.

    I was still working. Still meeting deadlines, still replying to emails with just enough punctuation to appear human. Still showing up to things I said I’d show up to, laughing when it seemed appropriate, nodding when someone was making a point. But something inside me—some quieter part that usually tracked the edges of life—had gone completely silent. The rhythm had gone. That low, anchoring thrum of daily rituals that once made my life feel like it belonged to me and not some invisible, rushing thing I had to keep up with.

    I began sleeping strange hours. Not out of rebellion, but erosion. I stayed up too late, scrolling past things I didn’t care about. I ate whatever was closest, rarely warm, often standing. I stopped sitting down to eat. I stopped cooking. I stopped noticing the taste of anything. My body moved, but my thoughts were static—like a radio left tuned to an empty frequency.

    And then, one morning, without deciding anything, without some new plan to be better or start over or become the version of myself I had once sketched out in notebooks and never become—I boiled water. That was it. Just water. No music. No affirmation. No productivity attached to the act. I wasn’t trying to reset. I just wanted to hold something warm.

    I poured the water into the old ceramic mug with the crack that looks like a river. I didn’t check my phone. I didn’t open my laptop. I didn’t even sit down. I just stood there, barefoot on the cold floor, watching the tea steam rise into the morning air like breath I hadn’t taken in weeks.

    And in that stillness—where nothing had really changed, but everything suddenly felt different—I realized I had returned. Not completely, not all at once, but enough to feel the floor under me again.

    The next day, I made tea again. The same mug, the same water, the same unremarkable brand of loose leaf I’d forgotten I still had in the cupboard. There was something reassuring in the repetition, something deeply human in the idea that you could build your life back from something as small as a daily cup of tea. It didn’t feel like a routine, not yet. It felt like a rhythm. A heartbeat returning beneath the static.

    From there, things didn’t transform dramatically, but they softened. I found myself folding laundry instead of letting it live in baskets. I started putting away the dishes before bed, not for cleanliness but because the quiet sound of plates finding their place made me feel like I was also finding mine. I began washing my face with both hands. Not hurriedly, not for outcome—just to feel the water, to return to the skin I’d been ignoring.

    None of these things made me impressive. They didn’t lead to a six-step morning routine or a glowing Instagram post about mindfulness. They were invisible things. Small things. But they reminded me who I was. And more importantly, how to be myself again.

    Discipline, I learned, isn’t about control. It isn’t about force or productivity or some harsh version of self-mastery. Discipline, in its gentlest and most honest form, is remembering. It’s remembering that there is a version of you that doesn’t need to be fixed, only tended to. A version of you that doesn’t rise early or answer every message or make brilliant work every day, but who knows how to sit in a chair, drink tea, and feel the light on their face without needing to do anything about it.

    The world didn’t slow down. The pace outside stayed loud, fast, demanding. But I stopped letting it dictate how I moved. And that shift, though nearly invisible to anyone else, changed everything for me. Not all at once, not with fireworks—but in the same way you notice that winter is ending: first by the sound of melting, then by the return of birds.

    Wabi-Sabi and the Return to the Ordinary

    Wabi-sabi has always taught that the beauty of life is in the imperfect, the incomplete, the quietly enduring. It teaches that broken things can still hold water, that old routines—when returned to slowly and without pressure—can feel more sacred than the most elaborate rituals. It reminds us:

    You don’t need to overhaul your life to return to it. Start where your hands already are.
    Repetition isn’t failure. It’s healing in motion.
    Slowness is not laziness. It’s trust in time.
    You do not need to be whole to begin again. You only need to be here.

    So if you find yourself far away from yourself—if your days have blurred, if your cup has been in the sink too long, if the thought of “starting over” feels like another task you’ll fail to complete—don’t chase something bigger. Don’t plan a transformation.

    Boil water.
    Breathe.
    Stand in your kitchen and hold something warm.

    Because sometimes, the most powerful way to come home
    is not to rebuild everything from scratch,
    but to notice that you never really left—
    you just forgot the way back.

    And maybe that way begins, always,
    with something as small
    as tea.

  • The Day I Stopped Needing Things to Make Sense

    There was a time in my life when I tried to explain everything.
    Pain.
    Distance.
    Why someone left without a proper goodbye.
    Why something I worked hard for didn’t unfold the way it should’ve.

    I needed a narrative. A clean arc. A cause and effect.
    I needed the world to behave like a novel — with tension, turning points, and a final chapter where everything clicked into place.

    But life, I’ve learned, doesn’t owe us that kind of symmetry.

    One autumn, not long ago, I sat at a bus stop in a town I didn’t know well. It had just rained — the kind of fine rain that makes the leaves stick to the pavement like forgotten thoughts.
    I had nowhere to be, really.
    Something in me had just needed to move.
    To not be in the same room with the same questions I’d been looping through for weeks.

    A woman sat next to me.
    Maybe in her seventies.
    She didn’t speak. Just watched the sky, hands folded neatly in her lap like she had all the time in the world.

    At some point, she turned and said,
    “There’s no need to figure everything out. Some clouds just pass.”

    That was it.
    She didn’t explain what she meant.
    Didn’t need to.


    When Letting Go of the Story Is the Only Way Forward

    I had been trying to label everything.
    This was a failure.
    This was a lesson.
    This person was good.
    This one hurt me.
    This moment is supposed to mean something.

    But that need — to name, to sort, to wrap things in understanding — was also the thing keeping me stuck.

    Because some moments… are just moments.
    Some endings don’t reveal why.
    Some chapters remain incomplete.

    And when I stopped trying to extract meaning from every detail, I found something better than answers:
    Peace.


    Seeing Things As They Are (Not As You Wish They’d Be)

    When you stop needing everything to make sense, you begin to see what is.

    • A pause isn’t necessarily failure.
    • Someone’s silence isn’t always rejection.
    • A door closing might not be about you at all.

    You start noticing smaller things.
    How light lands on a windowsill.
    How your breath evens out when you’re not rushing toward clarity.
    How sometimes, the absence of something leaves more space than the thing ever could.


    If You’re Looking for Closure, Consider This

    Closure isn’t always given.
    Sometimes it’s created — not by getting answers, but by releasing the need for them.

    Let go of the old emails you keep rereading.
    Let go of the question that never got a reply.
    Let go of the version of yourself who thought they needed that explanation to move on.

    You don’t need to know why someone changed.
    You don’t need a perfect ending.
    You just need to come back to where your feet are.

    Here.
    Now.
    Alive.

    Still becoming.


    Final Thoughts: Meaning Isn’t Always Immediate

    There are seasons when life will feel like static.
    Moments will arrive that don’t fit any pattern.
    Some people will leave without a final word, and some wounds will close without a scar.

    You don’t have to find meaning in all of it.
    Sometimes, you just have to let it pass through you.
    Without gripping. Without judging. Without forcing a name.

    That, in itself, is a kind of wisdom.

    Not everything has to be resolved.
    Some things just need to be witnessed.

  • How I Learned to Move Through Chaos (Without Losing Myself)

    It started with something small.
    A canceled plan.
    Then another.
    Then the slow collapse of what I thought was a solid routine — the kind that gave shape to my days and made me believe I had control.

    I watched as things slipped through the cracks: income streams drying up, relationships shifting into silence, goals I’d worked toward suddenly becoming irrelevant.

    There was no grand crisis.
    No visible wreckage.
    Just this subtle unraveling — like a thread pulled slowly through the hem of a well-worn jacket.

    And I didn’t know how to fight it.
    Because there was nothing to fight.

    That’s the thing about certain seasons of life.
    They don’t announce themselves with a bang.
    They just shift beneath your feet until you’re no longer sure where the ground is.

    At first, I tried to fix it.
    To rebuild the structure, force clarity, outrun the fog.
    I signed up for online courses, wrote aggressive to-do lists, planned future projects with a desperation that felt like drowning.

    None of it worked.
    The more I pushed, the more brittle I became.

    Until one day, I stopped.
    Not out of peace. Out of exhaustion.

    I let the stillness swallow me whole.


    Adapting When Everything Changes

    What I learned in that strange quiet is this:
    Sometimes, the way forward isn’t forward.
    It’s deeper.
    More fluid.
    Less about conquering and more about softening into what is.

    Life doesn’t pause because we’re overwhelmed.
    It just keeps moving.
    And the only way not to break is to move with it.


    How I Rebuilt My Rhythm From Chaos

    Slowly, I began to live differently.

    • I stopped asking, “How do I get back to normal?” and started asking, “What wants to emerge from here?”
    • I allowed myself to pivot — in work, in relationships, in identity — without needing it to make sense to anyone else.
    • I let go of plans that no longer felt alive and gave myself permission to improvise.

    And in that letting go, I didn’t find chaos.
    I found capacity.

    The ability to listen.
    To bend.
    To respond instead of react.
    To shape-shift without losing the core of who I am.


    If You’re Feeling Lost, Read This

    We are not built for rigidity.
    We are meant to respond.
    To learn from what crumbles, to shift our weight when the ground changes, to know that flexibility is not weakness — it’s wisdom.

    If you’re navigating change — the slow kind, the foggy kind, the kind that leaves no clear instructions — know this:

    You don’t have to hold everything together.

    Let some things fall.
    Let some names fade.
    Let some versions of yourself dissolve.

    The self that rises from that silence might surprise you.
    It might be softer.
    Stronger.
    More rooted in truth than anything you planned.


    Final Thoughts: Resilience Isn’t Toughness — It’s Adaptability

    I used to think strength meant standing tall through the storm.
    But now I know: real strength is knowing when to kneel.
    When to shift your shape.
    When to change your rhythm without losing your beat.

    There will always be seasons when nothing makes sense — when the maps stop working and the signs go blank.
    But if you can stay open, stay moving, stay curious — you’ll find your way.

    Not because you controlled the chaos.
    But because you let it change you, without letting it harden you.

    That, I think, is what it means to truly grow.

  • When I Stopped Explaining Myself

    I was thirty, and tired in a way that had nothing to do with sleep.
    Not exhausted. Not burnt out.
    Just quietly worn from too many years of trying to be legible.

    I lived alone then, in a top-floor apartment with slanted ceilings and a window that caught exactly one hour of afternoon sun. If I placed the chair just right, I could sit in that warm square of light like a plant, not thinking, not speaking—just existing, gently.

    Most evenings I’d make dinner without ceremony. Miso soup. Cold rice. Maybe an egg. I’d eat slowly, not because I had the time, but because I no longer felt the need to rush through the parts of life that didn’t need to impress anyone.

    That year, I stopped giving long answers.
    When people asked how I was, I said, “I’m okay.”
    And let it be true without needing to prove or explain it.
    I stopped trying to be profound in conversations.
    I said “I don’t know” when I didn’t.
    I let pauses stretch a little longer than comfortable,
    and found that they held more honesty than words ever did.

    The Quiet Power of Not Performing

    At thirty, I realized how much of my twenties were spent performing clarity.
    Sounding certain when I was unsure.
    Sounding fine when I was fractured.
    Sounding busy, because being still made me feel disposable.

    But turning thirty felt like a soft undoing.
    Like gently unraveling a knot I didn’t know I was tied into.

    It wasn’t a revelation.
    It was a slow exhale.
    A quiet return to the parts of myself I’d set aside to seem more useful, more likable, more productive.

    And I understood—
    you don’t need to prove your softness is sharp.
    You don’t need to defend your peace.
    You don’t need to be understood by everyone to feel whole.

    Wabi-Sabi in the Letting Go

    Wabi-sabi teaches us that beauty isn’t in perfection.
    It’s in what survives without shouting.
    It’s in what lingers after you’ve stopped trying to make it stay.

    It reminds us:

    • Clarity doesn’t always come with answers. Sometimes it’s just the noise falling away.
    • Not all growth is visible. Some happens in the way you no longer chase what used to hurt.
    • Letting go of needing to be impressive is one of the most impressive things you can do.
    • There’s strength in saying less—and meaning more.

    Now, when I sit in that same chair, in that square of afternoon sun,
    I don’t think about who I used to be.
    I don’t try to write the perfect sentence.
    I don’t check if the world is still paying attention.

    I just sit.
    Quietly.
    Fully.
    Here.

    And in that moment—
    I am not unfinished.
    I am not behind.
    I am not too late or too much or too uncertain.

    I am simply thirty.
    And finally,
    I do not need to explain myself to feel real.

  • The Walk I Didn’t Wait For

    Excerpt from my Pokémon notebook, dated November 2, 2000:

    “Today I walked home alone. Didn’t tell Mom. She thinks I went with Daniel but he left early. I was scared the whole time. There was a cat on the wall and it looked like it knew something. My hands were cold but I kept going. I think I’m different now.”

    I was ten the first time I walked home alone, and even now I can still feel the weight of that decision—not as a memory exactly, but as something more physical, something stored in the way my hands sometimes clench in cold air, or the way I instinctively scan the pavement for cracks when the world feels uncertain.

    Until that afternoon, I had never gone more than a few blocks without someone beside me—an older cousin, a friend from school, or most often Daniel, who lived two floors down and always walked like he had somewhere more important to be. He was the kind of boy who kicked stones out of his way just to watch them ricochet. I admired that, though I never said it out loud.

    That day, Daniel had gone home early. I don’t remember why—maybe a dentist appointment or a fever or just something unspecific and adult-sounding—but he wasn’t there when the last bell rang and the gates swung open and children scattered like birds. I stood there for a few minutes longer than I needed to, backpack straps too tight against my shoulders, wondering if I should wait for someone else or ask to join a group heading the same way.

    But then something strange and unfamiliar swelled in my chest—not boldness exactly, not defiance, just the quiet realization that I could. That no one would stop me if I left right now, if I followed the route I already knew by heart. Eleven and a half minutes. That’s all it was. A left at the bakery with the cracked window, across the intersection with the lopsided stoplight, then past the row of pale houses with flower pots that were always just a little too full.

    So I went.

    The world felt louder walking alone. Each step landed heavier. I noticed the crunch of leaves underfoot, the shifting of birds on wires above me, the sound of a distant door slamming that I was sure—just for a second—was meant for me.

    And then I saw the cat.

    It sat on the low wall just before the underpass, the one covered in ivy and chalk scribbles that never made sense. The cat didn’t move. It didn’t blink. It just stared with the kind of gaze that made you feel like a question had been asked, and you hadn’t yet answered. I wanted to walk faster, but my legs didn’t agree. They kept their pace, stubborn and steady, like they were afraid that to hurry would admit something was wrong.

    I remember thinking, If I make it past the cat, I’ll be fine.
    And I did.

    And I was.

    When I got home, my mother was washing carrots. I told her I had walked back with Daniel like always, even though I hadn’t seen him since lunch. She didn’t question it. Just nodded, flicked water off her fingers, and asked if I wanted a slice of pear.

    I sat at the kitchen table in my damp socks and nodded, saying nothing, feeling everything.

    I wasn’t proud. I wasn’t guilty. I was something else entirely—like I’d stepped just slightly out of the version of myself everyone expected and found, to my own quiet surprise, that the world hadn’t ended.

    That it had kept turning.

    And so had I.

    The Risk You Can’t Brag About

    I’ve taken bigger risks since. Risks with money. With work. With people.
    But none of them carried the same clean weight as that walk home.

    Because that wasn’t a risk you could explain to someone who hadn’t lived inside your ten-year-old chest.
    It wasn’t loud.
    It didn’t come with applause or fear of failure.
    It came with silence.
    With the kind of fear that whispers instead of shouts.
    With the realization that no one would know what you did unless you told them.

    And I didn’t.
    Not for years.

    Because some victories don’t need to be shared to change you.
    Some aren’t even victories, exactly.
    Just steps into your own skin.

    Wabi-Sabi in the Unfinished Courage

    Wabi-sabi reminds us that the beauty of things lies in their imperfections, in their incompleteness, in their becoming.
    That walk wasn’t perfect.
    It wasn’t confident or smooth.
    But it was mine.

    And in that imperfect journey, something essential formed:

    You don’t need to be fearless to move forward. You just need to not stop.
    A risk doesn’t have to look brave to be brave.
    Not every lie is a betrayal—sometimes it’s a bridge you build toward who you’re becoming.
    Some truths arrive later, long after the moment has passed, shaped slowly by memory and meaning.

    Excerpt from the same notebook, written weeks later, November 20:

    “I told Daniel I walked alone that day. He said, ‘Cool.’ Then we threw rocks at a can and I hit it twice. It felt different. Like I was taller, even though I wasn’t.”

    I don’t regret it.
    Not the walk.
    Not the lie.
    Not the fear.

    Because sometimes the risk that matters most
    is not the one that changes your path,
    but the one that changes your sense of self.

    Even just a little.
    Even for eleven and a half minutes.
    Even if only a cat saw it happen.

  • The Risk I Took That Changed Everything (And Why I Don’t Regret It)

    One morning, without warning, I left.
    Not a city. Not a person.
    But a version of myself that no longer felt real.

    There was no grand announcement. No lightning bolt of clarity. Just the slow, aching realization that I had stayed too long in a life that no longer fit — a job that drained me, routines that dulled me, a daily rhythm that ran on autopilot.
    It wasn’t burnout. It was something quieter. Deeper. A soft kind of suffocation.

    So I took a risk.
    I walked away from security, from a stable job, from the path everyone said made sense.

    And at first, everything unraveled.

    I lost the structure I had clung to.
    Woke up at odd hours. Ate cold leftovers. Wandered neighborhoods just to feel unfamiliar.
    It was disorienting — this radical shift from doing to simply being.

    There were no quick wins.
    No five-step plan to reinvent myself.
    Just the raw honesty of uncertainty.
    And still, something in me whispered: keep going.

    Because even when everything felt lost, a quiet part of me knew —
    this was the beginning of something real.


    Why Taking Risks Is Worth It (Even When You’re Scared)

    If you’re standing on the edge of a major life change — considering quitting your job, starting over, or finally listening to that voice inside that’s been growing louder — this is for you.

    We are conditioned to crave certainty.
    To follow the blueprint: career progression, financial stability, predictable milestones.
    But that blueprint isn’t one-size-fits-all. And sometimes, following it means abandoning yourself in the process.

    Taking a personal risk doesn’t always mean making headlines.
    Sometimes it looks like choosing silence over noise.
    Stillness over speed.
    Uncertainty over soul-numbing routine.


    What I Learned From Letting Go

    In the messy middle of not knowing, I found clarity.
    I discovered that:

    • Rest is not failure — it’s a necessary recalibration.
    • Not all productivity is purposeful. Sometimes, doing less creates more room for what matters.
    • Being lost is not a mistake — it’s often the first step toward authenticity.

    I began to rebuild my life — not around productivity or external validation — but around peace.
    Around curiosity.
    Around values that felt like home.


    If You’re Contemplating a Life Change, Read This

    The decision to change your life, quit your job, or walk away from something “safe” might not make sense to anyone else.
    That’s okay.
    It doesn’t have to.

    You don’t need a fully-formed plan to start.
    You just need to listen to what’s true.

    If you’re tired of burnout culture, feeling stuck in a job that no longer aligns, or craving a slower, more intentional life — the risk might be exactly what your soul is asking for.


    Final Thoughts: The Real Meaning of Risk

    Risk isn’t always jumping off cliffs.
    Sometimes, it’s as quiet as refusing to betray yourself for one more day.

    Looking back, I don’t regret the choice I made.
    Because that risk — that uncertain, lonely, unglamorous decision — gave me my life back.

    And in the end, that’s the only kind of success I’m interested in

  • The Pause Between Sentences

    When I was twenty, I spoke too carefully. I shaped my words like furniture in someone else’s house—useful, polite, easy to move if needed. I was living in a shared flat near the train station in Bern, where the walls were thin enough to hear someone brush their teeth but thick enough to keep their loneliness in.

    I had just started university, and everything felt like a test I hadn’t studied for. Every conversation, every glance across a seminar room, every pause after saying something that maybe didn’t land quite right. I read too much philosophy back then, underlined too many things, tried too hard to sound like I knew what I was doing. But I didn’t.

    One night, during a literature class, the professor asked us to speak about a passage—something about silence in a story by Dazai. I raised my hand, not because I had something meaningful to say, but because I was tired of listening to myself stay quiet.

    When I spoke, my voice caught. Just a little. Like it had tripped on its own shoelace. The sentence didn’t flow. It felt jagged, too soft at the end.

    No one said anything.
    The room stayed still.
    And I thought I’d failed.

    But then the professor—he was older, calm in a way you can’t fake—nodded slowly and said,
    “Yes. That’s it exactly.”

    That was all. No praise. No spotlight.
    Just a soft affirmation that I hadn’t ruined everything by speaking.
    That maybe, even the words that come out uneven
    still land where they’re meant to.

    The Quiet Terror of Being Heard

    At twenty, what made me nervous wasn’t rejection.
    It was the possibility of being understood.
    Of saying something so close to the truth that someone else would recognize it.
    And what then?
    What if they saw me?
    What if I could never hide again?

    But nervousness, I’ve learned, is not something to outgrow.
    It’s something to walk beside.
    A reminder that something inside you matters enough to risk.

    It doesn’t mean you’re unready.
    It means you’re awake.

    Wabi-Sabi in the Half-Spoken Thought

    Wabi-sabi is not just about the cracked bowl or the faded fabric.
    It’s about the moment your voice falters but doesn’t fall.
    It’s about the sentence that ends strangely
    but still means something to someone.

    It reminds us:

    • You don’t need to speak perfectly to be understood.
    • A trembling truth still holds weight.
    • Even soft words can leave deep impressions.
    • Sometimes silence is the second half of a sentence.

    Now, when I speak—when I write—there’s still that hesitation.
    That small echo of twenty-year-old me,
    sitting in a too-bright classroom,
    wondering if the room would forgive me for being real.

    But I’ve learned to love the pause.
    The unevenness.
    The way some thoughts only find their shape after they’ve been spoken aloud.

    Because maybe it’s not about saying it right.
    Maybe it’s about saying it anyway.
    And trusting that someone, somewhere,
    is waiting to nod slowly and say,
    “Yes. That’s it exactly.”

  • The Soft Paper Moment

    When I was eight, I learned what it meant to be seen. Not the kind of seeing where someone waves at you in the hallway or calls your name for attendance. But the raw, irreversible seeing that happens when you step out from behind whatever has been keeping you safe and place something delicate in the open.

    It was a Wednesday. I remember this because my shirt still smelled like Tuesday’s rain, and my socks had that damp stiffness they get when they’re not quite dry from the night before. I stood in front of the class gripping a sheet of paper that had grown soft in my palm—thinner by the second, like rice paper left too long in the rain.

    I’d practiced the poem for days. Out by the stone wall behind our house, where the ants moved like they had somewhere quiet and important to be, and the trees listened without judgment. Out there, the words came easily. They poured. I whispered them like secrets to the wind. I believed them.

    But in the classroom, everything changed.

    Halfway through, I lost the line. Just—gone. Like it had never belonged to me at all. A pause opened up in the middle of the sentence. It didn’t feel like forgetting. It felt like falling through glass.

    Nobody laughed.
    Nobody saved me.
    Time just… hovered.

    And then I kept going.
    Softer.
    Careful.
    As if I was afraid the silence might crack if I pushed too hard against it.

    When it was over, no one clapped. There wasn’t applause. There wasn’t ridicule. There was just life, moving on. Except for one boy—one I never really spoke to—who walked past my desk and gently slid my pencil back beside me.

    “Cool poem,” he said.
    Just like that.
    Like it was normal.
    Like he hadn’t just witnessed me unravel and reassemble in front of twenty-four blinking faces.

    What Makes Me Nervous

    Still, to this day, it’s that moment. The stepping out. The exposure. The chance that the words won’t come, or worse, that they will—and no one will care. That I’ll say something true and be met with silence.

    But nervousness, I’ve learned, isn’t weakness. It’s not failure waiting to happen.
    It’s presence.
    It’s proof that something inside you is real enough to risk.

    We get nervous when we approach the edge of something important.
    When the stakes, however small, feel connected to who we are.
    And that’s not a flaw.
    That’s a signal.

    Wabi-Sabi and the Voice That Quivers

    Wabi-sabi reminds us to find beauty in what is not polished.
    In the unedited draft.
    In the trembling voice.
    In the pauses we didn’t plan, but still survived.

    It teaches us:

    • Nervousness is a form of aliveness. A sign you’re paying attention.
    • A poem remembered imperfectly can still be unforgettable.
    • Cracks let the light in—but also let it out.
    • What you risk sharing imperfectly might become someone else’s quiet bravery.

    So now, when I feel that same flutter,
    when the paper softens in my grip again,
    when my voice shakes before it finds its footing,
    I think back to that moment.

    The falling.
    The line forgotten.
    The boy with the pencil.

    And I remember:
    Even the nervous stand tall for a while.
    Even silence carries recognition.
    And even the most imperfect offerings
    can echo in someone else’s chest
    long after they’re spoken.

  • The Art of Unwinding Imperfectly

    In the quiet stretch after a demanding day, I never look for perfection.
    I don’t have a five-step routine.
    I don’t light scented candles or listen to curated playlists.
    Most nights, I don’t even sit properly. I slump. I breathe. I let things unravel—gently, without shame.

    There’s an old cushion on the floor that’s lost half its shape.
    A chipped cup I keep reaching for without thinking.
    A dim lamp that hums more than it glows.

    This is where I unwind.
    Not in the pursuit of stillness, but in the permission to stop trying so hard.

    When Less Is Enough

    In a world that pushes us to optimize every second, to monetize hobbies and biohack peace, there’s something quietly radical about doing nothing well.

    Wabi-sabi, the Japanese philosophy of imperfect beauty, reminds us that the broken, the used, the simple—these are not flaws.
    They are features.

    And so I’ve stopped chasing the perfect end to a long day.
    Instead, I find softness in the ordinary:

    • A reheated bowl of soup eaten over the sink.
    • A half-finished book I don’t mind reading slowly.
    • A long pause in a message to a friend—not because I don’t care, but because I want to say it right.

    And when I do write that message—sometimes days later—it’s honest.
    Like this one:

    “Just wanted to say—I always enjoy our coffees and conversations, even if they only happen once in a while. There’s something about the way we catch up that always feels easy and grounding. Looking forward to the next one, whenever it happens. Take care till then.”

    That’s it.
    No exclamation marks.
    No performance.
    Just presence.

    What We Forget About Rest

    Unwinding isn’t a reward.
    It’s a return.
    Not to efficiency.
    But to yourself.

    And the most meaningful ways to decompress often look like nothing at all:

    • Sitting with someone who doesn’t need you to be interesting.
    • Letting your mind wander without guilt.
    • Drinking your tea before it’s the perfect temperature.
    • Leaving the dishes for tomorrow.

    There’s grace in the undone.
    There’s healing in the half-finished.
    There’s peace in not polishing the moment.

    Wabi-Sabi Lessons in Everyday Rest

    The end of the day doesn’t need to be aesthetic.
    It just needs to be yours.

    Let wabi-sabi guide your evening:

    • Let stillness arrive when it wants. Don’t chase it.
    • Not every ritual needs to look like a ritual. If it calms you, it counts.
    • Messages from the heart take time. That’s a sign of care, not delay.
    • Imperfection is not failure—it’s the shape of something real.

    So if today wore you thin,
    don’t pressure yourself to recover beautifully.

    Sit somewhere soft—even if it’s the floor.
    Drink something warm—even if it’s instant.
    Message someone who makes you feel like yourself—even if it’s just to say you’re thinking of them.

    And when the quiet finds you,
    let it in.

    You don’t need to fix this day.
    Just let it end.
    Softly.
    Honestly.
    Enough.

  • The Way the Light Fades in Familiar Places

    There’s something about the walk home after a long day that feels more honest than anything that came before it. Not the work itself. Not the conversations. Not the tasks crossed off or the mistakes quietly buried. Just the walk. The slow, in-between pace that happens when you no longer have to perform.

    I don’t listen to music on those walks. I used to. But now I prefer the echo of my own footsteps. The way the streetlights flicker on one by one like tired guardians. The soft click of a stranger’s bicycle passing in the opposite direction. A cat blinking at me from a windowsill, as if to say, You again?

    That’s usually when I start to exhale—genuinely, unconsciously. Not for effect. Just because the body remembers, even when I forget, that it’s okay to let go.

    When I finally get home, I don’t chase comfort. I let it arrive on its own terms. Maybe it’s the hum of the kettle, the promise of warm tea. Maybe it’s the way I sit on the floor instead of the chair, back against the wall, feeling the coolness of the wood through my shirt.

    Or maybe it’s the moment I think of you.

    Not in a dramatic way.
    Not like something cinematic.

    Just a quiet thought, the kind that rises like steam.
    I remember our last coffee.
    The way the conversation didn’t need direction.
    How the pauses felt full instead of empty.

    We don’t meet often, but when we do, it feels like something inside me returns to the right frequency.
    Like tuning a radio that had been just slightly off all week.
    You say something simple, I laugh, and for a second the noise in my head dissolves.

    That’s how I unwind.
    Not with rituals.
    Not with wine or yoga or scrolling until the thoughts are too tired to argue.

    I unwind by remembering the soft places.
    The safe ones.
    The moments that didn’t demand anything of me.

    I think of conversations that felt like standing in the sun just long enough to warm your bones.
    Of coffee in small ceramic cups.
    Of glances that didn’t look through you,
    but to you.

    And I look forward to the next one—whenever it happens.
    No rush.
    No pressure.
    Just the knowledge that it will.

    Somewhere down a familiar street.
    In a café with too much ambient jazz.
    Across a table with chipped corners.
    Two voices,
    easy and grounding.

    The kind that reminds you you’re still human,
    and somehow,
    still okay.

  • The Story She Almost Didn’t Tell

    It was a quiet evening in early spring, the kind where the wind hadn’t quite decided if it still belonged to winter. I’d come over to see a friend, but she was upstairs, still getting ready or maybe just lost in her own timing. I found myself sitting instead in the kitchen with her mother, a woman whose presence felt like a book you’d forgotten you already started—warm, familiar, just waiting for you to open to the next page. The kitchen was lit by a single amber bulb and smelled of something baking—yeasty and soft and hard to place, like memory before it fully forms. She offered me coffee in a chipped white mug, and I took it. No sugar. No milk. Just the two of us and the slow hush of the house around us.

    She looked at me for a while, not in the way people usually look when they’re trying to think of something polite to say, but like she was measuring whether I was someone who could hold what she was about to share. Then she asked, out of nowhere, “Have you ever been to India?” I shook my head. “Not yet,” I said. She smiled gently and leaned back in her chair. “I went in ’65. It was different then. Not better. Just… slower. Quieter. But louder inside.”

    I said nothing and just sipped the coffee, which had already gone lukewarm. And then, as if a door had creaked open somewhere deep inside her, she began to speak—not like someone performing a memory, but like someone revisiting a room she hadn’t stepped into for years. She told me about joining a Peace Choir when she was barely twenty. How they sang to raise money for the Red Cross, and how someone at some point asked if she’d be willing to go. Not for music, but for help. “They needed hands,” she said. “Not voices. Not opinions. Just hands.”

    She flew to South Korea first, long before it looked anything like the place people post about now. There, she spent three months baking donuts for soldiers in a makeshift kitchen that always smelled like oil and flour and exhaustion. “We didn’t have measurements,” she said, almost laughing. “We made them by feel. You just knew when the dough was right. Like how you know when someone’s about to cry—you don’t need them to say anything.” She paused, then added, “Some of them cried anyway. The soldiers. Usually the younger ones. Said it reminded them of home. Not the donut. Just the fact that someone made something warm.”

    When Korea ended, she went to India. Alone. She carried travel cheques in her bra and a notebook filled with half-written addresses of people she was supposed to meet. Delhi, Jaipur, Madurai. She learned to navigate chaos without Google Maps, to haggle in markets without words, to trust people because sometimes that’s the only way to keep moving. “Everything felt alive,” she said. “And everyone seemed to know something I didn’t—but they didn’t hold it over me. They just let me walk beside them.” She lost her shoes in a temple. Slept through a monsoon. Shared her last chocolate bar with a child who gave her a mango in return, sticky and warm and perfect.

    I listened. I didn’t say much. Just nodded when it seemed like the right thing to do. Her voice was steady, but the story held weight, the kind that builds in your chest when someone shares something they almost forgot they were still carrying. She didn’t tell it like a triumph. She didn’t dress it up in nostalgia. There were no metaphors, no grand morals. Just the facts, and the feeling underneath them. A life lived, not documented. Held in muscle and memory, not in posts or pictures.

    When she stopped talking, the silence between us felt full, not empty. She stared into her coffee for a moment, then said quietly, “I didn’t go to find myself. I just went because something needed doing. And I knew how to do it. That was enough.” I wanted to tell her how rare that felt. How good it was to hear something unpolished, something not built for display. But I didn’t say any of that. I just nodded again. Because some stories don’t ask for praise. They just ask to be heard.

    Now, whenever I scroll through endless feeds—flashes of curated adventure, filtered meaning—I think of her. I think of the donuts made by hand. The crumpled travel cheques. The moment someone handed her a mango in exchange for kindness. I remember that not all journeys are for show. Some are for service. Some are for stillness. Some are for stepping into the unknown, not to be seen, but to bear witness. And I wonder how many stories like hers go untold—quiet, weighty things sitting in old kitchens, waiting for someone to listen long enough for them to unfold.

    Because the stories that matter most don’t always shine.
    They simmer.
    They stay.
    And if you’re lucky,
    someone offers you coffee,
    and they let you hold one for a while.

  • The Quiet Between Signals

    screen light on my face—
    still, the ramen steam feels more
    like being alive

    I use social media the way you might sip from a too-sweet drink—
    occasionally, cautiously,
    wondering if you’re thirsty or just bored.

    It’s there, in my pocket.
    The little rectangle that hums with updates,
    with curated lives,
    with thoughts trimmed down to the size of attention spans.

    And sometimes I scroll.
    Not because I want to,
    but because it’s late,
    and the silence starts to echo too loudly through the room.
    So I let someone else’s life fill the space.
    A stranger’s vacation.
    A recipe I won’t make.
    A quote about peace,
    surrounded by chaos.

    But more and more, I find myself setting it down.

    The Things That Don’t Fit in Frames

    A bowl of soup on a cold morning.
    The texture of worn-out denim against your skin.
    The sound of someone breathing next to you,
    not saying anything,
    but saying everything.

    These things don’t translate well.
    You can post the picture,
    but the smell doesn’t come with it.
    The warmth.
    The uneven chop of green onion floating in the broth.
    The way someone laughed,
    just once,
    while you were chewing.

    You can’t upload that.
    And maybe that’s why it matters.

    The Reluctance Is a Kind of Love

    It’s not that I hate social media.
    It has its uses.
    It’s a way to touch,
    when physical distance stretches too far.
    It’s a way to say “I’m still here,”
    without needing to speak.

    But I don’t want to live there.
    Not in the scroll.
    Not in the loop of likes and reactions
    and the feeling that everyone else is moving forward while you sit still.

    Because stillness, when you choose it,
    is not failure.
    It’s a kind of presence.

    And presence is what I want more of.
    In the way the sun hits the floor at 3 p.m.
    In the way a stranger’s voice curls around a word you’ve heard a thousand times,
    but suddenly sounds new.
    In the mess.
    The mundane.
    The parts that never get filtered.

    Wabi-Sabi and the Unposted Moment

    Wabi-sabi teaches us to honor what’s incomplete,
    unpolished,
    quiet.
    It reminds us:

    • Not everything needs to be shared to be meaningful.
    • What isn’t captured often stays longer.
    • Attention is the truest form of intimacy.
    • Life is not content. It’s contact.

    So I use it gently.
    A post now and then.
    A message when I miss someone.
    A story, if it feels more like a whisper than a performance.

    But mostly,
    I live in the smells.
    In the textures.
    In the long walks with no music playing.
    In the taste of something I’ll never describe as well as I felt it.

    And later,
    if I remember it clearly enough,
    I might write it down—
    not to impress you,
    but to remind myself
    that I was there.

    Fully.
    Briefly.
    Wonderfully
    unrecorded.

  • The Room With No Corners. 2

    Not sure why this came to mind. It is an old story. The kind buried in so much dust and memories you can only tell what it is by the shape.The house I stayed in that winter sat at the edge of a small village an hour outside Zürich—one of those places with winding roads too narrow for logic, where the fog clung low like a secret and the trees never lost their wetness. I hadn’t planned to go there. I had meant to be somewhere else. Basel, maybe. Or Lugano. But a train was delayed, and then another, and by the time I checked the time again, I was standing in front of a gray house with wooden shutters that had long forgotten how to close properly.

    Ironically, just next to it—barely ten steps away—stood what used to be a psychiatric hospital. A tall, rectangular building with too many windows and a strange stillness that clung to its stone. It had been renovated into a hostel years ago, the sign said, in a font too cheerful for the history beneath it. Backpackers came and went. They laughed loudly and cooked pasta at midnight, unaware or uncaring that people used to scream inside those walls. That once, someone was probably locked away for seeing the same things I’d started seeing too.

    I rented the attic apartment in the house beside it. It had a sloped ceiling, a single radiator that wheezed like it was haunted, and a window that framed the old asylum like a painting. Everything in the room was slightly off. The floorboards tilted to the left. The walls met each other at strange angles, so that no matter how I stood, I never felt entirely upright.

    And I couldn’t stop thinking: There are no corners here.
    Just soft bends.
    As if the architecture itself had given up on sharpness.

    I arrived with a heavy kind of silence inside me.
    Not grief exactly.
    More like fatigue from carrying around a shape I no longer fit into.

    I was supposed to be writing.
    Instead, I slept.
    I walked the hills, fed birds pieces of bread that tasted like cardboard,
    and stared into shop windows without seeing a thing.

    The hostel kids came and went in waves. They brought guitars, dirty boots, languages I’d forgotten. Sometimes they waved. I always waved back. But I never spoke to them.

    Except for one night.

    The Girl with the Braided Hair

    She was sitting on the hostel steps, her back against the wall, sketching on the back of an old receipt. Her hair was dark and braided tight, with loose strands curling like vines around her face.

    She looked up and said, “You live in the house that leans, right?”

    I nodded.

    She grinned. “Bet the dreams are weird in there.”

    I didn’t answer. But she kept talking, like we already knew each other in another version of this life. “Used to be, this place was for the ones who lost their way. People thought walls could keep the mind still.” She tapped her head. “Turns out, it’s not that simple.”

    Then she handed me the drawing. It was of the house I was staying in—but twisted. Exaggerated. Melting into the hillside like it didn’t want to exist anymore.

    “It’s more honest this way,” she said.

    When the House Began to Speak

    That night, something changed.
    I stopped avoiding the mirror.
    The one above the small writing desk, with its chipped edge and the faint outline of someone else’s fingerprint in the glass.

    I looked into it longer than I meant to.
    And slowly, the face staring back stopped looking tired.
    It looked…
    open.
    Fractured, yes.
    But not beyond recognition.

    Something moved in my chest.
    Not a thought.
    Not a word.
    More like a shift in gravity.
    Like the darkness inside me had stretched its limbs and decided it was tired of being silent.

    I sat at the desk, picked up a pen,
    and wrote three pages without stopping.

    Not because I had something profound to say.
    But because something inside had been waiting for permission to speak.

    The Demon Doesn’t Always Fight You

    That’s when I understood.
    This thing I’d been carrying—
    the old ache, the brittle shame, the persistent hum of doubt—
    it wasn’t trying to ruin me.

    It was trying to help me lift.

    It had been shadowing me not to drag me down,
    but to keep me from floating away too soon.
    To tether me to something real.
    Something raw.
    Something mine.

    Wabi-Sabi and the Tilted Room

    I left that village two weeks later.
    But the lean of that house stayed with me.

    The softness of its crooked walls.
    The mirror that stopped lying.
    The girl with the receipt sketches.
    The asylum-turned-hostel still echoing with a strange kind of forgiveness.

    And I carry this with me now:

    • Darkness is not always damage. Sometimes it’s depth.
    • The places that make you feel crooked may be where your truth fits best.
    • Healing doesn’t ask you to become new. It asks you to carry your old self with care.
    • And sometimes, the most haunted places offer the most peace—because they’ve already held what you’re afraid to face.

    So now, when the days feel heavy—
    when the weight returns like an old song or a long train ride—
    I don’t try to escape it.
    I nod.
    I sit at the desk.
    I open the window.

    And I let the darkness
    not bury me,
    but steady me
    as I learn, again,
    how to lift.

  • The Room With No Corners

    I once stayed in a house that didn’t cast shadows.
    Not because the light was perfect,
    but because something inside the walls refused to let them gather.

    It was on the edge of a town that doesn’t appear on maps,
    north of somewhere forgettable,
    a place with crooked vending machines and a clock tower that didn’t tell time.
    Nobody lived there permanently.
    People arrived.
    Stayed a while.
    Left a note.
    Then vanished.

    I hadn’t planned to go.
    But the train doors opened,
    and I stepped out without asking why.

    The room I rented was small.
    Futōn on the floor.
    A desk with uneven legs.
    One cup, one spoon,
    and a window that faced a forest that was always almost raining.

    But it was the mirror I remember most.
    Oval. Hanging by a wire that hummed when the wind blew.
    Every morning I looked into it,
    and every morning it showed me someone else—
    a version of myself I’d buried quietly beneath achievement,
    smiled away in polite conversation,
    and buried under to-do lists that never questioned why.

    The man in the mirror didn’t look sad.
    Just tired.
    Like he’d been waiting for me to say something honest for years.

    The Stranger Who Knew the Weight

    On my third night there,
    I met a man in the hallway.
    Or maybe he wasn’t a man.
    He didn’t blink when I did.
    Didn’t breathe when I did.
    He simply stood there, hands behind his back,
    watching me like I was an echo that had finally returned.

    “You carry it wrong,” he said.
    “Carry what?” I asked.
    He tapped his chest.
    Then his head.
    Then his back.
    “All of it,” he said. “You carry it like it’s against you.”

    And just like that, he was gone.
    The hallway remained.
    But the shape of it shifted,
    as if it had just remembered something I hadn’t.

    How Darkness Can Push

    The next morning, I wrote like my fingers belonged to someone else.
    Pages poured out,
    not from inspiration,
    but from pressure—
    like something inside had been holding back a flood
    and finally cracked open under the strain.

    It wasn’t beautiful writing.
    It wasn’t even good.
    But it was true.
    And that made it holy.

    I realized then:
    the thing I’d been running from—
    the grief, the rage, the strange fatigue that followed me like a second skin—
    it wasn’t here to stop me.
    It was here to fuel me.

    Not to drown me,
    but to deepen the water I was meant to swim in.

    Wabi-Sabi in the Bruised Vessel

    I didn’t leave that house with answers.
    But I left with strength.
    Not the kind you show off.
    The kind that hums quietly under the skin.

    The kind that understands:

    • Some weights aren’t meant to be dropped. They’re meant to be lifted differently.
    • Demons don’t always destroy. Sometimes they steady your hand.
    • Beauty lives not in the absence of pain, but in the motion it creates.
    • Not everything that haunts you is here to harm you. Some things stay because they remember who you were before you forgot.

    I still dream about that house sometimes.
    The way the floorboards spoke in sighs.
    The tea that tasted slightly of sleep.
    The mirror that no longer lied.

    And sometimes,
    on days when the world feels too sharp,
    and I wonder if I’ve made any progress at all,
    I feel something press gently against my spine.

    Not to push me down.
    But to help me lift
    what I could never carry alone.

    And I remember—
    not all darkness is empty.
    Some of it
    has hands.

  • The Page That Wasn’t Meant to Be

    In the winter of 2017, I stayed for a week in a small apartment above a used bookstore in Shimokitazawa. The kind of place where time collects in the corners, and the lampshades give off a light so soft it feels more like memory than electricity.

    The owner of the shop was a man named Aki. Late fifties, maybe early sixties. He never said. Wore two watches but never checked either of them. I asked him once why.
    “One’s for the time here,” he said. “The other’s for the time I wish it was.”
    Then he smiled, like he knew how strange that sounded but had already made peace with it.

    Each morning, he’d open the shop at ten, put on a jazz record no one else could name, and brew coffee that tasted slightly of regret—bitter, but warming in the right kind of way. I liked watching him from the mezzanine above, where I’d sit with a book I didn’t intend to finish and pretend I wasn’t listening to the music.

    On the third morning, it happened.

    He was sketching something in a thick notebook by the register—shapes that didn’t make sense, loops and half-written kanji, a pattern only he understood—when he accidentally knocked over his coffee. It fell with a soft clatter, the kind that doesn’t interrupt the jazz but suddenly becomes part of it.

    The liquid spread quickly.
    A dark, quiet ruin.
    Over the counter, across the pages.
    It soaked half the book before he even moved.

    But here’s what struck me—
    he didn’t flinch.
    Didn’t curse or scramble for towels.
    He just sat there, watching the stain grow.
    And then, very slowly, he tore out the wet page, folded it once down the middle, and placed it to the side.

    Then, with the same pen he’d been using, he turned to the next blank page and began again.

    I asked him about it later.
    If he was frustrated.
    If the sketch had meant something.

    He shrugged. “It did,” he said. “But maybe this one will mean more.”
    Then he poured us both a new cup of coffee and added,
    “Most people think the day is ruined when something spills.
    But sometimes, that’s when it really begins.”

    I think about that moment more than I care to admit.
    How calm he was.
    How certain.

    It wasn’t about the mess.
    It was about what he allowed it to become.

    We’re so trained to brace for what might go wrong.
    To predict the detour.
    To armor ourselves with worst-case scenarios.

    But Aki taught me that ruin isn’t always failure.
    Sometimes it’s invitation.
    A strange, sloshing kind of grace that breaks what was never quite working
    so you can start the next page cleaner than you thought you could.


    What I Learned from a Coffee-Stained Page

    • The world doesn’t end when your plan dissolves. Sometimes it begins there.
    • The things we try to salvage might not be worth saving. But the space they leave behind often is.
    • Spilled coffee, a missed train, a closed door—they’re not just obstacles. They’re quiet directions.
    • What goes wrong isn’t always wrong. It’s just different. And sometimes, that difference leads to something you wouldn’t have dared draw on your own.

    I never saw what he sketched on the new page.
    But I think that’s the point.

    It wasn’t about the drawing.
    It was about still drawing.

    About not letting the spill stop the hand.
    About trusting the next page
    even when the last one drowned.

    And I think, maybe,
    that’s what Yhprum’s Law really is—
    not a promise that everything will go right,
    but a quiet faith that even when it doesn’t,
    you still will.

  • The Man at the Vending Machine

    moonlight through the can—
    not much changed that night at all,
    but something softened

    It happened in Kyoto.
    Late spring, just past midnight.
    The city had gone quiet in the way only Japanese cities do—
    still glowing, still humming,
    but holding its breath like it didn’t want to wake anyone.

    I had walked longer than I meant to.
    That kind of wandering that doesn’t feel like getting lost,
    just… drifting.
    My head was heavy with the usual things—unfinished decisions,
    half-formed regrets,
    the kind of quiet inner commentary that sounds like worry disguised as thought.

    I stopped at a vending machine,
    lit up like a small shrine in the dark.
    And that’s where I met him.
    Older. White linen shirt, sleeves rolled to the elbow.
    He looked like he’d stepped out of a different time,
    but he just nodded at me like we’d been passing each other on this street our whole lives.

    We stood there for a moment in silence,
    just the two of us and the low buzz of fluorescent light,
    until he pointed at the can I’d just dropped into the tray.

    “Good choice,” he said. “Not too sweet.”

    I smiled. “Didn’t think much about it.”

    He looked at me, really looked,
    and then said something I didn’t expect.

    “That’s the trick though, isn’t it?
    We never think much about it—
    until we do.”

    A Stranger’s Kindness You Don’t Forget

    He didn’t stay long.
    Just got his coffee, bowed, and disappeared down the street,
    like he’d only stepped into my life to drop off a single sentence.

    But it landed.
    Something about that moment…
    stuck.
    It wasn’t what he said, really—
    but the way he said it.
    Casual.
    Unforced.
    Like he wasn’t trying to teach me something,
    but just happened to know what I needed to hear.

    And I’ve thought about that sentence often since.

    The choices we think are small.
    The paths we don’t realize we’re already walking.
    The thoughts that drift in quietly when we think no one is watching.

    Most of the time, we are on autopilot.
    And then, suddenly, something cracks open—
    a stranger, a sentence, a silence.
    And we realize:
    we’re already in the middle of something important.
    We just weren’t paying attention yet.

    Floating Is Not Falling

    That night, I walked home feeling different.
    Not lighter, exactly—
    but softer.

    The world didn’t shift,
    but something in me had.
    A loosened grip.
    A breath I didn’t know I’d been holding.

    It reminded me that I didn’t need to “have it all figured out.”
    That I wasn’t late.
    That being human isn’t about having answers—
    but about carrying questions with a little more grace.

    We’re all just ghosts in borrowed bodies,
    drifting through constellations of memory and meaning,
    trying to choose the right drink from a glowing machine at midnight.

    And somehow,
    that’s enough.

    Wabi-Sabi in the Unexpected Exchange

    There was no profound outcome that night.
    No revelation.
    No life plan redrawn.
    Just a soft, strange connection in the dark.

    Wabi-sabi lives in these moments:

    • In the crack where two strangers meet without expectation.
    • In the words that weren’t planned but landed like a gift.
    • In the kindness that doesn’t ask to be remembered, but is.
    • In the silence that follows something real.

    So if you’re wondering whether you’re floating or falling—
    if you’re unsure whether this moment matters,
    or whether you’re still “on the right path”—
    stop for a second.
    Take a breath.

    You’re here.
    The vending machine is humming.
    The night is listening.
    And someone—maybe a stranger, maybe you—
    just said the right thing at the right time.

    Let that be enough.

    You’re already floating.
    Just don’t forget to notice how light you’ve become.

  • The Storm You Don’t See Yet

    cloudless morning sky—
    still, the shutters creak closed,
    someone knows what’s coming

    In the spring of 2018, I spent a few weeks living just outside Beppu, in a borrowed room above a bakery where the walls smelled faintly of yeast and rain.
    It was a quiet time, uneventful in the way that’s easy to forget but hard to recreate.
    Each day followed the same rhythm:
    wake, walk, write, eat, repeat.

    The man who owned the bakery was in his sixties and moved with the kind of calm that made you feel like nothing urgent could ever happen in his presence.
    One morning, I asked why he always closed the storm shutters on the west-facing windows even when the sky was clear.
    He shrugged and said,
    “Because when it rains here, it doesn’t warn you.”

    That sentence stayed with me.
    It felt like it wasn’t about weather at all.

    Most Problems Don’t Arrive Loud

    The truth is, most of the things that unravel us don’t come crashing through the door.
    They arrive slowly, in whispers.
    In small compromises.
    In the email we don’t reply to.
    In the conversation we avoid because “it’s not the right time.”
    In the gut feeling we silence with distraction.

    By the time the problem is undeniable,
    it’s already grown roots.

    We act surprised,
    but somewhere deep down,
    we saw it forming.

    We just didn’t deal with it—
    because we thought we had time.

    The Wisdom of Early Attention

    There is a quiet kind of strength in tending to something before it becomes a fire.
    It doesn’t look heroic.
    No one claps.
    No one sees you close the shutter while the sky is still blue.

    But that’s the point.
    Real care happens before it’s convenient to call it care.

    It looks like:

    • Clarifying feelings before they become resentments.
    • Adjusting the routine before burnout sets in.
    • Reaching out to someone before the distance hardens into disconnection.
    • Resting before you’re forced to.
    • Listening to the small discomfort before it becomes a deep ache.

    Prevention isn’t dramatic.
    It’s subtle.
    And that’s why it’s so easy to skip.

    What Living Proactively Actually Means

    Dealing with things before they arise doesn’t mean becoming paranoid,
    or controlling every outcome,
    or trying to predict every twist of the road.

    It means learning to notice.
    To stay present enough to sense the shift in air pressure before the storm.
    To trust that small discomfort is a signal, not a nuisance.
    To believe that something handled gently now won’t need to be torn out later.

    Proactivity is care.
    It’s presence.
    It’s self-respect disguised as preparedness.

    Wabi-Sabi and the Unseen Crack

    Wabi-sabi reminds us that beauty lives in the incomplete,
    in the nearly broken,
    in the places where decay has quietly begun.

    To honor those imperfections is not weakness.
    It’s wisdom.

    • A crack, acknowledged early, can be mended with gold.
    • A strain in the thread can be rewoven before it snaps.
    • A room, aired out before mold appears, stays alive.
    • What we attend to early, we rarely lose.

    Now, when the sky is clear and everything feels still,
    I ask myself—what am I pretending not to see?
    What needs attention while it’s still small enough to hold in one hand?

    Because when the rain comes,
    it doesn’t ask if you’re ready.
    And the shutters don’t close on their own.

    So I close them now.
    Not because I’m afraid.
    But because I’ve learned
    that peace is something you tend to
    before the storm arrives.

  • The First Step Was Leaving

    old shoes by the door—
    no one told them where to go,
    still, they wore the road

    In late autumn, I found myself standing in my kitchen in Bern long after midnight, surrounded by the hum of a refrigerator that had seen better years and the faint echo of rain tapping gently on the windowpane like an old friend too polite to knock. I had boiled water for tea I wasn’t going to drink and stared at the same chipped mug I’d used for years, its handle barely holding on—like me, I suppose.

    It wasn’t a crisis.
    It wasn’t dramatic.
    There was no grand falling out, no tragic catalyst, no external force pushing me out the door.

    It was something quieter, deeper, and more personal.

    It was the slow realization that the life I had built—though safe, though structured, though passable in the eyes of others—no longer fit the shape of who I was becoming.
    And when that truth finally landed, not like a crash but like a feather falling steadily to the floor, I knew:
    I had to leave.

    Why the First Step Is the Hardest—But the Most Transformative

    We like to believe that big change begins with fireworks.
    With packed bags and goodbye letters and Instagram captions that say “onto new beginnings.”
    But more often, growth begins with discomfort you can no longer explain away.

    It begins with a sentence you whisper to yourself in the dark:
    “I can’t do this anymore.”
    Not with resentment, not with anger—
    just with a quiet kind of honesty that no longer asks permission.

    For me, that moment of clarity didn’t arrive on a mountaintop or during a life-coaching retreat.
    It arrived in the pause between boiling water and pouring it.
    In that stillness, I heard my truth.

    That was my first step.
    The one no one saw.
    The one that changed everything.

    A Journey of a Thousand Miles Begins with One Honest Moment

    There’s a famous saying: “A journey of a thousand miles begins with a single step.”
    But what it doesn’t say—what it never says—is that the step doesn’t have to be physical.
    It can be internal.
    Invisible.
    Unremarkable to anyone but you.

    The journey I started wasn’t toward a specific destination.
    It was toward alignment.
    Toward living a life that didn’t require me to explain or defend my softness.
    Toward choosing a rhythm that suited my breath, not someone else’s expectations.

    And that first step—small as it was, silent as it felt—was the moment I chose not to abandon myself anymore.
    And I believe that’s where all meaningful transformation begins.

    What I’ve Learned Since Taking That Step

    What followed wasn’t glamorous.
    It was messy.
    It was lonely, beautiful, uncertain, filled with long walks in unfamiliar cities and conversations that changed shape as I grew.
    But it was mine.

    And along the way, I learned a few things I return to often—especially when doubt tries to sneak back in:

    • You don’t need a full map to move forward. The next right step is enough.
    • Growth feels, at first, like loss. But it’s really just space being made for something more honest.
    • Clarity is often the result of movement, not a prerequisite for it.
    • You are allowed to outgrow a life that once fit. That’s not betrayal—it’s becoming.

    Wabi-Sabi in the Decision to Begin

    There is something deeply wabi-sabi in choosing to begin again—especially when nothing is forcing you to.
    In seeing the cracks in your routine not as failures, but as invitations.
    In recognizing the beauty of an imperfect life trying, still, to unfold into something real.

    This quiet philosophy teaches us:

    • The first step doesn’t have to be confident. It just has to be real.
    • There is elegance in the incomplete, the uncertain, the becoming.
    • You don’t need to fix yourself to start. You need to listen. Then move.
    • Peace is not in staying where you are. It’s in honoring where you’re being pulled.

    I never finished that tea.
    But I did start something else—
    something that felt like coming home to a version of myself I hadn’t met yet.

    Now, when someone asks me what decision changed everything,
    I don’t say “quitting my job” or “moving cities” or “starting over.”
    I say: The night I stood in the kitchen and told myself the truth.
    The night I left a life that no longer held me with care.
    The night I took the first step—quiet, honest, mine.

    And if you’re standing on that edge,
    wondering whether it counts if no one sees it,
    let me tell you:

    It counts.
    It always counts.

    Because the journey begins there—
    not when you arrive,
    but when you decide
    you’re no longer willing to stay behind.

  • The Place I Never Returned To

    late train passing through—
    windows full of other lives,
    mine stays in its seat

    In the autumn of 2011, I rented a short-term flat in a narrow building by the Limmat, just east of the city center in Zürich. It was the kind of apartment that came already furnished—mostly in muted wood, with a mattress too thin and a single cup in the cupboard that looked like it had outlived something important.

    There was a clock in the hallway outside my door that ticked a little too loud. And at night, when the rest of the world had gone quiet, that ticking became its own kind of rhythm. A sound that didn’t ask anything of me. Just kept moving. Forward, always.

    I had come back to the city for reasons I couldn’t fully explain. I told people it was to rest. To write. To pause between things. But the truth sat somewhere underneath that. I was circling around a place I didn’t want to enter again. A place I’d once called home. Not physically—though the apartment wasn’t far from it—but emotionally, internally. That version of home. The one where I had learned how to keep myself small and silent, like a plant growing in a dark cupboard.

    And though I walked through many familiar streets that season—through Langstrasse in the early morning, where the clubs still echoed with music nobody remembered; through the stillness of Lindenhof, where pigeons always seemed to gather in odd numbers—I never walked back to that home. I never rang the bell.

    I think we talk too casually about going back.
    “Go home.”
    “Reconnect.”
    “Make peace with your past.”
    But some places aren’t meant to be revisited.
    Not because they’re evil.
    But because returning to them requires you to become small again. To shapeshift.

    And when you’ve worked this hard to become whole,
    you learn not to volunteer for that kind of shrinking.

    There’s a version of me that still lives in that house.
    Quiet. Agreeable. Careful not to take up too much room.
    The version that said yes too easily, that swallowed her own voice before it made a sound.
    She knew how to keep the peace.
    She knew how to explain away her discomfort until it looked like gratitude.

    And some days, I can still feel her pressing at the edge of my chest—
    when I’m too polite in a meeting,
    when I downplay my joy,
    when I write something true and almost delete it.

    But I don’t let her drive anymore.
    I don’t let her pick the routes.
    Because I remember what she forgot:
    that survival isn’t the same as living.
    That not being hurt is not the same as being loved.

    One night, while the rain turned the windows silver and the city took on that quiet, heavy stillness it gets when everyone’s inside waiting for the storm to pass, I made tea in the kitchen and sat on the floor, because I didn’t trust the chair not to collapse.

    I remember looking at the steam rising from the cup and thinking:
    Maybe this is it. Maybe this moment—this silence, this tea, this rented room—is more home than anywhere I’ve ever lived.

    Not because it was perfect.
    But because nothing in it asked me to be anything but myself.

    That’s when I realized:
    I don’t need to go back to forgive.
    I don’t need to revisit the rooms that taught me to disappear.
    I don’t need to knock on doors I once closed to prove I’m healed.

    Sometimes growth looks like leaving.
    Sometimes healing is the absence of the thing that once held you tight.
    And sometimes the kindest thing you can do for the person you used to be is to let them stay behind—safe in memory, untouched by the present.

    I haven’t returned to that home.
    Not in all the years since.
    Not even by accident.

    And when people ask me what place I never want to visit,
    I think of that apartment.
    That old kettle.
    That ticking clock.

    I think of the version of me who lived in a house where her joy was too loud, where her no was negotiable, where her fear had its own room.

    And I say—
    Not there.

    Not because I’m bitter.
    Not because I hate it.
    But because I don’t belong there anymore.

    And maybe that’s what growing means.
    Not becoming someone new,
    but gently, finally,
    refusing to become someone you’re not.

  • The Place I Never Want to Visit

    rain on the glass pane—
    inside, the past brewing slow,
    still, the kettle hums

    There’s no country I refuse to visit.
    No city I’ve blacklisted, no border I’m unwilling to cross.
    I’ll sleep in stations.
    Eat soup from plastic.
    Get lost on roads with no names.

    But there is one place I avoid—
    and it’s closer than any of that.
    More familiar.
    More dangerous.

    It’s home.
    Not the one with a mailing address,
    but the version of home that lives in memory.
    The one where I felt like a shadow of myself
    long before I had a name for what that meant.

    The Room You Outgrow But Still Remember

    I don’t want to go back to the person I was in that version of home.
    Where everything was quiet, but nothing was peaceful.
    Where the light never quite reached the corners.
    Where I learned how to fold myself small to fit into the shape someone else expected of me.

    That place taught me how to endure.
    How to disappear politely.
    How to smile with my hands clenched behind my back.

    But endurance is not identity.
    And disappearing is not love.

    I left that place not with a suitcase,
    but with a slow kind of grief—
    the grief that comes from realizing
    the walls you leaned on were never meant to support you.
    They were meant to keep you in.

    The Ghosts You Still Carry

    Sometimes, even now,
    a smell or a sentence will pull me back.
    A train station at dusk.
    The sound of slippers on tile.
    A certain kind of silence in someone’s voice.

    And suddenly, I’m there again—
    in the house I no longer live in,
    wearing a version of myself I thought I’d thrown away.
    The self that apologized for wanting softness.
    The self that mistook control for care.

    But I don’t stay.
    Not anymore.
    I nod to the memory,
    thank it for what it taught me,
    and step forward.

    Because I’ve learned that not all homes are places you’re meant to return to.
    Some are just rooms you survive long enough to leave.

    The Murmur of Growth

    People talk about healing like it’s a destination.
    But I think it’s more like becoming fluent in a new language
    while still dreaming in the old one.

    You don’t unfeel what shaped you.
    You just learn to feel it with softer hands.
    You learn to build something that doesn’t resemble what broke you.

    And maybe that’s the real kind of home—
    not a return to safety,
    but a slow, deliberate creation of peace
    in the shape of your own voice.

    Wabi-Sabi and the Unvisited Room

    Wabi-sabi teaches us that beauty is not in the unbroken,
    but in what continues despite the break.
    It reminds us:

    • There is no shame in leaving a place that loved you badly.
    • Some things must end so that you can begin.
    • Growth is not loud. Sometimes it looks like walking away.
    • Even cracked foundations can become art, if you build with intention.

    So when people ask what place I never want to visit,
    I don’t name a country or a war zone or a forgotten town.
    I name that version of home—
    the one where I was not allowed to be whole.
    The one where I learned to disappear.

    And I say,
    I will not go back there.

    Because I have made something better.
    Not perfect.
    Not always steady.
    But mine.

    And that, I think,
    is the only return that matters.

  • What We Notice When We’re Quiet

    cicadas scream still—
    but somewhere behind the noise,
    one soft bell ringing

    In the summer of 2015, I was staying in Zürich. Not the glittering postcard version—the lake shimmering under clean light, the banks full of pressed suits—but the quieter edges. Near the tram lines where the paint peeled from the benches, and Turkish grocers stayed open just a little later than they were supposed to.

    I rented a short-term studio above a bakery that smelled like burnt sugar and sleep. The walls were thin, and every morning I’d wake to the sound of dough being kneaded below me.
    I wasn’t there for work. Not exactly. I had told people I needed to “get away to focus,” which was partly true.
    But the deeper truth was this: I needed to learn what happened when I stopped reaching for people who had already let go.

    And in that strange quiet, I started to notice things.
    What absence feels like.
    What attention actually means.
    And what a message left unsent can still teach you.

    When You Don’t Hear From Someone

    There’s a specific ache that arrives when someone you care about stops responding.
    A slow burn.
    We fill the silence with meaning—
    usually the worst kind.

    If a man ignores you, we say he’s on his mission. Focused.
    If a woman does, we whisper she’s already gone. Entertaining someone else.

    But sometimes, people are just inward.
    And the silence? It’s not about you.

    I learned that lesson the hard way—by assuming too much.
    But also,
    by receiving something I didn’t expect.

    What My Sister Did

    That summer, when I’d stopped texting, stopped replying,
    when my world had narrowed to long walks by the Limmat and cheap coffee at the Coop across the street—
    my sister started mailing postcards.

    Not long letters.
    Not confrontational “where are you”s.
    Just small, quiet things.

    A photo of our old cat.
    A drawing she made of a vending machine she thought I’d like.
    One card that just said,
    “Hope Zürich is treating you gently.”

    She didn’t try to fix me.
    She didn’t demand I explain the silence.
    She just reminded me,
    in her way,
    that I still belonged somewhere.

    Presence Doesn’t Have to Be Loud

    What she taught me, without meaning to, was this:
    When someone you love is quiet,
    you don’t need to fill the space.
    You just need to stay nearby.
    Leave the door unlocked.
    Let your care be known in the softest, least demanding ways.

    That’s what I remember most about that summer—
    not the silence,
    but the way her postcards turned it into something else.
    Not pressure.
    But presence.
    Not rescue.
    Just recognition.

    Wabi-Sabi in the Waiting

    Wabi-sabi teaches us to accept the incomplete.
    To find beauty not in resolution,
    but in attention.

    That summer, my sister’s small gestures reminded me:

    • You don’t need to say everything. You just need to stay connected.
    • Sometimes love is a rhythm, not a response.
    • What looks like distance might actually be devotion—with better boundaries.
    • Let people come back in their own time. Just be there when they do.

    Now, when someone I care about goes quiet,
    I don’t panic the way I used to.
    I don’t assume the worst.

    Instead, I write a sentence and don’t send it.
    Or I send a photo of something that made me laugh.
    Or I leave a voice note that says nothing important,
    except, “I was thinking of you.”

    Because I remember Zürich.
    I remember how much that meant.

    And I remember my sister—
    waiting without asking,
    loving without noise.

    Showing up
    even when I couldn’t.

  • The Relationship That Didn’t Expire

    faded doorway light—
    she still waits with the tea poured,
    same place, different silence

    In the early winter of 2014, I stayed in a quiet neighborhood on the outskirts of Kumamoto, tucked between a shuttered udon shop and a shrine where no one seemed to pray anymore.
    It was the kind of place you end up in by accident, or maybe by ache. I told people I was traveling, but I wasn’t really going anywhere. I just needed space.
    Space to pause.
    To forget how to explain myself.
    To remember what still mattered.

    Each morning, I passed the same shrine on the way to nowhere in particular.
    And every morning, an old woman swept the stone steps with slow, circular strokes.
    She nodded when I passed. I nodded back.
    We never spoke.
    But it felt like something important was happening anyway.

    The Kind of Help You Don’t Ask For

    It was around that time that my sister started messaging me again.
    Not long messages.
    Not questions or advice.
    Just a photo of the cat sitting in a sunbeam.
    A picture of the coffee she’d made that morning.
    Once, a voice note where she said nothing for five seconds and then added,
    “I hope wherever you are, it feels less heavy today.”

    She didn’t ask what I was doing.
    She didn’t push me to come home.
    She just showed up—
    softly, consistently—
    like a porch light left on in case I wanted to find my way back.

    And that, somehow, was exactly what I needed.
    Not a solution.
    Not a plan.
    Just the presence of someone who had already decided not to leave.

    The Maintenance of Small Love

    We think grand gestures hold the most weight.
    But they rarely do.
    It’s the small, steady efforts that keep something alive.

    A relationship doesn’t last because it avoids difficulty.
    It lasts because someone sends the text even when they’re tired.
    Because someone makes space.
    Because someone doesn’t flinch when the other person pulls away.
    Because someone says, “I’m still here.”
    Even without words.

    What my sister did wasn’t complicated.
    But it was love.
    And it reminded me that love doesn’t always arrive with fanfare.
    Sometimes it arrives with a photo of a sleeping cat and no expectations.

    What the Woman at the Shrine Knew

    I once asked the old woman why she swept every day,
    even when the wind would just undo it by morning.

    She said, “Because the shrine is still here. So I am too.”

    I think about that now,
    when life feels heavy,
    when people drift,
    when words are hard to find.

    She wasn’t sweeping for results.
    She was sweeping for rhythm.
    For presence.
    For proof that care still existed, even if no one noticed.

    Wabi-Sabi and the Love That Stays

    There is wabi-sabi in a sibling’s quiet kindness.
    In a relationship that doesn’t ask to be noticed to be meaningful.
    In the things that remain not because they must,
    but because someone chooses them,
    again and again.

    It teaches us:

    • Love doesn’t need to be loud to be heard.
    • Presence is often the most powerful form of support.
    • Not fixing someone can sometimes be the greatest kindness.
    • The smallest gestures, repeated with care, become a lifeline.

    Now, when someone asks me to describe something kind a family member has done,
    I don’t mention birthday gifts or big favors.
    I think of my sister’s photo of a sleeping cat.
    Of her messages with no pressure.
    Of her way of saying, “You don’t need to explain. I’m here.”

    I think of the old woman at the shrine,
    sweeping steps no one asked her to sweep.
    Just because the shrine was still standing.
    And some things are worth tending
    even when no one claps.

    Because in the end,
    what keeps love alive
    isn’t the big moment—
    it’s the decision to keep showing up
    in the small,
    unremarkable,
    life-saving ways.

  • The Restaurant Where Nothing Changed

    cracked teacup waits—
    same table, same quiet hum,
    new thoughts in old air


    In the spring of 2019, I was living in a small guesthouse in Kurume, a town most people pass through without noticing. The owner was a retired teacher who brewed barley tea like it was a kind of slow ceremony. My room faced a narrow alley where cats lived like landlords and the laundry above me swayed like flags that had forgotten which country they belonged to.

    I was working on a project then—a strange one. Half fiction, half tool, all built from vague conviction and late-night second guesses. I’d spend most mornings alone at my laptop, buried in drafts and diagrams, surrounded by silence so heavy it felt like a material. I didn’t mind. That was the point. I’d come to Kurume to get lost in my own work.

    But every afternoon, around 2:15, I would close the lid, stretch my legs, and walk ten minutes down the street to a restaurant with no sign.


    The Place That Didn’t Need To Be New

    It was the kind of place you wouldn’t notice if you didn’t already know it.
    Three tables.
    One cook.
    One old woman with hands like carved wood who took orders without writing them down.

    The restaurant served only one dish, really—
    a simple soba set with warm broth, crisp tempura, and pickles that always tasted slightly different depending on who had prepared them that week.
    And I loved it.
    Not because it was extraordinary, but because it was unchanged.

    Every day, I’d sit at the same table near the window.
    Every day, the tea was poured before I asked.
    Every day, the food arrived exactly as it did the day before.
    And yet, every day, it tasted new—because I was different.


    Where the Work Lived

    Back at the guesthouse, I worked in total isolation.
    No meetings. No feedback. No feedback loops.
    Just me and the quiet rhythm of thought.

    And it was in that quiet that the real work formed.
    Not the reactive kind—built from calls and shared docs and status updates—
    but the deep kind.
    The kind that comes from letting your own thoughts ferment for hours
    before you say them out loud.

    Solitude taught me things feedback never could:
    how to listen longer,
    how to follow a thread past the obvious,
    how to sit with confusion without killing it too early.


    But Then—Every Thursday

    Every Thursday evening, I’d take the train to Fukuoka to meet my collaborator.
    We didn’t call it that—“collaborator.”
    We just said we were meeting for coffee,
    but both of us knew we were there to test ideas.

    We’d sit in a noisy kissaten near Tenjin Station, where the lights were too warm and the chairs too low.
    And suddenly, the thing I had been shaping alone in silence
    had to make sense out loud.

    I’d say something I thought was fully formed,
    and he’d tilt his head,
    ask a question I hadn’t considered,
    and suddenly the whole shape of the idea changed—
    not broken,
    just sharpened.
    Softened at the edges where I hadn’t known I was bluffing.

    Those conversations were rarely long.
    But they did something the solitude never could:
    they tested my honesty.
    They made sure I wasn’t just building a perfect world in my own head.


    The Soba Was Always the Same—But I Wasn’t

    I returned to the restaurant every day after those meetings.
    Sometimes to celebrate.
    Sometimes to sulk.
    Sometimes to just not think for an hour.

    And the food?
    It never changed.
    But it always felt different.
    Like the dish was reflecting something in me—
    my progress,
    my doubt,
    my tiredness,
    my small victories.

    That’s the strange thing about routines.
    The world doesn’t need to shift for us to move forward.
    Sometimes it’s us who change against the stillness.


    Work Alone, Share Together

    There’s a reason the best work often begins in silence.
    Because it’s there you ask the hard questions:
    Do I actually believe in this?
    Does this idea hold, even when no one is clapping?

    But the work can’t end there.
    It has to be spoken.
    Held up to someone else’s eyes.
    Let out into air that doesn’t belong to you.

    Solitude is for digging deep.
    Collaboration is for seeing clearly.
    Both are required.
    But never at the same time.


    Wabi-Sabi, in a Bowl of Soba

    There is wabi-sabi in that little restaurant.
    In the unchanged menu.
    In the chipped bowls.
    In the way the woman never asked for praise,
    only nodded when I said ごちそうさまでした.

    It taught me:

    • Routines don’t kill creativity. They protect it.
    • Solitude deepens ideas. Collaboration gives them air.
    • The same experience, repeated with awareness, becomes a form of practice.
    • Your surroundings don’t need to change for you to grow. You change anyway.

    Now, whenever I start something new—
    a story, a tool, a risk—
    I return to that rhythm.

    I begin in silence.
    I build without noise.
    And then, when I’m ready—
    I find someone I trust.
    We meet in person.
    We talk.
    We tilt our heads.

    And if I’m lucky,
    I find a little restaurant afterward.
    Something small.
    Something unchanged.
    Where the tea is poured before I ask.
    And where the quiet, again, begins to do its work.

  • Work in Isolation, Collaborate in Person

    temple bell at dusk—
    you hear it better alone,
    but you echo it with others


    The Two Rooms We Live In

    In the winter of 2017, I spent two weeks in a cabin near Takachiho Gorge.
    It wasn’t a plan—it just happened.
    Someone knew someone who knew someone with a key.
    No Wi-Fi, no clock, no voices except the ones that came from inside my own head.

    I was supposed to be working on a project with a friend back in Tokyo—something digital, fast, meant to scale.
    But every time we tried to collaborate over screens, something got lost.
    We misunderstood tone.
    We mistimed energy.
    The momentum died somewhere between the message and the reply.

    So we stopped.
    Agreed to meet in person later.
    And in the meantime, we’d each work alone.

    Something shifted.
    Not just in the project—
    in me.


    Why You Need Solitude for Real Work

    There’s a kind of clarity that only shows up when you’re alone.
    Not lonely.
    Just alone—undistracted, unsignaled, unreachable by default.

    It’s in that space that real ideas take form.
    Not the shallow kind that rise up during meetings or brainstorms,
    but the deep, slow ones.
    The ones that need silence.
    The ones that need to wander before they arrive.

    Working in isolation means:

    • No performance. Just presence.
    • No consensus. Just curiosity.
    • No noise. Just rhythm.

    You get to ask yourself, without interruption:
    What do I actually think?
    What am I trying to say?
    Is this even worth making?

    And when no one is watching,
    you’re finally free to answer honestly.


    Why You Should Never Build a Life Entirely Alone

    But then—
    the second half of the truth:
    you can’t finish the work alone.

    We’re not designed to stay in isolation forever.
    We shape the work in silence,
    but we sharpen it in conversation.

    Real collaboration doesn’t happen on shared documents.
    It happens in rooms with shared air.
    In kitchens and cafés and quiet corners of bookstores.
    In the way someone tilts their head while you speak—
    and you realize your idea isn’t quite right,
    or maybe it’s better than you thought.

    Collaboration in person means:

    • Energy becomes real-time. You catch sparks. You adjust.
    • Trust builds naturally. Through gestures. Through pauses.
    • Misunderstandings dissolve faster. No lag between feeling and correction.

    When you finally meet, you’re not just exchanging words—
    you’re aligning frequencies.


    How to Structure Your Life Like This

    If you’re building something—anything—
    try this rhythm:

    • Retreat to create. Block off real, uninterrupted time to work alone.
      Leave the house. Leave the inbox. Leave the illusion of multitasking.
    • Return to refine. Meet in person. Share drafts. Talk in circles. Let someone challenge what you thought was solid.
    • Repeat. The process isn’t linear. It loops. It listens. It hums.

    This model works for writing, designing, planning, thinking, even healing.
    It honors both parts of you:
    the monk and the musician.
    The silent observer and the one who needs to be seen.


    Wabi-Sabi Lessons for Modern Work

    There’s deep wabi-sabi wisdom in this rhythm.
    It’s about understanding what’s missing,
    and choosing when to fill it.

    • In isolation, you learn to accept imperfection. You sit with your flaws. You grow comfortable in the raw.
    • In collaboration, you let others trace the cracks. Not to erase them—but to understand where the light gets in.
    • The quiet phase gives the work soul. The shared phase gives it shape.

    Perfection doesn’t come from polish.
    It comes from balance—
    between the time you listen to yourself,
    and the time you let someone else listen too.


    Final Thought

    So now, when I start something new,
    I begin in stillness.
    I wander the forest paths of my own mind until something takes root.
    Then, only when it’s ready—
    I bring it to a table.
    With someone I trust.
    In a room that smells like coffee and old wood.
    And we begin again.

    Because that’s the secret, really:
    Work in isolation.
    Collaborate in person.
    And let the space between the two
    be where the real magic lives.

  • Where I See Myself, If I’m Honest

    evening ferry hums—
    no one on the upper deck,
    only the wind speaks


    In the autumn of 2014, I found myself somewhere between Kagoshima and Nagasaki, sitting on the upper deck of a rust-stained ferry as it drifted quietly across the inland sea. I had no real destination—just a pocketful of yen, a notebook with too many empty pages, and the kind of ache that follows you when you’ve left something behind but haven’t yet found anything to walk toward.

    There were only three other passengers on board: a salaryman snoring softly under a newspaper, a girl with red headphones staring into nothing, and an old man who kept feeding crackers to invisible birds. The wind smelled faintly of engine oil and salt. I liked it.

    I didn’t have a plan. I told myself I was traveling. But really, I was waiting for my life to catch up to me. Or to pass me by completely, I wasn’t sure which.


    That evening, a boy on the ferry staff asked me in broken English,
    “Where you see yourself… ten years from now?”

    I laughed—more out of reflex than amusement.
    It’s the kind of question that’s asked with good intentions but almost never met with a true answer.
    Ten years?
    Ten years ago, I still believed in things like clarity, strategy, permanent addresses.

    Now, I was somewhere off the coast of Kyushu with a half-dead phone and no one expecting me.

    I didn’t answer the boy.
    Not then.
    But I’ve thought about that question more times than I care to admit.


    The Quiet Rule

    If you want to go far in life—really far, not fast, not famous—you have to follow one rule:
    Never lie to yourself.
    Neverrrrrrrrrrrrrrrrrrrr.

    That’s what I’ve come to believe.
    And I say it like that—with too many r’s—because it’s easy to forget how serious it is.
    You can lie to others.
    You can play roles, adjust to rooms, bend for moments.
    But the minute you lie to yourself,
    something starts to rot inside.
    Not loudly.
    Not suddenly.
    But slowly, like fruit left in a drawer you never open.


    On that trip, I told myself I was free.
    I told myself I didn’t need connection.
    I told myself I was above regret.

    But late at night, in ryokan rooms with thin futons and paper walls,
    I heard the truth knocking.
    I wasn’t free.
    I was floating.
    I wasn’t detached.
    I was afraid.
    I wasn’t thriving.
    I was hiding in motion.

    And no amount of train transfers or convenience store onigiri would change that.


    What Ten Years Actually Means

    When people ask where you see yourself in ten years,
    they’re really asking if you believe your future self will be more honest than your current one.

    They’re asking if the person you’ll become is someone who knows when to stop,
    when to leave,
    when to love without pretending.

    I don’t know what city I’ll live in.
    I don’t know if I’ll be partnered or alone,
    teaching, writing, or stacking chairs in a late-night jazz bar.
    But I do know this:
    I want to be the kind of man who can look himself in the mirror at 2 a.m. and say,
    “Yes. This is still you.”


    What Travel Taught Me

    In Kyushu, I learned that the path isn’t always forward.
    Sometimes it loops.
    Sometimes it sits still.
    Sometimes it climbs a forested slope that offers no view.
    But if you’re honest—truly honest—it becomes enough.

    I met a woman in a café near Aso who told me she used to be an architect in Tokyo.
    Now she made ceramic cups with uneven rims.
    She said,
    “I like when the clay wobbles. It shows where my hand slipped. I want my work to remember me.”

    That stayed with me.
    Still does.


    Wabi-Sabi: The Truth We Avoid

    Wabi-sabi teaches us that the crack isn’t the problem—it’s the evidence.
    Of time.
    Of touch.
    Of effort.

    When we lie to ourselves, we polish over the cracks.
    We pretend the structure is still sound.
    We say things like “I’m fine,” “This is normal,” “It’s not that bad.”
    But when we stop lying, we begin to live.

    Wabi-sabi reminds us:

    • Truth doesn’t need to be pretty. It needs to be real.
    • A life with uneven lines has character. Depth. Soul.
    • It’s better to be a cracked bowl that holds warmth than a perfect one left on a shelf.

    So, Where Do I See Myself?

    If I’m honest?
    In ten years, I hope I’m still telling the truth.
    Still building quietly.
    Still leaving room for silence.
    Still chasing meaning, not metrics.

    Maybe I’ll own a small shop—books, tea, repaired things.
    Maybe I’ll live near the sea again.
    Maybe I’ll still walk each morning without headphones,
    just listening to my own feet on the road.

    But more than anything,
    I want to be a man who never lied to himself—
    not about what he wanted,
    not about who he loved,
    not about what he feared.

    That would be enough.
    That would be everything.

  • The Unanswerable Question

    Someone asked me recently,
    “Where do you see yourself in ten years?”
    And like every time before, I hesitated.

    Not because I didn’t care.
    But because the shape of my life has never come from sharp plans,
    only from soft persistence—
    like water finding its own path through stone.

    Ten years is a long time.
    Ten years ago, I thought different things mattered.
    I said yes to people I should’ve let go.
    I said no to risks I still think about.
    I thought life moved like a straight line.
    It doesn’t.

    It bends, folds, loses pages, finds new ones.
    Sometimes it moves like jazz.
    Sometimes it just sits in the corner and waits.

    So I don’t answer the question anymore.
    Not directly.
    Instead, I ask better ones.


    What If the Path Isn’t a Ladder, But a Circle?

    The truth is, I don’t want to be climbing anymore.
    Not if the ladder leads to rooms full of fluorescent lights and performance reviews.
    I want to build things that feel like me—quiet, honest, strange in just the right way.

    And I want to sell—not in the loud, shiny way.
    But in the true way.
    Selling, after all, is just communication.
    It’s the art of saying, this is what I made, and this is why it matters.
    It’s giving your work a way to walk out into the world without you.

    In ten years, maybe I’m still writing.
    Still restoring broken things.
    Still learning how to build—systems, stories, maybe small businesses with soft edges.

    Not because I want to be unstoppable.
    But because I want to keep going,
    gently, sustainably, with purpose.


    What Building Has Taught Me

    I’ve spent time creating things people never saw.
    Websites that never launched.
    Projects that quietly failed.
    Handwritten notes that sat in drawers for years.

    But every act of building—even the invisible ones—teaches you something:

    • How to turn thought into form.
    • How to take an idea and give it texture, structure, consequence.
    • How to sit with something long enough that it starts to breathe back.

    Building teaches you patience.
    It teaches you how to stay with the uncomfortable middle,
    when nothing makes sense
    and no one claps.

    If you want to shape your own life,
    learn to build.
    Not just products, but paths.


    Why Selling Matters (Even If You Hate Selling)

    Selling isn’t manipulation.
    It’s clarity.
    It’s empathy.
    It’s standing inside your work and saying,
    “I see you. I made this for someone like you. Here’s how it helps.”

    If you learn to build and you learn to sell—
    even softly,
    even imperfectly—
    you’re free.
    Not immediately.
    But eventually.
    Free to shape your time.
    Free to walk away from things that steal your soul one checkbox at a time.
    Free to spend an afternoon writing, or fixing, or just staring at the rain—
    without asking permission.


    The Wabi-Sabi Path to Becoming Unstoppable

    You won’t look unstoppable.
    You’ll look quiet.
    Inconsistent.
    Maybe even a little lost.

    But you’ll know what you’re doing.
    Because the people who last aren’t the loudest—
    they’re the ones who learn how to return to the work.

    Wabi-sabi reminds us:

    • It doesn’t need to be perfect to be valuable.
    • A small, handmade life is still a life well-lived.
    • Cracks in the path don’t mean you’re off-track—they are the track.
    • Simplicity doesn’t mean easy. It means clear.

    A Better Question

    So no, I don’t know where I’ll be in ten years.
    But I know I want to keep building things that matter.
    I want to get better at showing them to the right people,
    without apology,
    without armor.

    I want to live a life where each year deepens the truth,
    rather than decorating it.

    I want to be the kind of unstoppable
    that feels like water—
    quiet,
    patient,
    and always finding a way through.

  • The Predictable Challenge

    a hill in the rain—
    every day the same incline,
    every day, new legs


    The Hill I Never Chose

    In the spring of 2004, I was living in a borrowed apartment near a late train line and a convenience store that sold nothing I ever needed but everything I always bought.
    My room was spare—
    a mattress on the floor,
    a chipped mug,
    and a secondhand fan that whirred like it was dreaming of flight.

    Each morning, I followed the same path to a shop that sold broken things—record players that stuttered, cameras with jammed shutters, machines that remembered how the world used to sound.
    The world, for me, was a loop of quiet routines.

    And at the center of that loop—was a hill.


    The Gentle Weight of Repetition

    It wasn’t a steep hill.
    Not dramatic.
    Not something that earns you admiration or sweat-soaked pride.

    But it asked something of me every day.
    It made me notice my breath.
    The tension in my calves.
    The way the light shifted across pavement cracks that had no intention of being repaired.

    I hated it at first.
    Then I missed it when I was away.

    Because it gave me something I couldn’t name until much later:
    the joy of a struggle I already knew.


    Why Predictable Challenges Make Us Happy

    We often seek novelty—new goals, new highs, new identities.
    But there is a quiet, reliable kind of happiness hidden inside predictable struggle:

    • It grounds us – A known challenge brings rhythm, and rhythm gives shape to time.
    • It builds trust – You know you can face it. You’ve done it before. You’ll do it again.
    • It reflects us – Each time you return to it, you’re slightly different. And it shows you who you are.
    • It offers mastery – Not perfection, but familiarity. You grow into it, rather than past it.

    This kind of struggle doesn’t ask for reinvention.
    It asks for return.
    For presence.
    For gentle effort.


    What the Hill Taught Me

    I didn’t climb that hill to prove anything.
    No one was watching.
    There was no finish line.
    Just the soft repetition of trying.
    Again.
    And again.
    And again.

    Over time, I began to understand that I wasn’t trying to beat the hill.
    I was walking with it.
    In rhythm.
    In quiet agreement.
    And that made all the difference.


    Wabi-Sabi Teachings from a Daily Challenge

    Wabi-sabi, the Japanese aesthetic of imperfection and impermanence, lives in that hill—
    and in every quiet challenge we keep returning to.

    Here’s what it whispers:

    • Beauty lives in the worn
      → The cracked pavement, the leaning tree, the tired breath—these are part of the story, not flaws in it.
    • Repetition is not failure
      → The path doesn’t need to be new to be meaningful. The act of returning is the growth.
    • Effort without recognition is enough
      → No audience is needed. No reward required. Showing up is the reward.
    • Flaws are part of the form
      → The chipped mug still holds warmth. The imperfect day still holds peace. The hill that never changes still carries you forward.

    A Final Step

    I no longer live near that hill.
    But I carry it with me—
    in every quiet routine,
    every imperfect ritual,
    every choice to show up without the promise of applause.

    Because happiness doesn’t always live in comfort or novelty.
    Sometimes it lives in the soft, repetitive climb toward nothing new.
    Just something real.
    And real is enough.

  • The Small Things That Save Me

    sunlight on old wood—
    no one sees it but the dust,
    still, it glows like gold


    Morning Rituals That Anchor Me

    Most mornings unfold the same way. The light slips through the blinds at an angle I’ve memorized, landing silently on the floorboards. I rise without urgency, make my way into the kitchen, and start the coffee machine. It gurgles and breathes like an old friend. The scent of dark roast fills the room—not fancy beans, just the kind that reminds me I’m still here. That first cup of coffee isn’t about caffeine; it’s about rhythm. It’s about grounding. It’s a simple morning ritual that stabilizes the chaos and brings a small kind of joy to daily life. For a moment, the world is still, and that stillness feels like peace.


    The Unexpected Power of Sunshine

    There are days when the sun appears suddenly, casting light through the window like a surprise. It lands on the table, hits the corner of a glass, or warms the side of my face just enough to make me pause. Sunshine, even in brief flashes, brings a natural, effortless happiness. It’s not the dramatic kind of joy. It’s subtle. Healing. The kind of light that doesn’t demand anything from you, only that you notice it. On cold mornings or long afternoons, it reminds me of warmth, of softness, of beauty in silence. Sunshine is a free, daily source of joy—always there, even when it hides.


    The Simple Happiness of Physical Touch

    We underestimate how powerful physical touch can be. A hand on my shoulder. A long hug from someone I trust. Fingers brushing lightly during a shared story. These small moments of connection have the power to reset something inside me. Touch doesn’t need to be loud or dramatic to bring comfort. It reminds me that I’m not alone. That I exist in a body, and that body can be held, supported, grounded. In a world driven by digital noise and constant distraction, a warm, unspoken connection—a moment of honest human contact—can feel like coming home.


    Real Conversations That Go Nowhere

    I’ve come to appreciate the value of wandering conversations. The kind where no one is trying to impress anyone. The kind of small talk that unexpectedly turns into something real. Where we talk not to fix things, but just to be heard. Sometimes, nothing gets resolved. And still, something shifts. There’s a deep happiness in talking freely, without pressure, without expectations, just the sound of a voice you trust moving through the room. These everyday moments of connection create a sense of emotional intimacy that no productivity tool can replicate.


    Walking Without a Destination

    There is quiet magic in taking a walk for no reason at all. No goal. No destination. Just a slow movement through neighborhoods I’ve seen a hundred times and somehow still don’t know. The rhythm of walking—one step, then the next—becomes a kind of moving meditation. It clears my head. It slows time. I see things I miss when I’m rushing: a cat sleeping on a windowsill, a tree blooming earlier than expected, a crack in the pavement shaped like a question mark. Walking reconnects me to myself and the world. It’s a natural, low-effort way to improve mental health and spark joy.


    Embracing the Unknown

    Every so often, I do something that I know I might fail at. I try a new project. Say something I’ve been avoiding. Take a small risk. Not for glory or success—but because I need to remember what it feels like to not know. That flutter of uncertainty? That’s aliveness. There’s a strange kind of joy in doing something where the outcome isn’t guaranteed. It makes the air taste different. It resets the heartbeat. Uncertainty, when embraced gently, becomes one of the purest ways to grow.


    Wabi-Sabi Joy in Imperfection

    There’s a quiet, powerful happiness in accepting things exactly as they are. A chipped mug that still holds warmth. A messy day that ends better than expected. A plan that falls apart, revealing something better in its place. Wabi-sabi teaches me that nothing needs to be perfect to be meaningful. Joy doesn’t come from polished surfaces or flawless execution. It comes from the beauty of the unfinished, the broken, the gently worn. It’s in the texture of daily life, where nothing is quite right, and everything is somehow enough.


    Everyday Things That Make Life Beautiful

    Coffee that warms my hands. Sunshine on a quiet street. The comfort of a hug. A late-night talk that goes nowhere. A walk that leads to nothing. A challenge I might not finish. These are the everyday things that make life beautiful.

    They’re not loud.
    They’re not trending.
    They’re not even shared.

    But they are mine.

    And every time I notice them, I return to something essential.
    Something human.
    Something soft.
    Something real.

    I used to think happiness was a goal. Now I know it’s a practice. A noticing.
    A willingness to see beauty in what’s already here.

    And in that, I find peace.

  • The Truth Is Always a Few Steps Further

    a coin in the dirt—
    half-buried, never quite lost,
    glinting when you move


    In the summer of 2006, I lived for a while in a bland apartment near the harbor.
    It wasn’t scenic.
    There were no postcards of that part of town.
    Cargo crates stacked like children’s blocks, gulls arguing in circles, and the thick, stubborn smell of diesel and old water.
    The building itself had peeling green paint, and the elevator made a sound like it was considering not working that day.
    But the rent was cheap, and from the tiny balcony, you could see the cranes move at sunrise like mechanical insects waking from dreams.

    I was doing freelance translation work back then—manuals, mostly.
    Microwaves. Fax machines. One memorable project on the proper maintenance of industrial ice makers.
    I could finish my work by noon and then wander the rest of the day,
    which is exactly what I did.


    I got into the habit of walking along the edge of the dockyards.
    There was a vending machine there that only accepted coins and only sold barley tea, no matter how many buttons it had.
    I liked that.
    Something about its refusal to change.

    One afternoon, I noticed a rusted sign outside a closed-down hardware store.
    It said, “If something doesn’t make sense, keep looking.”
    The letters were faded, like the sign was embarrassed by its own insistence.
    But it stuck with me.
    It felt like a message left for anyone who needed it.
    And I needed it more than I thought.


    When I was a kid, I used to think adults knew things.
    Big things.
    Definite, unshakeable truths.
    But then I got older and realized most people just pick a version of the truth that makes them comfortable,
    then stop looking.


    There was a girl I met during that time—
    she worked at a laundromat three blocks away.
    Always reading thick novels behind the counter, always barefoot.
    She told me once,
    “People only ask questions they already have answers to. It’s the questions with no answers that scare them.”

    I didn’t understand it fully at the time.
    But she said it so plainly, I wrote it down in the margin of a notebook meant for invoices.


    The thing is—
    the surface explanation is always easier.
    It’s comforting to accept the first answer that sounds right.
    But real understanding—the kind that changes you—lives deeper down.
    And to reach it, you have to keep moving.
    You have to stay curious, even when the answers stop being simple.
    Even when you wish they were.


    I’ve learned that the world is full of half-truths dressed up as facts.
    We build entire lives around them—
    about what love is supposed to feel like,
    what success should look like,
    what kind of person we’re meant to be.
    But sometimes the explanation doesn’t fit.
    It rubs at the edges.
    It leaves too much unsaid.

    And in those moments,
    you can choose to settle.
    Or you can choose to go further.


    The truth doesn’t always arrive dressed in clarity.
    Sometimes it’s a feeling you get when a stranger says something that shouldn’t matter but does.
    Sometimes it’s a contradiction that refuses to untangle.
    Sometimes it’s just a question that won’t go quiet.

    But if you follow it—
    if you keep asking,
    keep walking,
    keep noticing what doesn’t sit right—
    the world unfolds in strange and beautiful ways.


    Now, years later, I don’t work with microwaves anymore.
    I live in a different city, where the cranes don’t move at sunrise and the vending machines take credit cards.
    But I still don’t trust simple answers.
    I still write questions in the margins.
    And I still remember that rusted sign by the dock.

    If something doesn’t make sense, keep looking.

    It probably means you’re close.

  • Everything I Know Might Be Wrong

    spring fog drifts slowly—
    what was a mountain yesterday,
    today is just mist


    In the spring of 2002, I was renting a small second-floor apartment above an internet café that stayed open 24 hours.
    You could hear the soft hum of computers and the occasional thud of someone losing at Counter-Strike.
    Downstairs smelled like instant ramen, sweat, and pixelated ambition.
    My place was nothing special—a futon on the floor, a chipped desk I found on the street, a cheap lamp that flickered when the fridge turned on.
    But it was mine, and back then, that seemed like enough.

    At the time, I believed I understood life.
    I had routines: instant coffee in the morning, scrambled eggs if I remembered to buy them, radio turned low while I checked my email on a chunky silver laptop that wheezed like an old man.
    I worked part-time at a CD rental shop—back when people still rented music.
    You could browse for hours, picking albums based on cover art alone.
    I liked that.
    There was something democratic about it.
    Everyone was just guessing.


    One day, I stepped onto the balcony with damp laundry clinging to my arms, and I froze.
    It wasn’t dramatic.
    No thunderclap.
    Just this flat, persistent realization sliding into my head like a pop-up ad I couldn’t close:
    I don’t actually know anything.


    In high school, I once had a philosophy teacher who wore the same beige windbreaker every day.
    He told us on the first day of class that the only useful thing he could teach us was to doubt what we think we know.
    Most of us ignored him—too busy memorizing Nietzsche quotes to sound profound at parties.
    But one day, he drew a triangle on the blackboard and said, “You can call this a triangle. That’s a label. But what if, in your next life, this exact shape means something else—like hunger or love or god?”
    We laughed at him.
    But I’ve never forgotten it.

    And that morning on the balcony, two decades later, the triangle came back.
    Everything we think we know rests on labels.
    And labels shift.
    They evolve.
    Sometimes overnight.


    I had called myself independent.
    But maybe I was just afraid of needing anyone.
    I called my quiet “peace,”
    but maybe it was just loneliness I’d dressed in better words.
    I thought I was disciplined,
    but I was just afraid of what would happen if I stopped moving.


    At night, I’d take long walks with no destination.
    Just the sound of vending machines whirring beside me,
    the flicker of CRT monitors in dark windows,
    and the distant bass of a club that only played R&B from five years ago.
    Everything felt like it was in-between—
    like the city itself hadn’t decided what it was yet.
    And I liked it that way.

    Once, I passed a girl sitting alone at a bus stop at 1 a.m.,
    holding a Walkman and nodding along to a song no one else could hear.
    She looked up, saw me watching her, and smiled.
    Not the kind of smile that invites conversation.
    The kind that says, I know you don’t know me, but we’re both real right now.


    Years have passed.
    The CD shop is gone.
    The internet café is now a vape store.
    That silver laptop gave up sometime during the Obama administration.

    But every so often—folding laundry, burning rice, staring at the wall while the kettle hums—I remember how little I know.
    And how freeing that actually is.

    Because once you stop pretending everything means something fixed,
    you get to ask better questions.
    Not what is this supposed to be?
    but what is this, right now?

    And that’s enough.
    Maybe more than enough.

  • Knowing I’ll Be Gone Makes Life Feel Lighter

    autumn wind again—
    leaves don’t ask where they’re falling,
    they just let it go


    The morning I missed the train, the sky was the color of lukewarm dishwater.
    A color you wouldn’t bother to name.
    I’d slept badly again—woke up three times for no good reason, just the usual low-humming worry pulling at the edges of sleep like a loose thread in an old sweater. I got out of bed late, made instant coffee I didn’t even want, and wandered into the station like someone rehearsing being awake.

    When I saw the train doors close, I didn’t run.
    I just stood there, hands in my pockets, watching it pull away like it was taking something with it I didn’t quite need anymore.
    There wasn’t much left to do after that. So I sat on the cold metal bench, drank the coffee that had already gone bitter, and stared at the empty track like it might open up and tell me a secret.

    That’s when it hit me—
    not like an epiphany, more like someone whispering from the next room:
    you’ll be dead soon.

    It wasn’t dark.
    It wasn’t heavy.
    It was strangely clean.
    Almost peaceful, like wind threading through tall grass, bending everything just slightly.


    Most people hear that and flinch.
    But I’ve been carrying it around lately,
    not like a warning—more like a pocket stone.
    A reminder. A little weight that keeps things honest.

    Because knowing I’ll be gone has done something weird to time.
    It’s slowed things down and pulled everything closer.
    The way strangers’ voices blend in cafés.
    The exact moment sunlight hits the water glass on my table at 3:14 p.m.
    The fact that pigeons never seem to be in a hurry, and yet they always get where they’re going.


    Before, I used to worry about what I was doing with my life.
    Whether I was late.
    Falling behind.
    Wasting potential.
    Now, I mostly just want to feel the water when I wash the dishes.
    To answer messages when I want to, not out of some twitching sense of obligation.
    To go to bed when I’m tired,
    not when I’ve finally earned it.

    It sounds simple. It is simple.
    That’s the scary part.
    We build entire lives around complexity to avoid that truth.


    Someone once wrote that death is not the opposite of life, but a part of it.
    I didn’t understand that the first time I read it.
    I was too young. Too busy chasing things.

    But now I see it in everything.
    In my plants, slowly dying and coming back in new shapes.
    In relationships that change form but don’t entirely vanish.
    In the way even silence carries something—
    a memory, maybe, or a faint echo of laughter from another room.


    Sometimes I walk through the city and look at people and think,
    you’ll be gone too.
    And for a second, it makes me ache in that soft, stupid way you ache
    when you realize everything you love is temporary.
    But then it lifts.

    Because the flip side of knowing we’ll all vanish
    is knowing this—this tiny, forgettable now—
    is all we ever really get.


    And suddenly, I’m not in such a rush.
    Suddenly, it’s okay if I don’t write the book.
    If I never fix whatever it is people think needs fixing.
    If I don’t reply right away.
    If I forget the names of stars.
    If I burn the rice.
    If I miss the train.

    Because I’ll be dead soon.
    And so will everything that ever felt like it mattered too much.
    And somehow,
    that makes this lukewarm coffee,
    this quiet bench,
    this hour where nothing is happening—
    feel like everything.

  • What My Habits Were Trying to Say

    cracked bowl on the shelf
    once held storms, now gathers dust—
    still, it has its place


    One night I found myself in the kitchen at 2:37 a.m., barefoot, eating cereal straight from the box.
    No bowl. No milk. Just the dim fridge light and the sound of my own chewing,
    like static in the silence.

    It wasn’t hunger.
    It was something else.
    Something softer, harder to name.
    Like loneliness wearing socks.

    For years, I called this a bad habit.
    Evidence of failure, of being undisciplined, of living wrong.

    But now I wonder—
    what if the habits we hate aren’t flaws,
    but signals?
    Morse code from the parts of ourselves we’ve forgotten how to hear.


    Mindless snacking?
    Maybe it was never about food.
    Maybe it was my body asking for rest,
    a pause I didn’t think I deserved.

    Scrolling at 2 a.m.?
    Not procrastination—
    a quiet rebellion,
    my attempt to reclaim time that didn’t feel like mine.

    Overplanning?
    Not a love of structure,
    but a way to build fences around chaos
    so I didn’t drown in it.


    I started tracing my bad habits like constellations.

    Procrastination wasn’t laziness.
    It was fear in slow motion.
    People-pleasing wasn’t kindness.
    It was safety in disguise.
    Perfectionism wasn’t ambition.
    It was a shield I built as a kid and forgot how to put down.

    These weren’t character flaws.
    They were survival tools.
    Crude. Unrefined.
    But brilliant in their own time.

    They got me through the noise.
    They carried me here.


    There’s a wabi-sabi truth in that—
    a quiet kind of reverence for things imperfect,
    worn, misfitted, and still somehow whole.

    Like a cracked teacup that still holds warmth.
    Like an old habit that once held your fear
    so you wouldn’t have to.

    Wabi-sabi doesn’t ask for perfection.
    It asks for intimacy with the broken.
    It teaches that beauty and usefulness
    can still live in things that no longer serve their original purpose.


    So now, instead of fighting my habits,
    I study them.

    What are you trying to protect me from?
    What wound are you still guarding?
    What need did you once meet so well, and why haven’t I said thank you?

    Because maybe healing doesn’t come through discipline.
    Maybe it comes through curiosity.
    Through compassion.

    Maybe our so-called bad habits
    are just love letters
    from who we used to be—
    written in smoke and repetition,
    asking not to be erased,
    but understood.

  • All of Them— on envy, imagined lives, and the quiet weight of being someone else

    There was a time I envied people I didn’t know.
    Not in a loud, bitter way—more like a quiet leaning,
    like standing at the edge of someone else’s window
    just long enough to see their coffee cup steaming in the light
    and imagine what it would be like
    to be them, just for a moment,
    just for the part where the light hits right.

    I envied the man on the train with his sleeves perfectly rolled,
    reading a book in Italian like it was written just for him.
    I envied the woman at the intersection who crossed the street
    like she had always known where she was going.
    I envied friends who never paused before speaking,
    who laughed without checking the room,
    who always knew what to do with their hands
    at parties where the music was too loud and the lighting too low.

    But then one night, around 2:30 a.m.,
    I found myself sitting alone at the kitchen table,
    listening to the refrigerator hum like an old monk meditating,
    and I asked myself,
    not out loud, but in that strange, deep-down voice that only shows up when you’re too tired to pretend—
    Would you really trade all of you for all of them?

    Not just the way they carry themselves through sunlight,
    but the way they crumble when the door closes.
    Not just their laughter,
    but the shape of their silence.
    Not just their grace,
    but the grief that lives in their bones,
    the fears that dress like logic,
    the moments they can’t forgive themselves for,
    even if no one else remembers.

    Because the truth is,
    you don’t get to take someone’s beauty
    without carrying their weight.
    You don’t get their confidence
    without the father they never reconciled with,
    or the night they almost gave up but didn’t tell a soul.

    Every life comes as one piece.
    Seams, scars, stitched-up dreams and all.
    No swaps.
    No samples.
    No trying things on just to see how they feel.

    And maybe that’s the point.
    Maybe envy is just the echo of our own shape,
    calling us back home.

  • The Joy in Movement

    For years I thought exercise had to be punishment. Something loud. Something measured. Something that looked like effort and sweat and soreness in all the right places. I tried the gyms. The routines. The classes with names that sounded like they came from action movies.

    But none of it stayed.

    What did stay were the long walks after dinner, music in my ears and no destination. The bike rides that turned into races with the wind. The hikes that ended in silence and sun on my shoulders. The dancing in the kitchen when no one was watching.

    That was movement too.

    No reps. No rules. Just joy.

    The most sustainable exercise is the one that feels like play. The kind that reminds you you’re alive, not being tested.

    So if it makes you laugh, if it helps you breathe easier, if it makes time disappear—

    That counts.

    Call it training. Call it therapy. Call it coming home to your body.

    Whatever it is—if it moves you and you love it, keep doing it.

    Because the best kind of strong is the kind that stays.

  • The Character I’d Be

    A misted mirror—
    Not to reflect, but to dissolve into.


    There are days I imagine being a character from a novel, someone written with enough space between the words to let the wind pass through. Not someone heroic. Not someone tragic. Just someone real in a way most people forget to be.

    And if I had to choose, I wouldn’t reach for fiction.

    I’d choose the narrator of the Tao Te Ching.
    The man who says nothing, but says everything.
    The one who walks away from the crowd, not in bitterness but in quiet understanding.

    He is not a character in the way novels usually need them to be.
    He has no arc.
    No rising tension.
    No grand lesson that fits neatly in a Hollywood ending.

    But he sees the world.
    And somehow, it’s enough.


    To Be the Stream, Not the Stone

    When I first read the Tao, I didn’t understand it.
    I was too busy defining myself—ambitious, intense, full of fire.
    I needed to be someone.

    But the Tao doesn’t care about names.
    It says: “He who defines himself can’t know who he really is.”
    And that hit me like a whisper in a crowded room.

    There is no reward for being loud in the silence.
    There is no prize for outrunning your own shadow.
    There is just the way.
    And the way cannot be forced.


    Wabi-Sabi and the Tao

    The Tao does not promise success.
    It does not encourage hustle.
    It doesn’t ask you to be anything more than you already are.

    And that is what makes it radical.
    You are allowed to just be.

    You are the chipped bowl that still holds water.
    The crooked pine on the mountain slope.
    The tea that tastes better on the third sip.

    Wabi-sabi says: Imperfection is not a flaw.
    The Tao says: Stop clinging, and everything will fall into place.

    Together, they offer an answer to a question most people never ask:
    What if becoming more meant doing less?


    Lessons from a Character Without a Name

    • Let the river choose the path. You only need to float.
    • A full cup cannot receive. Stay empty. Stay open.
    • Don’t try to be extraordinary. Be like water—soft, slow, and undefeated.
    • Those who know do not speak. Those who speak do not know. So breathe. Listen. Watch.
    • You don’t need to change the world. Just stop trying to own it.

    If I could be anyone, I’d be the unnamed wanderer from the Tao Te Ching.
    Not a sage. Not a master. Just someone who stopped asking where the path leads, and simply walked.

    Not to become something.
    But to return to what I never left.


    If you’ve ever read a line that made you stop and exhale, share this.
    Maybe the Way is closer than you think.

  • The Myth of the Fixed Self

    A river doesn’t say it’s introverted.
    It just flows—
    Quiet where it must be quiet, loud where the rocks demand it.


    There was a time I believed I was an introvert.
    It felt comforting—like a soft sweater on a cold morning.
    I wore it proudly. Avoided the crowds, blamed the noise.
    Said no when I wanted yes.
    Said “I’m just not that kind of person.”

    But one day, that label began to feel too small.
    Like shoes I’d outgrown without noticing.
    I caught myself laughing too loudly at a dinner with strangers.
    Dancing in a bar I swore I’d never enter.
    Offering advice to someone I barely knew.

    And I realized:
    I’m not a label.
    I’m a spectrum.


    We Are Not Categories

    We are not checkboxes.
    Not “INFP” or “Type A” or “social battery low.”
    We are oceans. We are weather.
    We rise, we recede. We storm, we soften.

    Yes, some days I need quiet.
    But some days I am the loudest one in the room.
    And both versions are true.
    Both belong.


    Wabi-Sabi and the Shape of Adaptation

    Wabi-sabi teaches us to accept what is.
    But that includes accepting change.
    A cup chipped by time still holds tea.
    A soul shaped by circumstance still holds life.

    We are not broken because we shift.
    We are only broken when we refuse to.


    Lessons From the Space Between Labels

    • You are not a label. You are a landscape.
    • The need for quiet today doesn’t define tomorrow.
    • Personality is not fixed—it’s a conversation with the moment.
    • Adaptation isn’t betrayal. It’s intelligence.
    • Be who the moment needs you to be. And let that be enough.

    The next time you say, “I’m just not that kind of person,”
    pause.
    Ask yourself:
    Are you being true?
    Or just staying small?

    Because the world doesn’t need more labels.
    It needs more people brave enough to change shape.


    Share this if you’ve ever felt caught between categories.
    Maybe you were never meant to fit into one.

  • Wabi-Sabi and the Unnamed Character

    To live like him would be to honor the chipped mug.
    The uneven rhythm of a day unplanned.
    The absence of applause.
    To accept that imperfection isn’t something to fix—but something to feel.

    He is the character who knew the hero before they were brave.
    Who gave directions but never asked for thanks.
    Whose life, if examined closely,
    Contains all the lessons the main character spends years learning.


    Lessons from the Man in the Background

    • You don’t have to chase the spotlight to be whole.
    • Stillness is not stagnation—it’s wisdom learning how to breathe.
    • Sometimes, your story is to help others write theirs.
    • Peace isn’t found on the mountaintop—it’s in the folding of laundry on a rainy afternoon.
    • To be ordinary, fully and without shame, is the most radical thing you can do in a world built on spectacle.

    So yes, if I could be a character, I’d be him.
    Not because he wins.
    But because he understands that life isn’t something to conquer.

    It’s something to notice.

    And to live it well,
    Is to quietly stay behind,
    While the rest of the world rushes off, chasing stories they don’t yet understand.


    If you know someone who’s always quietly there—share this with them.
    The world is built on their presence.

  • The Cold Wind Knows Your Name

    A gust through the trees—
    Not to rush you, but to remind you.
    You were once fast. You still are.


    It started as a simple invitation.
    “Let’s ride Sunday morning, same route as the old days.”

    I hadn’t clipped into a competitive mindset in years.
    These days I ride slow. Leisurely. With a thermos sometimes.
    I look at the horizon, not the stopwatch.

    But that morning, the sun rose with a sharpness in its light. The kind that cuts away excuses.
    And the wind—it wasn’t cruel, just honest.
    A little jazz playing through my headphones, the kind where the saxophone spirals up like breath on a cold day, and I met my friend at the foot of the climb.

    He smirked. “You ready?”
    I nodded, pretending not to hear the quiet thrum in my chest.
    It wasn’t nervousness.
    It was memory.


    The Return of the Rush

    The first few kilometers were easy. Chatter. Pedals turning like metronomes.
    But somewhere near the first hill, something shifted.
    Not between us—but within.

    He surged ahead.
    I felt my legs respond before my brain did.
    The old fire flickered on.
    The game was back.

    It wasn’t anger or ego.
    It was joy.
    The joy of chasing, of being chased. Of breathing so deep it burned sweet in your lungs.
    Of letting the mind fall away and letting the body remember.

    We hit the peak, not speaking. Just grinning like fools.
    We coasted in sync—silent jazz solo, wind-sliced cheeks, legs humming from the climb.


    Wabi-Sabi in the Gears

    There’s a certain beauty in remembering who you once were.
    But there’s grace in knowing you’re not trying to become that person again.
    Just visit.
    Just nod in recognition.

    I don’t want to compete every weekend.
    But I want to keep something wild in me.
    Some space where the fire hasn’t settled into ashes.
    Where the pedals still answer when called.
    Where a friend’s challenge is a doorway—not to prove something, but to feel something.


    Lessons from the Ride

    • The wind isn’t just against you—it reminds you you’re alive.
    • You can outgrow competition without outgrowing drive.
    • Rest is sacred. But so is the rush.
    • Some friendships are built on miles, not words.
    • You can be both: the slow rider with a thermos, and the racer who still knows the way up the hill.

    As we rolled back into the city, the sun was higher.
    Shadows shorter.
    Legs tired, but that pleasant tired.
    The kind that doesn’t ask for sleep, just stillness.
    The kind that feels earned.

    We didn’t say much at the end.
    But before he rode off, he looked back once.
    “Same time next week?”

    I laughed. “Maybe.”

    But we both knew the answer.

    The spirit had returned. Not to stay—just to remind me it never left.

  • The Weight of Early Discipline

    When I was sixteen, I worked at a bakery. Mornings started at 4:30 a.m. The light hadn’t come yet, and the world still felt like it was sleeping. My hands smelled like yeast and sugar for years after I left that job.

    I didn’t love it. It wasn’t romantic. I scraped flour off the floor. I washed trays until my wrists ached. I learned how to fold dough the right way, how to stand still for hours, how to do something again and again until it was second nature.

    There was no applause. No Instagram post. Just the quiet dignity of showing up.

    Looking back, I think that saved me.

    Because the world now is loud and slippery. Everyone’s chasing something—a shortcut, a trick, a viral path to success. But real things still move slowly.

    What you learn when you’re young—if you’re lucky—is not just a skill. It’s a rhythm.

    You learn how to meet the morning even when you don’t want to.
    How to practice even when no one sees it.
    How to keep going when the work is invisible.

    That rhythm stays in your bones. It becomes the thing you rely on when everything else is uncertain.

    Now, when I write, it feels the same.

    Early mornings. Quiet rooms. The repetition of showing up. The understanding that no one owes me a result just because I tried.

    There’s something beautiful in that. Something grounding.

    Not every effort needs a witness.
    Sometimes, the work itself is the reward.

    And the life you want—quiet, honest, deeply your own—often waits just beyond the last repetition you were willing to do.

  • The Road That Forgot Its Name

    On Old Friends, Unspoken Years, and the Bicycle Trailer I’ll Probably Never Use

    A man once told me
    you never forget the sound of a long road
    when your mind is quiet enough to hear it.


    We were supposed to leave at 3:30. I remember glancing at the clock on my kitchen wall, how the minute hand seemed to linger longer than usual, how the seconds fell like stones into a pool I couldn’t quite see the bottom of. We left at 4.

    The delay didn’t bother either of us.
    He arrived with two coffees and an old windbreaker, the kind with a faded logo that looked like it belonged to a marathon he never mentioned running. The dog hopped into the back seat like it had been waiting for this drive its whole life.

    Spring had only just arrived—not on the calendar, but in the air, in the way the sunlight no longer felt clinical, in the smell of thawed earth rising from the roadside. You could hear it in the sound of birds trying out songs they had forgotten over winter, in the way trees looked unsure whether to bud or wait another day.

    We were heading out to pick up an old 1950 bicycle trailer—an Anhänger—a word that always felt heavier in German, as if the object itself knew it had been built to carry something more than just weight. I had no use for it, really. I didn’t even ride often anymore. But it reminded me of something. Or someone. Or a feeling that hadn’t fully taken shape. And so, I went.


    What We Talk About On The Way

    We didn’t fall into conversation right away. There’s a certain grace in knowing someone long enough that silence doesn’t press against your ribs.

    The road stretched ahead like a long, thin sentence you weren’t in a rush to finish. Eventually, he started telling me about his son—his first—who had just received his college acceptance. He said it like it had just occurred to him, as if saying it aloud made it more real. There was a pause after that. The kind that isn’t uncomfortable, just heavy. Like a snow-laden branch waiting to release.

    He had two kids now. I hadn’t realized. Time does that—it accumulates in the corners of people’s lives while you’re busy managing your own. He told me how the younger one was into swimming, not competitively, just every week, like a rhythm. The older one wanted to study architecture. Something about buildings that stayed standing even after people left them.

    I told him I didn’t have kids. Not yet. Maybe someday. I don’t know if I said it to explain or to excuse, but he didn’t ask. Just nodded like he understood something I hadn’t figured out how to name.


    The Man Who Wasn’t There

    When we reached the house, it was nearly dusk. The kind of dusk that folds in rather than falls. The trailer sat quietly behind the building, half-shadowed, but dignified. You could tell it had been restored with care—not perfection, but care. The wood had been sanded and resealed, the hinges replaced, the wheels balanced. It looked like something that had stopped waiting and was ready to begin again.

    There was no one to greet us. Just a note taped to the door with clean handwriting that read:
    “Trailer’s out back. Leave the money in the postbox. Hope it finds the right road.”

    I folded the bills without counting. Dropped them through the slit.
    Lifted the trailer into the car.
    And that was it.

    The transaction was done in silence. And somehow, that made it more honest.


    On the Way Back, the Sky Forgot to End

    It was darker on the return.
    The sun had already disappeared into the fields behind us, leaving a thin seam of gold across the tops of distant barns. He talked more this time. About ski jumping—how he used to watch competitions with his dad, how it always felt more like falling with style than actual flight. About the way his daughter had started cooking, real food, the kind you have to fail a few times before it makes sense. About how strange it is to raise people who don’t belong to you anymore by the time you really understand them.

    I listened.
    Not because I had anything to add,
    but because some stories only need an open road
    and someone not looking directly at you.

    The dog was asleep now, curled like a comma in the sentence we hadn’t finished. I watched the lights smear past the window like old memories being pulled out of focus.


    Wabi-Sabi and the Weight We Choose

    The trailer doesn’t serve a purpose in my daily life.
    I haven’t used it.
    I may never use it.
    And yet, I’m glad it’s here.

    It creaks a little when I move it.
    The wood has tiny flaws, places where the grain refuses to behave.
    It smells faintly of oil and time.
    And it reminds me—without trying—that not everything has to be practical to be worth keeping.

    There’s something quietly sacred in bringing home a thing that serves no purpose except memory.
    Wabi-sabi lives in that kind of object.
    In the choice to keep something simply because it reminds you of what it means to care.


    The Drive That Meant More Than Its Destination

    • Sometimes, the most beautiful moments happen when no one is watching—not even you.
    • Long drives soften the edges between people. You don’t talk to fill space. You talk to remember how to belong.
    • Not having something—kids, certainty, a clear plan—doesn’t mean you’re missing anything. It just means your life’s sentences are still unfolding.
    • The object isn’t the point. The road is.
    • What you bring back might sit quietly in your garage.
      But the conversation will echo longer than you expect.

    If this story met you on a quiet part of your own road, share it.
    Someone else might be waiting for a reason to go—not to find anything new,
    but to rediscover something old,
    something quiet,
    something they almost forgot was still alive inside them.

  • The Art of Going Quiet

    A single breath—
    not drawn for attention,
    but for staying.

    There was a time I let too many voices into the room.

    People had opinions.
    They always do.
    Loud ones.
    Casually cruel ones.
    Even well-meaning ones, which are sometimes the hardest to ignore.

    They’d ask why I was doing this.
    If it would work.
    If I had a backup plan.
    If I was sure.

    At first, I tried to answer them all.
    Tried to explain the thing I was building
    before it had even taken shape.

    But eventually, I stopped.

    Not because they stopped talking.
    But because I stopped needing their noise to sound like truth.

    When Silence Becomes a Sanctuary

    The shift was small.
    Almost imperceptible.

    One morning, I sat down to work—
    and realized I didn’t care who was watching.

    There was a kind of peace in that.
    A quiet that wrapped itself around me like soft cloth.
    No pressure.
    No performance.

    Just me,
    and the work.

    No one else in the room
    but the version of me who still believed
    in this strange, beautiful thing I was trying to make.

    And that, I found,
    was enough.

    Tuning the World Out

    Focus isn’t about discipline.
    It’s about devotion.

    Not to outcomes—
    but to moments.

    I stopped measuring success in volume.
    Stopped asking how many likes, how many comments, how much.

    I started asking—
    Did this feel real to me?

    Was I still in love with the process?

    And the more I asked,
    the more the world faded.
    Not away.
    Just… into the background.

    Until all that was left
    was me,
    a pen,
    and the sound of becoming.

    Wabi-Sabi and the Dream That Stays

    Wabi-sabi lives in that quiet space
    where doubt used to sit.

    It’s not about perfection.
    It’s about presence.

    The paper doesn’t need to be filled.
    The dream doesn’t need to impress.
    It just needs to be yours.

    When you really want something—
    really, deeply want it—
    you stop asking the world to understand.
    You stop waiting for permission.

    You just show up.
    Every day.
    Softly.
    Bravely.

    And the rest?

    Just noise.


    If this spoke to something quiet in you, share it. Maybe someone else needs to know they’re allowed to want something without explaining it. That their dream matters—even when the room is loud.

  • The Garden Without a Clock

    A root in the dark—
    not seeking light,
    but growing anyway.


    I’ve never called myself a gardener. It always felt like a title that belonged to someone with more tools, more patience, more botanical Latin. But somewhere along the way, I started noticing things.

    The way soil smells after rain.
    How a tomato plant leans, like it remembers the sun.
    That if you place your hands in the dirt long enough, your thoughts rearrange themselves into something quieter.

    I never meant for it to become a ritual.
    But one morning, after a particularly sleepless night, I found myself kneeling by the planter box, just brushing my fingers across a patch of thyme that was threatening to die. I didn’t save it. I didn’t even try. I just stayed there. And something shifted.


    The Work Beneath the Work

    People ask sometimes: what job would you do for free?

    I used to think the answer had to be something grand. Writing novels, maybe. Or mentoring lost souls on mountaintops. Something meaningful, something big.

    But now, I know:
    I would garden.

    I would weed and prune and fuss over basil that never grows quite right. I would plant things just to see what they become, fail to water them, feel guilty, and try again. I would spend a whole afternoon doing nothing but watching light move through leaves.

    It’s not about the results. Gardens don’t ask for ambition. They ask for rhythm. They remind you that not all work is transactional. Some work just restores you. Quietly. Without applause. Like a breath you didn’t know you were holding.


    Wabi-Sabi and the Dirt on Your Hands

    Wabi-sabi lives in the crooked stem.
    The cracked pot.
    The bloom that arrives too early and wilts before anyone sees it.

    To tend a garden is to accept impermanence—
    to work not in spite of decay, but with it.

    You don’t win at gardening.
    You just return.

    To the soil.
    To yourself.
    To the small act of caring for something that might never say thank you.


    Lessons From the Garden I Never Meant to Grow

    • The most honest kind of work is the kind that softens you.
    • You don’t have to fix the whole world. Just water what’s within reach.
    • Growth doesn’t always look like progress.
    • Some things bloom simply because you showed up.
    • There’s a peace that lives just under the surface. You find it with your hands.

    The world outside is always moving, always demanding a return on investment.
    But in the garden, there is no hustle.
    Only seasons.
    Only stillness.
    Only the kind of work you do because it heals something that language cannot touch.

    And that, I’ve come to believe, is enough.


    If this post rooted something in you, consider sharing it. Maybe someone else needs permission to slow down, to kneel in the dirt, to do the kind of work that softens rather than hardens.

  • The Season After Spring

    A leaf does not fall in protest—
    It lets go because it knows.
    There is beauty in the fall, too.


    There’s a tree outside my window.

    It’s nothing special, really. Not the kind that gets written into poems or framed by tourists’ cameras. It’s just… a tree. Slightly crooked, leaning a bit more to the left than symmetry would prefer. Some years, it blooms early. Others, late. The bark has split near its base, and a single, persistent crow seems to claim it as home. I don’t even know its name.

    But I know it better now.

    When I was younger, I passed that tree without thought. I was always late for something—trains, deadlines, life. I moved through spring like it was a green blur on the way to something more important. Summer was heat, noise, and distraction. Autumn arrived like an afterthought, a reminder to buy warmer socks. Winter was a season to be endured, not felt.

    I thought awareness was for people with time. For the elderly. For the poets and the wanderers and the kind of people who lit candles in the middle of the day.

    But time is a strange teacher. It gives you answers before you even understand the question.


    These days, I move slower.

    Not because I’m weak. But because I finally understand the value of the walk.

    I find myself watching shadows stretch across the sidewalk like silent stories. I hear the wind rustle through the branches with the same tone as an old friend beginning a familiar tale. I look up more often—not to seek anything specific, but just to remember that the sky is always there, changing, like me.

    I notice how autumn doesn’t arrive in a single moment. It sneaks in. One leaf, then another. A whisper of cool air against the skin. A different smell in the evening. A melancholy you can’t quite explain. Wabi-sabi tells us that there’s a beauty in this imperfection, this slow decay. It’s the art of noticing the cracks without rushing to fix them. Of holding something broken and saying, “You are still worth holding.”


    When I was young, I thought becoming was everything. Now, I see that unbecoming holds its own grace.

    I don’t miss the speed. I don’t miss the noise. I miss people sometimes, sure. But mostly, I miss the version of myself who thought happiness was a finish line. Who didn’t know that peace isn’t something you win. It’s something you slow down enough to feel.

    In this season—the one after spring, the one where the green fades into gold—I am learning to be okay with not having all the answers. I’m learning that solitude isn’t the same as loneliness. That presence doesn’t need a reason. That this moment, right now, is enough.


    Lessons from the Season After Spring

    • Youth sprints; age strolls—and the stroll sees more.
    • Spring is the dream, but autumn is the understanding.
    • Time is not your enemy. Your resistance to it is.
    • You don’t have to bloom every season. Falling is also natural.
    • The tree outside your window is trying to tell you something. Listen.

    I still don’t know the tree’s name.

    But I do know the way its leaves shimmer in late October sun. I know the rhythm of its shadow at noon. I know how it holds snow in silence and how, even in winter, it doesn’t stop being a tree.

    And maybe that’s the point.

    You don’t need to be known to be seen. You don’t need to bloom to be alive. You don’t need to chase the spring, forever.

    Sometimes, being still is the deepest kind of movement.


    If this stirred something in you—send it to someone who might be rushing too fast to hear the leaves turning.
    They might thank you for the pause.

    Or they might just notice their own tree.

  • The Stillness Between Two Ambitions

    A cup half full,
    not of longing,
    but of light.


    He once believed that hunger was the engine of greatness.

    That the fire of dissatisfaction was the only thing that made anything worth building. Success, he thought, belonged to the uneasy—the anxious, the wanting, the ones who couldn’t sleep until something more was carved into the stone of the world.

    But something changed. Slowly. Quietly.

    Maybe it was age. Maybe it was exhaustion disguised as wisdom. Maybe it was one too many mornings waking up to a life that looked like someone else’s idea of purpose.

    Or maybe it was the silence.

    He stopped needing more noise to prove he was alive.

    And as happiness—no, peace—started to find its way in through the cracks, he noticed something strange:
    He didn’t lose his ambition.
    He lost the panic.


    People say happiness makes you soft. That it makes you complacent.
    But that’s not quite true.

    It makes you clear.

    When the storms quiet, you can finally see the shore.
    You don’t waste time chasing the wind.
    You start building things that matter.
    To you.

    Before, he wanted applause. Now, he wanted alignment.
    Before, he wanted more. Now, he wanted real.
    The work didn’t vanish. It deepened.

    He wasn’t chasing success anymore.

    He was walking toward it.


    Wabi-Sabi and the New Ambition

    Success isn’t a skyscraper anymore.

    It’s a stone path laid one quiet morning at a time.
    It’s work done without performance.
    It’s ambition without anxiety.
    It’s doing what only you can do—because you are finally quiet enough to hear what that is.


    A Simple Truth

    • Happiness doesn’t kill your drive. It clears the road.
    • You’ll still want to act—but not from fear, from fullness.
    • And yes, you may lose the old definition of success.
      But the new one?
      It fits.
  • The Noise Inside the Signal

    Somewhere between the scroll and the silence,
    we forgot how to hear ourselves.


    He used to wake up with birdsong. Now it was headlines.

    Before his feet even touched the floor, the world had already barged in—crammed into a rectangular screen that lit up his nightstand like a tiny sun. War. Climate. Scandal. Opinions. Click here. Read more. Be outraged.

    He would tell himself he was just checking the weather.

    But thirty-seven minutes later, he’d know everything about a political feud in a city he’d never visited, the latest tech collapse, and what three strangers on the internet thought about gluten. He’d scroll like it was a duty, like somehow by knowing more, he was doing something about it.

    He wasn’t.

    The dishes in the sink still waited. The call he should’ve made to his mother still lingered in yesterday. His thoughts, once his own, now sounded like retweets in his head.

    He remembered a quote someone had shared—not even sure who anymore:
    “Your family is broken, but you want to fix the world?”
    It wasn’t meant to shame. Just… a mirror. The kind that doesn’t flatter.

    So he began small.

    Airplane mode in the morning.
    Unread tabs left to die.
    A walk without a podcast.
    Coffee without commentary.
    Questions without instant answers.

    The silence was strange at first. Almost loud. But beneath the static, there was something softer. A kind of quiet intelligence, whispering things he used to know—
    that the brain was not built for a thousand crises a day,
    that peace is not ignorance,
    and that attention is not owed to everything simply because it is loud.


    Wabi-Sabi and the Algorithm

    We chase updates like meaning will be in the next refresh. But wabi-sabi reminds us:
    Imperfection is not a flaw. Incompleteness is not failure.
    And not knowing everything… is okay.

    Let the world spin a little without you.
    Let your attention return to what is near, what is real, what is yours.

    Because the truth is:
    You are not the sum of what you consume.
    You are what you choose to keep.


    Put your phone down.
    Your life is happening in the next room.

  • The Attention Heist

    Imagine your mind is a small apartment above a coffee shop. The windows are always cracked open just a little, and without asking, strangers walk in. They drop newspapers on your table, leave half-finished thoughts on your floor, talk loudly about wars, markets, celebrities you’ve never heard of. No one knocks. They just show up.

    That’s what the internet feels like now. Like hosting a party for everyone else’s noise while forgetting you never sent out invitations.

    You try to check the weather. Just the weather. But five minutes later you’re reading about a border conflict in a country you couldn’t find on a map if someone paid you. Your tea’s gone cold. Your laundry’s still wet. You’ve absorbed three disasters and said nothing to anyone all day.

    I’m guilty of it too.

    I’ve sat in silence while my brain reenacts global collapse in perfect clarity, like it’s prepping for a Nobel Peace Prize I didn’t apply for. I know the tone of articles from outlets I’ve never trusted. I’ve memorized the rhythms of outrage.

    And meanwhile—my home hums with unfinished things.

    There’s this quote I saw: “Your family is broken, but you’re going to fix the world?”

    It hit hard.

    Because that’s the game. We take in so much noise, so much urgency, and it tricks us into feeling responsible for it all. Like empathy became a full-time job. Like peace is selfish. Like being informed means never looking away.

    But maybe that’s the trick: the world keeps screaming, louder and louder, and we keep listening with no filters, no doors.

    So I’ve started turning things off. Not forever. Just long enough to hear myself again. Just long enough to remember the kettle on the stove. The plants that wilt a little when I forget. The people who speak softer than the headlines.

    I’m learning not to let the circus live in me. Not to let the chaos rent space in my ribs.

    Some days, the world will ask for everything. But you don’t have to give it.

    Not when you’re still trying to clean your own room.
    Not when your life is still waiting to be lived, quietly, just below the noise.

  • The Shape of Becoming.

    A river doesn’t ask the rocks to move—
    it learns to curve around them.


    Lately, I’ve been feeling it again. That quiet shift under the skin. The restlessness that comes when you’re outgrowing who you used to be, but not quite sure who you’re supposed to become next.

    Change used to feel like something that happened to me—like a job loss, or a heartbreak, or a sudden goodbye. But now I see it differently. Now, I think change is more like erosion. Slow. Patient. Whispering at the edges of your life until you no longer fit the shape you once lived in.

    The trick, I’ve learned, isn’t in resisting change. It’s in deciding what part of yourself is worth preserving while the rest transforms.

    Some things must bend. Some things must break. But the core? The core must stay soft enough to feel, and strong enough to keep going.


    The Mirror is a Quiet Place

    There’s a mirror we carry that no one else sees. It doesn’t show our face—it shows the story behind our eyes. And when you hold that mirror long enough, really look, you start to see the ways you’ve adapted just to survive.

    The jobs you took that didn’t fit.
    The versions of yourself you became just to be liked.
    The silences you maintained to avoid conflict.

    But survival isn’t the same as becoming. You can survive for decades without ever truly living. I know—I’ve done it.


    Self-Honesty is the First Kind of Courage

    Growth begins the moment you stop pretending.

    When I finally asked myself what I really wanted—not what I was supposed to want—it was like ripping open a sealed room. Everything rushed out: regrets, old dreams, forgotten parts of me that still had teeth.

    Some were too old to feed. Others were just hungry enough to chase again.

    I started small. I got rid of clothes that didn’t feel like me anymore. I spent whole afternoons alone, not to be lonely, but to listen. I asked myself, “What if you didn’t have to become anyone? What if you just allowed yourself to unfold?”

    There was grief in that. Letting go always carries the scent of mourning. But there was freedom too.


    Wabi-Sabi and the Rivers Within Us

    Wabi-sabi isn’t about fixing the cracks. It’s about finding beauty in them. And I’ve come to believe the same is true of people.

    We are not meant to be polished.
    We are meant to be lived in.

    You don’t need to become someone new. You need to become someone true.

    And that means letting the current of life reshape you. Letting it soften the edges you’ve kept sharp out of fear. Letting it wash away what no longer serves.

    We are all rivers, quietly carving our own beds.
    We don’t find our path.
    We shape it—curve by curve, bend by bend.

    And the current doesn’t ask for certainty.
    It only asks that we keep moving.

  • Three Mornings Across a Life

    1. A Cabin in the Swiss Alps — Spring, Age 22
    The air rang cold in my chest.
    I lit the stove with fingers still half-dreaming.
    Outside, frost clung to the pine like it hadn’t made up its mind.
    My ritual was simple:
    boil oats,
    wash my face in glacier melt,
    write one sentence in a leather notebook I never dared reread.
    At twenty-two, I believed mornings were for becoming someone new.
    Most days, I just became myself again.

    2. A Flat in Berlin — Summer, Age 30
    No curtains.
    Light crashed in like a drunk guest at a quiet party.
    The fan clicked—four seconds on, four seconds off—
    steady as regret.
    Coffee in a chipped mug.
    Unread messages stacked like unspoken truths.
    The neighbor’s dog barked, same hour, every day.
    I started calling it silence.
    At thirty, I learned rituals don’t always comfort.
    Sometimes, they just keep you from falling apart.

    3. A Beach Shack in Sri Lanka — Autumn, Age 44
    The tide was the only clock I trusted.
    I walked barefoot, tea in hand, letting the sea trace my ankles.
    No screens.
    No schedule.
    Only wind, salt, and an old song that stayed with me long after it ended.
    I let the morning arrive how it wanted—
    sometimes bright, sometimes heavy,
    sometimes not at all.
    By forty-four, I stopped shaping the day.
    I let it shape me.

    Lesson:
    We spend years trying to design the perfect morning—
    a formula, a rhythm, a version of ourselves we hope to meet.
    But over time, we learn:
    it’s not the ritual that matters,
    it’s how gently we greet the person we are when the light returns.

  • The Shape of Home

    A distant song—
    Not forgotten, just quieter now.
    Like steam rising from a bowl of soup once served by familiar hands.


    I’ve been thinking a lot about home lately. Not the bricks and wood kind, but the version that lives somewhere behind the ribs. The one that smells like something cooking in another room. The one that sounds like someone calling your name the way only they do. The one that disappears when you try too hard to return to it.

    In Kobe, when I was twelve, my father told me that home was not a place, but a person. I didn’t understand what he meant until long after he was gone. Now I understand too well.

    Sometimes I look around this apartment—the light catching the edge of a chipped ceramic cup, the steady hum of the refrigerator pretending to be silence—and I realize I’ve built a life out of fragments. Nothing fits perfectly. The couch doesn’t match the walls. The paintings are crooked. The spoons are all different sizes. But there’s something oddly comforting about it. Like the beauty of a cracked bowl, repaired with gold—more valuable now than when it was new.

    That’s wabi-sabi, I think. The acceptance that nothing is permanent, nothing is perfect, and nothing is ever truly finished. Including us.


    Loneliness Wears Many Faces

    There are nights I scroll through endless rectangles of people I used to know. The glowing, pixelated versions of their joy. And I wonder: How many of them feel the same drift I do?

    According to The Good Life, the longest scientific study on happiness, it isn’t wealth or success or even achievement that sustains us. It’s connection. The soft, invisible thread between two people who still make time for one another—even if only to ask how the soup turned out.

    Loneliness is a thief. Quiet. Polite. It doesn’t break in, it seeps. And by the time you notice it, it has rearranged the furniture of your life.

    But connection—like home—is something you can rebuild. Not all at once, but slowly. A call. A letter. A shared meal with someone who still laughs at your old jokes.


    The Gentle Reminder

    A good life isn’t made from perfection. It’s made from repair. From the small moments when someone shows up. When someone stays.

    Even one of the study’s most isolated participants, found his way back into the world through something as ordinary as a gym. Not because he needed muscles, but because he needed people. At eighty, he laughed more than he had at forty. That gives me hope.

    I used to think home was something behind me. A chapter closed. A photograph taken with film that can’t be reloaded.

    Now, I wonder if it’s something I carry. Something I build, person by person. Maybe it’s not where you started, or even where you end. Maybe it’s who you love in between.


    Lessons Etched in Quiet Places

    • Your life is a story of connection. Nurture the characters that make it worth reading.
    • Home is not behind you. It is beside you, being built in real time.
    • Nothing is too late, and no one is too far gone. Not even you.
    • Loneliness is real. But it is not permanent.
    • Answer the phone. Make the tea. Sit down. Stay awhile.

    And if you find yourself wondering where you belong…

    Start with a name. Call them.

    That might be home already.

  • The Shape of What Remains

    Under the lantern’s glow—
    A face not made, but weathered,
    A story without a title.


    There’s a corner in Kobe where the city folds into itself. Past the quiet hills, between a jazz bar that never seems to close and a stationery shop with more dust than pens, there’s a narrow alley. I used to walk there when I couldn’t sleep. When the thoughts were too many, and the silence in my apartment echoed louder than traffic.

    One night, I saw an old man standing outside a tiny udon stall, humming to himself as he stirred broth. His hands moved like they’d done it ten thousand times. I asked how long he’d been cooking. He said, “Since the first Hanshin Tigers championship.” Then he laughed and added, “But I was already old back then.” I don’t remember the taste of the noodles. I remember his hands.

    Maybe that’s it.

    Maybe what makes us unique isn’t talent or charm or any of the things people try to measure. Maybe it’s the way our hands move when no one’s watching. The pauses in our voice when we almost say something real but don’t. The way we fold our memories into daily rituals—boiling water, tying shoelaces, opening the window just before the kettle whistles.


    People talk a lot about finding themselves.
    But what if we’re not something to be found?
    What if we’re something that gets shaped, little by little—
    By the wind of a city,
    By the break of a heart,
    By the songs we hum without knowing why?


    I’ve met people whose uniqueness came like jazz:
    Unexpected, off-beat, but perfectly timed.
    And others who were like calligraphy—
    Carefully formed, full of silence between each line.

    And maybe that’s why we struggle to describe people sometimes.
    Because they aren’t things you list,
    But moments you remember.


    Lessons from a City That Knows How to Begin Again

    • You are not the things you’ve done. You are how you carry them.
    • The cracks in your story are where the light comes in.
    • Your uniqueness isn’t a performance. It’s a pattern you leave behind.
    • We do not find ourselves in mirrors, but in the eyes of those who stay.
    • Kobe was rebuilt from rubble. So were you.

    And when someone asks,
    “What makes you different?”
    You don’t have to answer.

    Just show them the way you stir your coffee.
    The way you sigh at certain kinds of rain.
    The way you love the world, even when it forgets to love you back.

  • タイトル: 海辺のあしあと (Title: Footprints on the Beach)

    In Kobe, the sea doesn’t shout.
    It whispers—gently, stubbornly, like a memory that won’t let go.
    I used to walk there after midnight,
    when the city folds into itself
    and even the vending machines sigh in blue.

    What makes a person unique?
    It’s not the loud moments,
    not the accolades stacked like empty coffee cans.
    It’s in the silent rituals—
    how someone folds their umbrella before the rain stops.
    How they hesitate before turning a page.
    The kind of jazz they play when no one is listening.

    I once met a woman at the port who collected cracked teacups.
    She told me,
    “Imperfections make room for stories.”
    I didn’t ask what she meant.
    Some things aren’t meant to be chased.
    They should trail behind you like a shy cat.

    In Kobe, the air smells like salt and memory.
    You carry both without knowing.
    Sometimes, what sets you apart is simply
    how you carry the quiet things.
    The songs you hum under your breath.
    The people you remember when you’re alone.
    The wounds you never hide but somehow still dance with.

    Like the city itself—
    half light, half shadow,
    always a little broken,
    always completely whole.

  • The Thread Between Us

    Sometimes, I imagine you.

    Not as a number. Not as a “reach” or a “metric.” But as someone sitting at a table somewhere—a dim kitchen, maybe, or a noisy café, or a quiet room lit only by the glow of your phone. Someone who reads these words not out of obligation, but out of shared hunger. For stillness. For meaning. For something soft and true in a world that often feels loud and fast and indifferent.

    If you’re here, still reading, still checking in, still carving out a moment in your day to be with these small stories—I see you.

    And I want to say thank you.

    Thank you for returning. Thank you for the messages, the quiet likes, the times you’ve shared a piece with someone else because it reminded you of them. Every visit, every reread, every small act of support is felt more deeply than I can explain.

    This space exists because of you. Because you chose to slow down, to be still for a moment, to feel something real.

    If any of this has ever spoken to you—if a single sentence sat with you a little longer than expected—please consider sharing it. Send it to someone you care about. Whisper it into someone’s week. Let these quiet words move a little further.

    Stories don’t live in silence. They breathe through connection. Through being passed hand to hand, heart to heart.

    So thank you. For being here. For staying. For returning.

    I’ll keep writing, if you keep reading.

    Always.

  • The Thing That Bears Your Name

    They were sitting on the back porch, the late sun pooling between the fig leaves, casting everything in that golden, aching light that only ever shows up when a season is about to end. She wiped plum juice from her fingers with the hem of her apron, slow and careful, like it hurt to be too fast with anything anymore. He trimmed a loose thread from the seat cushion like it was a ritual. Not because the cushion needed fixing, but because it felt good to fix something. Even something small. Especially something small.

    Their son had asked the question that morning, over coffee that went cold before anyone drank it.

    “If you could have something named after you, what would it be?”

    She had laughed, soft and hollow, like a drawer that doesn’t close all the way. He had shrugged. And now, the question hung in the late light like mist that never quite burned off.

    She spoke first, her voice frayed and familiar.

    “Not a building. Too cold.”

    He nodded. “Not a bench. Too easily sat on. Too easily forgotten.”

    She smiled without looking at him. “A cocktail?”

    He exhaled through his nose. “Too bitter. And someone would ruin it with rosemary.”

    Then came the quiet. That particular kind of silence only people who’ve run out of performances can share. The insects hummed, the fig tree stirred, time softened its grip.

    She said, “If it had to carry my name, I’d want it to be something living.”

    “Living?”

    “A bird, maybe. Something small. One that sings in the morning and never knows who’s listening. One that shows up in strange places, uninvited but never unkind.”

    He looked at her, but she was somewhere else now. In a memory or a place that no longer existed.

    “I’d want it to be a dog,” he said finally. “One of those quiet ones. The kind that just sits beside you. No tricks. No barking. Just presence. That kind of loyalty. That kind of forgiveness.”

    She blinked slowly, turned to him. “A bird and a dog.”

    “Better than a library.”

    “Or a bridge.”

    They didn’t laugh. They just sat there, letting the idea settle. Letting the light do what it always does when no one tries to name it.

    The sun dipped. The sky bruised. A single plum pit sat between them like something sacred.

    They had named nothing.

    But the world was already full of things that moved like them. That forgave like them. That waited and sang and stayed.

    And in that quiet, in that soft gold of everything unsaid—
    something had already taken their names.

  • Fitting Together

    Two stones in a stream—
    Weathered by time, softened by current,
    Still side by side.


    He watched them from the kitchen doorway. His mother sat by the window, cutting plums for a tart no one had asked for, humming a song no one remembered. His father was outside, pruning the fig tree with the same careful intensity he once reserved for spreadsheets and silent prayers.

    They didn’t talk much that morning. They rarely did anymore. Not because there was nothing to say—but because everything had already been said, a hundred times over, in different shapes and tones. The words had folded into gestures. Into silence. Into the kind of understanding that doesn’t require punctuation.

    In their youth, it was all noise. Heated arguments about burnt rice. Plans that shifted. Children who screamed, and laughed, and made their hearts ache in beautiful, unbearable ways. There were slammed doors, long drives to nowhere, and whispered apologies in bed with their backs turned but their feet still touching.

    Falling in love had been easy. Effortless. The brain lights up, the heart forgets how to beat properly. That chemical—what was it called again? Oxytocin? Yeah, that.

    But staying in love? That was war. A gentle, everyday war of compromise and forgetting just enough.


    And yet, here they were.

    Fifty years.
    Three children.
    Three thousand mornings.
    Too many mini-arguments to count.

    They didn’t match. Not really. She was erratic and poetic, full of contradictions and long pauses. He was linear and quiet, with a smile that only really came alive when he was walking uphill.

    But they had learned to fit.

    She still complained about how he woke at 5 a.m. like it was a personal offense to sleep.
    He still teased her into booking tickets for trips she swore she was too tired to take.
    They still disagreed about curtains, olive oil, and whether the news was worth watching.

    But their days had found a rhythm.


    The kids were gone now. Scattered like paper boats down distant rivers.

    And in their place—
    A kind of peace.

    Not the peaceful silence of nothingness.
    But the hum of something built slowly, without spectacle.
    The peace of knowing someone will always notice if you don’t come home.
    The peace of shared memory, of faces that have seen each other through illness, failure, joy, and mornings with burnt toast.


    Wabi-Sabi and the Art of Lasting Love

    Love is not always passion.
    Sometimes it’s peeling fruit in quiet rooms.
    Sometimes it’s knowing the same story by heart and still pretending to be surprised.
    Sometimes it’s growing in opposite directions but finding that your roots are still tangled underneath.


    There was nothing spectacular about them.
    No grand gestures.
    No perfect Instagram moments.

    Just two people, who—against the odds,
    Despite the fraying edges—
    Had become one.

    Not in some magical way.

    But in the real, imperfect, ordinary miracle
    of staying.

  • The Taste of Laughter

    Time folds like seaweed,
    Wrapped in rice and memory.
    Bitterness, salt, and a hint of sweetness.


    The sushi bar was new—sleek, warm, the hum of soft jazz just barely rising over the hush of a conveyor belt that moved like time itself. Plates passed, delicate and precise, each one a quiet offering.

    He sat across from me. Older now. A little grayer. Sharper around the edges. But still—beneath the lines and pauses—there was the shape of who we used to be. Two broke students once convinced that ordering sushi was for people who had figured life out.

    Back then, sushi was a rumor in Ljubljana. Exotic. Unreachable. Something you saw in movies, not menus. We’d stretch a single espresso for hours, sharing cigarettes and dreams we didn’t quite believe in.

    Tonight, there were no toasts. No photos. Just quiet honesty.

    He told me about the miscarriage.
    I told him about the divorce.
    He spoke of his father’s fading.
    I nodded, tracing the rim of a tea cup.

    We passed grief across the table like soy sauce. Small portions. Just enough.

    And then—midway through the fourth plate, between unspoken things and plates we couldn’t name—he asked,

    “So… what still makes you laugh?”

    It hit like wasabi. Clean. Piercing. Real.

    I thought of that professor who used to fall asleep during our oral exams.
    The eggs we fried on a radiator and ate anyway.
    That night dancing in Metelkova, soaked and staggering, certain nothing could ever really hurt us.

    And I said,

    “Honestly? This. You. Me. And this conveyor belt pretending we’re not slowly turning into our fathers.”

    He laughed. I did too.

    Not loudly. But deeply.

    The kind of laugh that rests in your bones long after.

    Not because anything was funny.
    But because we were still here.


    Laughter isn’t the absence of pain.
    It’s what rises through the cracks.
    It’s the quiet rebellion of still being human.

    Some friendships don’t fade—they just grow quieter, truer.

    And sometimes the best question isn’t “How are you?”

    It’s “What still makes you laugh?”

  • The Taste of Laughter

    Time folds like seaweed,
    wrapped in rice and memory.
    Bitterness, salt, and a hint of sweetness.


    The sushi bar was new, sleek, and humming quietly under warm yellow lights. A conveyor belt whispered past our elbows, carrying tiny colored plates like offerings in a silent ceremony.

    He sat across from me, older now. His face more defined. Life had sanded down the softness in both of us. Still, the outline of our younger selves flickered beneath the surface—two students once too broke to dream of raw tuna, let alone order it without flinching at the price.

    Back then, sushi in Ljubljana was almost mythical. You didn’t eat it. You just heard about it. From exchange students. From Tokyo-drenched films. From the sort of cafés where you sipped one espresso for three hours just to stay warm.

    Tonight, we didn’t toast. There were no celebrations. Just the quiet ritual of two old friends sitting across a table in a city that had changed less than we had.


    He told me about the miscarriage.
    I told him about the divorce.
    He spoke of his father’s slow unraveling.
    I nodded, my fingers brushing the ceramic edge of a green tea cup.

    We passed grief across the table like soy sauce. Small portions. Just enough.
    It wasn’t sad—not in the traditional sense. It was human.

    There’s a strange intimacy in aging with someone you once shared cheap beer and existential dread with. You see how time hasn’t just passed, but shaped you. Softened your edges. Blurred the absolutes.

    Somewhere between the third and fourth plate—salmon nigiri and a roll we couldn’t quite name—he leaned back and smiled, a tired, knowing thing.

    Then he asked:
    “So… what still makes you laugh?”


    It hit me like a sudden flash of wasabi. Sharp. Strange. Necessary.

    I thought of the old professor who used to fall asleep during our oral exams, head tipping forward like a collapsing tower.
    Of the time we tried to fry eggs on the radiator in the dorm kitchen, failed miserably, and still ate them.
    Of that night in Metelkova, dancing in the rain, drunk on cheap wine and the illusion that nothing could ever really touch us.


    Wabi-Sabi and the Space Between Laughter

    Laughter isn’t the absence of pain.
    It’s what rises quietly through the cracks.

    It lives in the absurdity of survival.
    The irony of still being here, still breathing, after all the storms we swore would end us.
    It’s a cracked mirror reflecting something human back at us—flawed, awkward, and strangely beautiful.


    I looked at him, still smiling.
    And I answered:

    “Honestly? This. Right now. You. Me. And this goddamn conveyor belt pretending we’re not slowly turning into our fathers.”

    We both laughed.
    Not loudly.
    But real.

    The kind of laugh that sits in your chest for hours after, like warm sake.
    Not because anything was funny.
    But because we were still here.


    Lessons Between the Plates

    • Time doesn’t heal all things, but it softens them.
    • Friendship is the space where grief and laughter can sit at the same table.
    • The older we get, the more precious the absurd becomes.
    • And sometimes, the best question isn’t “how are you?”
      It’s simply:
      “What still makes you laugh?”
  • The Company of Shadows.

    They never show up all at once. Depression and anxiety.

    They arrive slowly, like fog rolling in on a quiet street. First, you stop returning calls. Then you stop sending them. You say, “I just need a few days,” but the days stretch out until silence becomes routine.

    They rearrange your furniture. Turn your bed into an anchor. Your phone into a weight. Your mind into a hallway with all the lights off.

    They tell you no one understands. They point to the headlines, the empty streets, the curated smiles online. They whisper that it’s easier this way—quieter. Safer. Controlled.

    They make isolation feel like choice.


    And somewhere out there, someone is profiting.

    Selling quick fixes. Serotonin in capsules. Therapy subscriptions that ask you to open up to a chatbot. Self-care routines packaged into color-coded boxes and monthly fees.

    The world learns how to market your sadness back to you.

    “Treat yourself.”
    “Stay in.”
    “Don’t talk to anyone who doesn’t match your frequency.”

    But healing doesn’t happen in silence. It doesn’t happen alone. And it doesn’t come in a branded box.


    The trick is this: they want you to forget what sunlight feels like.

    What a street sounds like at 5 p.m. What it’s like to overhear someone else’s story in a crowded café. The rhythm of another person’s footsteps walking beside yours—not always in sync, but close enough to remind you you’re not the only one trying.

    They want you to forget that your body was built to move. That your voice still works. That laughter is not a betrayal of how hard things are—it’s a rebellion against the part of you that says you don’t deserve it.

    So go out. Even if it’s just to walk to the corner store. Even if you don’t talk to anyone. Even if you don’t know what to say.

    Live. Awkwardly. Incompletely. With trembling hands and mismatched socks.

    Because the moment you step outside, the spell begins to break.

    Not all at once. But enough.

    Enough to remember you were never meant to live this life in a room with the curtains drawn.

    Enough to remember that even the fog eventually lifts.

  • The Boy with the Paper Helmet

    The wind asked me who I was,
    and I answered with a whisper,
    changing shape as it passed through me.


    When I was five, I wanted to be a fireman. Not because I understood fire or duty, but because I saw a picture of a man holding a soot-covered dog, cradled like a baby rescued from a burning home. He wasn’t smiling. He looked tired. Human. And I thought—that’s what I want to be. Someone who shows up when everything is falling apart.

    Then I wanted to be an astronaut. Then a magician. A man who made pastries. A man who disappeared. Each dream lasted about a week, maybe two. My identity was a revolving door, and I greeted every version of myself with full belief.

    I made a helmet out of paper and wore it everywhere. It made me feel safe, like my future was solid. But paper dissolves in the rain. And the day it fell apart on the walk home from school, I cried—not because I lost the helmet, but because I thought I’d lost the one thing that made me real.


    Adulthood doesn’t arrive like a knock on the door.
    It’s a slow peeling away.
    You don’t become something—you unbecome all the things that didn’t last.

    I’m older now. On paper, I’m supposed to know who I am.
    But I still don’t.

    And maybe that’s not a flaw.

    Maybe that’s what it means to live in harmony with life itself.


    Wabi-sabi teaches that beauty is not found in the polished or the permanent, but in the things that wear down gently, that become softer with time, that carry the marks of all they’ve survived.

    A cracked bowl that holds warm soup.
    A weathered hand reaching for one more try.
    A dream that changes shape but still returns at night.

    I still don’t know what I want to be when I grow up.
    I still haven’t grown up.

    But now I see the charm in that. The quiet dignity of incompletion.

    I no longer chase labels.
    I just show up—some days tired, some days brave,
    almost always unfinished.


    Lessons from a Rain-Soaked Helmet

    • Wholeness is not the absence of cracks, but the presence of care.
    • You are allowed to be multiple things over time.
    • Growing doesn’t mean becoming more defined. It means becoming more real.

    Somewhere inside me, the boy still wears his paper helmet.
    It’s torn now, patched up, held together with tape and memory.

    But it fits better than it used to.
    And when the wind asks who I am,
    I smile and say:
    Still becoming.

  • The Long Becoming

    Becoming yourself takes longer than anyone tells you.

    And it’s way messier.

    It’s not a tidy, curated process. It’s not a movie montage scored by Bon Iver. It’s not a retreat in Bali where everything falls into place over coconut water and epiphanies.

    It’s wearing shoes that don’t fit, for years. Loving people who teach you everything except how to stay. Saying the wrong thing. Doubting the right one. Laughing at the worst time, crying for reasons you can’t explain.

    It’s buying kombucha because you think it makes you someone. Finishing it out of principle. Wondering if identity tastes like vinegar.

    It’s waking up at 3:41 a.m. with a memory from ten years ago lodged in your throat. Whispering, “That’s who I was.” And then rolling over and going back to sleep.


    I remember a man at a train station outside Osaka. He wore mismatched socks—one green, one blue—and played a tiny harmonica while waiting for the train.

    He didn’t do it for money. Or attention. Just to pass time.

    When he noticed me watching, he paused, grinned, and said, “You don’t find out who you are. You wear yourself down until there’s nothing left but what you were always meant to be.”

    Then he went back to playing “Yesterday” like it was the only song worth remembering.


    Most people think they’ll arrive at some point. By 30. By 40. When the job settles. When the love sticks. When the mirror doesn’t surprise them.

    But you don’t arrive. You soften. You shed. You sit down. You let go. You compost.

    You grow into your own skin the way ivy wraps a wall—slowly, unevenly, beautifully.

    You begin to enjoy the silence.
    You alphabetize your spice rack.
    You start waving back at your past selves instead of running from them.

    The questions don’t disappear. They just get gentler. Less urgent.

    And suddenly, without fanfare, you realize:
    You’re no longer becoming someone else.
    You’re just becoming… you.


    So let people think you’re lost.

    You’re not.

    You’re composting.

    And if nothing else, may you live long enough to wear mismatched socks on purpose—
    And play your own tune while waiting for whatever comes next.

  • Becoming yourself takes longer than anyone tells you.

    And it’s way messier.

    It’s not some cinematic montage of self-discovery scored by an acoustic guitar. It’s not reading The Alchemist once and moving to a coastal town to paint sea glass. It’s showing up to the wrong job, loving the wrong people, saying the wrong thing at the worst possible moment, and then quietly muttering to yourself in the shower six years later, “Oh. That’s who I was back then.”

    It’s buying kombucha because you think that’s what centered people do, and realizing two sips in that it tastes like carbonated vinegar. But you keep drinking it because… who even are you if not someone who finishes the weird drink?


    I remember once seeing a man in his 70s at a train station just outside Osaka. He wore mismatched socks—bright green and dull blue—and he was playing a miniature harmonica while waiting for the train. Just… playing it. Not for money. Not for attention. Just to pass the time.

    He saw me looking, paused mid-note, and said in a thick Kansai accent, “You don’t find out who you are. You wear yourself down until there’s nothing left but what you were always meant to be.”

    Then he went back to playing “Yesterday” by The Beatles like it was the national anthem of lost time.


    Most people think they’ll ‘arrive’ by 30. Or 40. Or 50.

    But the truth is, you never really arrive. You just collect enough data to stop fighting your own tide. You get tired of chasing labels and curated aesthetics and begin, slowly, awkwardly, to just stand where you are. To sit in your contradictions. To wave politely at your failures like old friends across a crowded bar.

    You realize the questions don’t go away. You just stop needing them to.


    Wabi-sabi says nothing is ever truly complete.

    And maybe that’s the point.

    You will age.
    You will outgrow shoes, thoughts, and versions of yourself you once clung to like life rafts.
    You will break a little. Rebuild a little.
    You’ll forget things that once defined you.
    And you’ll fall in love with things you never thought you’d care about.

    Like silence. Or ginger tea. Or finally getting a drawer organized.


    Lessons from a Mismatched Sock and a Mini Harmonica

    • You don’t need to be ready. Just present.
    • Let people think you’re lost. You’re not. You’re composting.
    • You don’t outgrow your weirdness. You grow into it.
    • Becoming yourself isn’t a makeover. It’s erosion. The soft kind.
    • A quiet life, chosen intentionally, is a form of rebellion.

    You are not late.
    You are not unfinished.
    You are just becoming, in your own crooked, lovely way.

    And if nothing else, may you grow into someone who wears mismatched socks proudly…
    and plays their own tune while waiting for the train.

  • The Empty Corridor Near the Convenience Store

    He stopped at the end of the corridor outside the 24-hour convenience store, holding a bottle of water he didn’t really want. The air was still, except for the hum of distant traffic and the click of someone’s heels echoing against stone.

    On the wall, a torn ad for some insurance plan showed a happy family and a bold line: “Protect your future. Start today.”

    He stood there longer than the moment required. Not because he cared about the ad. But because the phrase felt like a trap disguised as comfort.

    The future. That word again.


    Is This Time Really So Different?

    People say everything is getting worse.

    That the world is tipping. That AI is coming for our souls. That the climate is boiling. That trust has evaporated. That nothing is as it used to be.

    And maybe they’re right.

    But then again—was it really different fifty years ago?
    Weren’t people then also terrified? Of war, of collapse, of moral decay?
    Didn’t their radios whisper doomsday in between love songs?
    Didn’t they, too, sit in quiet kitchens with coffee going cold, wondering how they’d make it?

    Every generation believes it’s standing on the edge of the final cliff.

    Maybe this isn’t the end.
    Maybe it’s just another beginning that happens to feel unfamiliar.


    The Gentle Art of Living Anyway

    So tonight, he drank water he didn’t need and walked home slowly.

    He didn’t solve anything. He didn’t create a plan. He didn’t join a movement or write a manifesto.

    But he looked up. The sky was cloudy, but a single star managed to burn through.

    And that was enough.

    Enough to remind him: fear is not prophecy.
    It’s just a voice. One of many.

    You don’t have to believe everything you think.
    You don’t have to collapse just because the world tells you to worry.

    You can still eat dinner slowly.
    Still listen to records that crackle with age.
    Still water your plants. Still laugh. Still fall in love.

    The future is a hallway we all walk down, light flickering, shadows stretching. But the floor is still beneath your feet.

    And that means you’re still here.


    Lessons from a Corridor That Leads Nowhere in Particular

    • You don’t need a perfect future to live a good present.
    • Most fear is recycled. Don’t carry it like it’s brand new.
    • Even in chaos, you get to choose: contract or expand.
    • Let the world do what it does. You—make tea. Breathe. Read. Stay soft.

    Sometimes, courage is not loud.

    It’s a man buying water at midnight,
    pausing at an empty corridor,
    and deciding to go home
    instead of spiraling.

  • The Fear of What Comes Next

    They say this time is different.

    The headlines scream louder, the stakes feel higher, the future more uncertain than ever. Ice caps melting, wars flickering on screens like background noise, economies teetering, truths unraveling. It’s easy to believe we’re standing at the edge of something irreversible.

    But weren’t we always?

    Every generation has its cliff. Its dread. Its prophets of doom and its quiet revolutionaries. They all woke up to days that felt like too much. They all looked ahead and asked the same questions: What now? What next? Will we make it?

    And yet—here we are.

    Still waking up.
    Still making coffee.
    Still falling in and out of love.
    Still writing poems on the back of receipts.
    Still planting things that might not bloom for years.

    Maybe the fear isn’t new. Maybe it’s just louder now. More wired. More amplified.

    But fear was never the point.

    Living is.

    So today, I’ll live. Not recklessly. Not blindly. But with intention. With the full knowledge that the future might be uncertain—but so was yesterday, and I survived that too.

    I’ll notice the way morning light spills onto the floor. I’ll let someone go ahead of me in line. I’ll take the long way home. I’ll laugh when I didn’t expect to. I’ll feel it all, even the fear, and keep going anyway.

    Because maybe the bravest thing we can do now is not to predict the future, but to stay here for it.

    Alive. Awake. Still choosing joy, even with trembling hands.

  • The Stationary Bench in the Moving City

    He liked this bench.

    Not because it was beautiful—it wasn’t. The wood was cracked, the bolts rusted to a soft brown, the slats uneven like piano keys out of tune. But it faced the city, and from here he could watch people pass with just enough distance to wonder who they really were.

    The woman who always wore red, walking the same route each morning, as if repeating it might summon meaning. The man with the lunchbox and untucked shirt, humming to himself like he knew a secret. The boy with headphones and heavy steps, looking too young to be carrying whatever it was he carried.

    Everyone moved with purpose. Or maybe not purpose—just momentum.


    The Water, the Riverbed, and the Choice

    He used to think you could fit anywhere if you tried hard enough. That if you worked, adapted, shaved off the rough edges, you could belong.

    But rivers don’t settle for the wrong path.
    And neither should we.

    We spend years trying to squeeze into places that weren’t made for us. Cities too loud for our thoughts. Jobs too narrow for our imagination. Relationships that require us to shrink.

    And then, one day—if we’re lucky—we realize something simple and hard:

    It’s our job to find the riverbed that matches our flow.


    How the River Learns to Choose

    You are not just shaped by your environment.
    You are responsible for choosing it.

    You are not a victim of the current.
    You are the one who steers.

    No one is coming to pick the right place for you.
    Not your parents. Not your teachers. Not your lovers.

    It’s you.

    And it’s not selfish to seek that place.
    It’s survival.
    It’s self-respect.
    It’s love.


    Lessons from the Bench, and the River Beyond It

    • If you feel drained where you are, it’s not a flaw in you. It’s a sign to move.
    • You owe it to yourself to stop flowing uphill.
    • The world is wide. Somewhere, your waters will feel effortless again.
    • You’re not waiting to be saved. You’re learning to steer.

    The bench is still there.

    He doesn’t sit there as often these days. Because eventually, he stood up. He stopped watching the river.

    And he went to find where he belonged in it.

  • The Shape of Almost

    Two lines, side by side—
    Always closer,
    Never close.


    The Streetlamp and the Stray

    There’s a streetlamp near my apartment. It buzzes faintly at night like an old man muttering to himself. Below it, a cat sits—always the same one, I think. Black fur, white paws, like gloves she’s grown into.

    Every night I bring food. Every night she watches from a distance. She never runs, but never comes close. Her eyes are steady, measuring, as if some invisible line keeps us apart.

    I know that line.


    The Equation That Haunts

    We learned about asymptotes in school. Curves that approach a line forever, getting closer and closer—but never touching.

    At the time, it felt abstract. Another thing to memorize. But years later, in late-night silences and words that almost meant something, I finally understood.

    Love can be asymptotic. So can healing. So can the person you thought you’d become by now.

    You move forward. They move forward.
    Closer.
    But the gap remains.


    What We Reach For, and What We Don’t

    • There are people you will almost forgive.
    • Places you will almost feel at home in.
    • Dreams that will almost come true.

    And that’s not failure. That’s life.

    To love something you cannot have is not a flaw.
    To try anyway is a form of grace.


    Lessons from the Line That Never Touches

    • Not everything is meant to be reached. Some things are meant to be honored from afar.
    • The beauty of the curve is not in touching the line, but in choosing to keep approaching.
    • Almost is not emptiness. It is motion. And motion is still alive.

    The cat never eats from my hand.

    But she waits beneath the lamp, every night, and I come anyway.

    Not to catch her. Not to tame her.

    Just to show I’m still here.

    Still approaching.

    Still close.

    Even if we never touch.

  • The Horizon That Never Ends.

    A number without end—
    Chasing something just out of reach.
    Not failure. Just the limit.


    The Classroom with the Flickering Light

    I was fourteen.
    The kind of fourteen that felt older than it was—shoulders already tired, eyes already searching for something unnamed. It was winter, and the heater in our classroom made a sound like a dying radio. The math teacher, Mr. Feller, had a voice that didn’t rise or fall. Everything he said floated just above silence, like snow that never landed.

    That day, he drew a line on the board. Not a straight one, but one that curved—gently, then more gently still. He wrote above it:

    lim → ∞

    “The function gets closer and closer,” he said, tapping the chalk against the board, “but it never touches the line. It keeps going, forever approaching, but never arriving.”

    It hit me harder than it should’ve.
    Not because of math. I was average at math. But because suddenly, something inside me cracked open.

    I saw myself in that curve.


    The Curve and the Curse

    From then on, I lived my life like a limit.
    Always approaching—never arriving.
    Every goal just a fraction away. Every love just a shade off.
    I became obsessed with “almost.”

    Almost got the grade.
    Almost said what I meant.
    Almost told her I loved her before she moved away.

    That idea—of striving endlessly—became a kind of faith.
    If I could just work harder, be smarter, more charming, less afraid… maybe I’d reach it.
    Reach what?
    I never knew.
    Just… it.
    The line. The answer. The arrival.

    But it never came.


    Wabi-Sabi and the Elegance of Unfinished Things

    It took years to see it differently. To realize that maybe the lesson wasn’t about chasing forever. Maybe it was about accepting that you don’t have to touch the line to have meaning.

    There’s beauty in approaching.

    There’s grace in incompletion.

    That moment in the math classroom wasn’t a curse—it was a mirror. A truth wrapped in symbols and chalk dust. That our lives, like that curve, don’t need to end in perfect symmetry. They only need to bend toward something honest.


    Lessons from the Curve

    • Not all destinations need arrival. The motion is enough.
    • Perfection is not the point. Direction is.
    • Sometimes the closest we get is the most we need.
    • The line wasn’t the goal. The curve was.
    • And maybe, just maybe—lim → ∞ is not a warning. It’s a gift.

    I still think about that lesson sometimes,
    when I’m reaching for something I can’t name,
    or standing at the edge of a feeling I can’t describe.

    It comforts me,
    that curve.

    Still bending.
    Still beautiful.
    Still becoming.

  • The Noise Between Us

    A pot on the stove—
    Simmering, not boiling.
    That used to be enough.


    The Apartment Two Floors Up From the Corner Store

    He sat by the window with a chipped mug of tea, the kind that cooled faster than you could drink it. Outside, the world moved in fast, flickering patterns—headlines flashing across bus stop ads, urgent dings from someone’s phone, the low murmur of an argument happening in the stairwell below.

    He couldn’t remember the last time he’d spoken to someone about the weather.

    Not the global climate.
    Not satellite projections or tipping points.
    Just the weather.

    Whether it would rain. Whether the sky looked like autumn or spring. Whether that smell—earthy, sharp—meant something was finally blooming again.

    Now every conversation felt like a debate. Every opinion, a line in the sand. You couldn’t talk about your cat without someone turning it into a metaphor for class warfare. Couldn’t mention eggs without spiraling into a discussion about inflation, supply chains, chicken ethics.

    Everything had become signal. Noise. Performance. Battle.

    And he was tired.

    Not from caring—he still did. He recycled. He voted. He read longform articles instead of just reposting headlines. But lately, he missed something quieter. Something simpler.

    He missed talking about how strange it was that people still lined their shelves with DVDs they never watched.
    He missed wondering out loud if oat milk was actually good or if they were all just pretending.
    He missed the casual poetry of nothing conversations.


    The Dream of the Quiet Life

    Some nights, he imagined it:
    Selling everything.
    Buying a little shack on the edge of some not-quite-tourist town.
    Running a secondhand bookstore that didn’t even have a name, just a blue door and a squeaky bell.

    People would come in, buy dog-eared paperbacks, talk about soup recipes and weekend plans.
    No one would ask what side he was on.

    He wouldn’t need to have a side.


    The tea had gone cold.
    He didn’t warm it back up.

    He just watched the clouds roll in,
    and for once,
    said nothing at all.

  • The Noise Between Us.

    A pot on the stove—
    Simmering, not boiling.
    That used to be enough.


    The Apartment Two Floors Up From the Corner Store

    He sat by the window with a chipped mug of tea, the kind that cooled faster than you could drink it. Outside, the world moved in fast, flickering patterns—headlines flashing across bus stop ads, urgent dings from someone’s phone, the low murmur of an argument happening in the stairwell below.

    He couldn’t remember the last time he’d spoken to someone about the weather.

    Not the global climate.
    Not satellite projections or tipping points.
    Just the weather.

    Whether it would rain. Whether the sky looked like autumn or spring. Whether that smell—earthy, sharp—meant something was finally blooming again.

    Now every conversation felt like a debate. Every opinion, a line in the sand. You couldn’t talk about your cat without someone turning it into a metaphor for class warfare. Couldn’t mention eggs without spiraling into a discussion about inflation, supply chains, chicken ethics.

    Everything had become signal. Noise. Performance. Battle.

    And he was tired.

    Not from caring—he still did. He recycled. He voted. He read longform articles instead of just reposting headlines. But lately, he missed something quieter. Something simpler.

    He missed talking about how strange it was that people still lined their shelves with DVDs they never watched.
    He missed wondering out loud if oat milk was actually good or if they were all just pretending.
    He missed the casual poetry of nothing conversations.


    The Dream of the Quiet Life

    Some nights, he imagined it:
    Selling everything.
    Buying a little shack on the edge of some not-quite-tourist town.
    Running a secondhand bookstore that didn’t even have a name, just a blue door and a squeaky bell.

    People would come in, buy dog-eared paperbacks, talk about soup recipes and weekend plans.
    No one would ask what side he was on.

    He wouldn’t need to have a side.


    Wabi-Sabi and the Lost Art of Simplicity

    Wabi-sabi teaches us that not everything broken must be mended, and not everything loud must be heard.

    Sometimes peace lives in the crack of the bowl, in the pause between sentences.
    Sometimes it’s not about disconnecting from the world, but choosing where to listen, and what to hear.


    Lessons from the Blue Door That Never Opened

    • Not every moment must be a stance. Some can just be moments.
    • You don’t have to save the world in every conversation.
    • There’s beauty in the ordinary, if you’re quiet enough to notice.
    • Leaving the noise doesn’t make you apathetic. Sometimes it just makes you whole again.
    • The system will be fine without you—for a while. You deserve a break.

    The tea had gone cold.
    He didn’t warm it back up.

    He just watched the clouds roll in,
    and for once,
    said nothing at all.

  • The Taste of Home.

    Some roots don’t grow back—
    but they can still hold you in place.


    He moved for all the right reasons. A better job. A cleaner city. A future with more possibilities. The kind of place people write about in essays and brochures—where things worked, and people did too.

    But some nights, it was the silence that hurt.

    Not the kind outside. The kind inside.

    Here, silence was efficiency. Smooth, sterile, well-lit silence. The kind that didn’t interrupt, didn’t touch you unless you reached first. It made space for everything except memory.

    Back home, everything had a sound. The rattle of scooters weaving through narrow streets. The metallic clink of spoons stirring tea in mismatched glasses. Conversations that never ended—just paused for breath. Arguments and affection delivered in the same rhythm.

    Here, people kept their distance—politely, respectfully, always. Even their joy felt translated.


    On harder days, he cooked.

    Not for hunger, but to summon something. Garlic crushed beneath the flat of a knife. Lentils soaked until soft. Spices toasted until the kitchen filled with a heat that had nothing to do with temperature.

    It wasn’t nostalgia. It was survival.
    Memory as sustenance.
    Flavor as anchor.


    In a quiet corner shop, tucked between a florist and a post office, he found jars that looked like home. The labels were in his mother tongue, printed in ink that had faded from the sun. The shopkeeper barely spoke, but nodded with a kind of recognition—You’re one of us, even if you’re far.

    He went often. Sometimes to buy, sometimes just to look. To be reminded.


    He didn’t regret leaving.

    But he hadn’t known that distance could hollow you out—not all at once, but in quiet ways. How identity unravels not in storms, but in drizzle. Soft, persistent, barely noticeable until you’re soaked through.

    What do you lose when no one around you remembers the same sky?
    What part of your language dies when it’s only spoken inside your own head?


    He didn’t have the answers.

    But he had rituals.
    He had the way he cut onions—how his mother taught him, fingers curled.
    He had a lullaby he never sang out loud, but always remembered.
    He had the scent of cumin rising in a warm room, on a cold day, in a city that didn’t know his name.

    And some days, that was enough.

    Enough to say—I am still here.
    Enough to mean—I am still home.


    Wabi-Sabi in the Aroma of Memory

    • Home is not a place. It’s the way your hands move when you cook.
    • Memory doesn’t fade—it simmers.
    • You don’t need to be seen to stay whole. Just held, even if only by your own rituals.
    • There is beauty in longing. There is wholeness in holding on.
    • You carry your past not in your passport—but in your kitchen.

    And when the oil sizzles, and the air fills with that scent again—
    You are not lost.

    You are just becoming more quietly yourself.

  • The Taste of Home.

    He moved for all the right reasons. A better job. A cleaner city. A future with more possibilities. The kind of place people dream of—quiet streets, efficient trains, polite nods exchanged without the burden of conversation.

    But some nights, it was the silence that hurt.

    Not the kind outside. The kind inside.

    Back home, everything had a sound. The clatter of dishes in a crowded kitchen. The crackle of a radio playing songs that never made it out of the country. Laughter that started loud and always got louder. Language spoken with your hands, with your eyes, with the whole of you.

    Now, everything felt muted. Clean. Distant.

    Even his own voice sounded different when he spoke here. Like it had been flattened, pressed into something smaller. More acceptable.


    Some days, he’d cook. Not because he was hungry, but because memory lives in scent. The sharpness of garlic, the warmth of cinnamon, the way oil pops in a pan like firecrackers. He’d open the windows and let the spices drift out, pretending they might reach someone who understood.

    Other days, he’d walk to a part of town where a tiny shop sold ingredients from back home—jarred sauces, dried herbs in plastic bags with faded labels, tea in dusty tins. It wasn’t much, but it was enough.

    Enough to feel tethered.


    He didn’t regret leaving. But he never expected that missing your culture would feel less like longing and more like erosion. A slow fading. A question whispered in the quiet moments:

    What parts of you vanish when no one else sees them?

    He hadn’t found the answer.

    But he held on to what he could. A phrase. A recipe. A childhood song hummed under his breath while washing dishes.

    And that was something.

    That was still home.

  • The Thing I Wish I Did More

    There’s something I wish I could do more of every day.

    It’s not about productivity. Not about crossing things off a list or pushing harder toward some finish line I can’t even see.

    It’s quieter than that. Simpler.

    I wish I looked up more.

    Really looked. At the way light hits a windowpane. At strangers passing by, wrapped in their own invisible stories. At the sky when it decides to change colors without asking permission.

    I wish I paused when I poured my coffee. Felt the warmth in my hands. Watched the steam curl into nothing. Let the silence stretch a little longer than I usually allow.

    I wish I reached out more—sent the message, made the call, told someone, “I was just thinking of you.”

    I wish I noticed more. Not just the big moments. But the ones that vanish unless you’re paying attention. A song you forgot you loved. The way someone laughs when they’re not thinking about how they sound. The feeling of your own breath in your chest, steady and unremarkable, and still—somehow—miraculous.

    I wish I remembered that being alive isn’t just something you survive.

    It’s something you notice.

    Something you return to.

    Something you look up for.

    Even just for a moment.

  • The Thing I Miss Most.

    A single breath—
    Not rushed, not borrowed,
    But fully mine.


    The Pause Between Things

    There’s something I wish I could do more of every day.

    It’s not profound. Not the kind of thing you put on a list of goals or track with an app.

    It’s simply this: breathe.

    Not the shallow kind we do between tasks. Not the half-drawn inhale we take when we realize we’ve been holding our breath for hours. I mean the kind of breath that fills you all the way up. That arrives like an old friend and leaves without hurry.

    That reminds you: you are here.


    The Hunger for Stillness

    We rush to meet deadlines, keep appointments, answer messages before the screen dims.
    We chase meaning in productivity and call it purpose.
    But deep down, I think we’re all starving for one thing—the permission to just be.

    To sit on a bench without checking the time.
    To drink tea until it goes cold.
    To watch the light change on the wall and not need it to mean anything.

    It’s not laziness. It’s longing.

    A longing for the moments that don’t ask anything of us.
    A longing for presence, not performance.


    Wabi-Sabi and the Beauty of Slowness

    Wabi-sabi whispers that life isn’t in the perfection of doing, but in the quiet of being.
    A chipped bowl still holds tea.
    A faded flower still carries scent.
    A day without achievement can still be sacred.


    Lessons from a Missed Breath

    • Busyness is not always aliveness.
    • A quiet moment is not a wasted one.
    • You do not need to earn your right to rest.
    • Stillness is not absence—it is presence without noise.
    • You’re allowed to be a person, not a project.

    The Day, the Breath, the Return to Self

    If I could do one thing more each day, it would be to stop.
    To let the world turn without me for a moment.
    To take in a full breath—not for function, but for remembrance.

    That I am here.
    That I am enough.
    That not every moment has to be filled.

    Some are just meant to be felt.

  • Ink and skin.

    A mark on the skin—
    Not just for the world to see,
    But for the self to remember.


    The Moment That Demands to Be Kept

    Some moments in life slip away quietly, dissolving into the blur of passing days. Others refuse to be forgotten.

    A name whispered in the dark, a streetlight flickering as you say goodbye, the sound of the ocean at 3 AM when there’s no one else around.

    There are things that change you. Things that carve themselves into your bones, even if you don’t want them to.

    A tattoo is just a way of making sure you don’t forget.


    The Weight of a Mark

    People ask, what would you get? Where would you put it?

    But that’s not the real question. The real question is: what is worth carrying forever?

    Some would choose words—a phrase that once saved them, a name that never left them.
    Some would choose symbols—a reminder of who they were, or who they still hope to be.
    Some would choose nothing at all—not on the skin, at least. But inside, they are already covered in invisible ink.

    If I were to choose, it would be small. Something only I would notice. Maybe on my ribs, where breath meets bone. A line from a book I never finished. A shape that only means something to me.

    Not to prove anything. Not for anyone else to see.

    Just to know that it’s there.


    Wabi-Sabi and the Impermanence of Ink

    Wabi-sabi teaches that nothing is ever truly permanent.

    Even ink fades.
    Even skin changes.
    Even the things we swear we will always remember eventually soften at the edges.

    But that doesn’t make them less meaningful.

    A tattoo is not about holding onto a moment forever—it is about honoring the fact that it was there at all.


    Lessons in the Art of Remembering

    • Some things are worth carrying. Choose carefully.
    • A mark on the skin means nothing if it doesn’t also leave a mark on the soul.
    • Fading does not mean forgetting.
    • Not all tattoos are visible. Some of us wear ours in the way we move, the way we love, the way we survive.
    • You don’t need ink to remember what shaped you. But sometimes, it helps.

    The Skin, the Ink, the Story That Stays

    Maybe I’ll get it one day.

    Maybe I won’t.

    But I like the thought of it—of something small, something quiet, something meant only for me.

    A reminder. A promise. A proof of something real.

    A mark that says: I was here. And for a moment, it mattered.

  • The Ink That Stays.

    The tattoo parlor smelled like antiseptic and cigarette smoke, the kind of scent that clung to your clothes long after you’d left. The walls were covered in flash designs—dragons curling around limbs, delicate script coiled over collarbones, symbols whose meanings had been lost to time.

    He sat in the chair, tracing the outline of a napkin doodle with his fingertips. The artist—a man with tired eyes and hands that had inked hundreds of stories into strangers’ skin—watched him with quiet patience.

    “You sure about this?” the artist asked. Not as a warning, just a formality.

    He nodded.

    The buzzing of the needle started slow, a vibration that settled somewhere in his ribs before finding his skin. He exhaled, feeling the first sharp sting, the kind that made his body tense before surrendering to it.

    It was small, the tattoo. Just a word. One only he would understand. He could have written it on paper, tucked it into the folds of an old book, whispered it to himself on sleepless nights. But paper tears, books are lost, voices fade.

    Ink stays.


    Some moments refuse to be forgotten. They surface in the middle of a crowded train station, in the scent of someone else’s cologne, in the sound of an old song playing through a café’s worn-out speakers. A name whispered in the dark. A streetlight flickering as you say goodbye. The ocean at 3 AM when there’s no one else around.

    There were things he wished he could let go of. And then there were the things he never wanted to lose.

    The tattoo was for the latter.


    The needle moved in slow, steady strokes, pressing memory into skin. The past, distilled into something tangible. He thought about the people who had left, the places he could no longer return to. About the conversations that ended too soon and the ones that had dragged on long after they should have.

    A tattoo isn’t a cure. It doesn’t fix anything. But it gives shape to something shapeless, weight to something that might otherwise slip away.

    The artist wiped away the excess ink, tilted his head to examine the work. “That’ll hold,” he said simply.

    He nodded again, staring down at the fresh mark on his ribs. His skin was raw, burning slightly, but beneath the sting, something had settled. Not closure. Not relief. Just a quiet understanding.

    Some things are meant to be carried. Some things are meant to stay.

    He pulled his shirt back on, paid in crumpled bills, stepped outside. The night air was cool against his skin, the city stretching out in front of him.

    And somewhere beneath his clothes, beneath the layers of time and distance and everything unspoken—

    A mark that whispered: I was here.

  • The Word That Follows You. 159

    A single word—
    Not given, but discovered.


    The Question That Lingers

    If you had to choose just one word to describe yourself, what would it be?

    Not the word others would choose. Not the one stitched onto résumés or slipped into conversations to make a good impression. But the real one—the one that lingers when no one is watching, the one that shapes the way you move through the world.

    For years, I didn’t know mine.

    I tried on different words like borrowed coats, seeing which ones fit, which ones made me feel like I was something solid, something defined. Some felt too big, too heavy. Others felt too small, like they could never hold the weight of all that I was.

    But then, one day, I stopped searching. And the word found me instead.


    The Word That Stays

    We spend so much time trying to be something. Trying to fit into ideas of strength, ambition, kindness, intelligence. But at the heart of it, there is always a single word—a quiet, steady thing that does not need to be proven, only accepted.

    Some people are fire—bright, undeniable, consuming.
    Some people are ocean—deep, steady, capable of both stillness and storm.
    Some people are echo—carrying the weight of things long after they have passed.

    And some, like me, are bridge—always in between, always connecting, always leading somewhere but never quite arriving.

    It took me a long time to see the beauty in that. To understand that some of us are not meant to be destinations, but the space between them.


    The Mirror, the Word, the Understanding

    If you had to choose just one word to describe yourself, what would it be?

    Not the one you think you should be. Not the one you wish you were. But the one that has always been there, waiting to be seen.

    Because once you find it, once you name it—

    You stop searching for something you already are.

  • The Name You’ve Always Carried. 158

    A name is not given—
    It is found, waiting in the quiet places
    Between who you are and who you thought you had to be.


    The Question That Follows You

    If you stripped away every label—every title, every expectation, every borrowed piece of identity—what would be left?

    If you had to describe yourself in just one word, what would it be?

    Not the word that impresses.
    Not the word that reassures.
    Not the word that others have written onto you.

    But the one that has followed you in the silence, the one that lingers at the edges of your reflection when no one else is looking.

    For years, I couldn’t find mine.

    I wore words like armor—driven, clever, reliable. Words meant to shape how others saw me, words designed to make me feel like I had a place, a direction, a certainty.

    But they never quite fit.

    They were too rigid, too polished, too much of something I was trying to be rather than something I was.

    And then, one day, I stopped looking.

    And the word found me instead.


    The Name That Speaks Without Sound

    We are all something—whether we choose it or not.

    Some people are flame—fierce, untamed, burning through everything in their path.
    Some people are stone—steady, unmovable, weathering time without bending.
    Some are river—always shifting, carving their way forward, refusing to be held.
    Some are shadow—quiet, watching, knowing the power of the unseen.

    And some, like me, are wind—never still, never staying, moving through places and people without ever fully belonging to one.

    For the longest time, I thought that meant I was incomplete. That not being fixed in place meant I wasn’t whole.

    But the wind does not need roots to exist.

    It does not need to arrive to have purpose.

    It moves. And that is enough.


    The Mirror, the Name, the Realization

    If you had to choose just one word to describe yourself, what would it be?

    Not the one the world wants from you.

    Not the one you think would sound right.

    But the one that has always been there, whispering beneath your skin, waiting for you to stop long enough to hear it.

    Because once you find it—

    You stop searching for something you’ve already been all along.

    A name is not given—
    It is found, waiting in the quiet places
    Between who you are and who you thought you had to be.


    The Question That Follows You

    If you stripped away every label—every title, every expectation, every borrowed piece of identity—what would be left?

    If you had to describe yourself in just one word, what would it be?

    Not the word that impresses.
    Not the word that reassures.
    Not the word that others have written onto you.

    But the one that has followed you in the silence, the one that lingers at the edges of your reflection when no one else is looking.

    For years, I couldn’t find mine.

    I wore words like armor—driven, clever, reliable. Words meant to shape how others saw me, words designed to make me feel like I had a place, a direction, a certainty.

    But they never quite fit.

    They were too rigid, too polished, too much of something I was trying to be rather than something I was.

    And then, one day, I stopped looking.

    And the word found me instead.


    The Name That Speaks Without Sound

    We are all something—whether we choose it or not.

    Some people are flame—fierce, untamed, burning through everything in their path.
    Some people are stone—steady, unmovable, weathering time without bending.
    Some are river—always shifting, carving their way forward, refusing to be held.
    Some are shadow—quiet, watching, knowing the power of the unseen.

    And some, like me, are wind—never still, never staying, moving through places and people without ever fully belonging to one.

    For the longest time, I thought that meant I was incomplete. That not being fixed in place meant I wasn’t whole.

    But the wind does not need roots to exist.

    It does not need to arrive to have purpose.

    It moves. And that is enough.


    The Mirror, the Name, the Realization

    If you had to choose just one word to describe yourself, what would it be?

    Not the one the world wants from you.

    Not the one you think would sound right.

    But the one that has always been there, whispering beneath your skin, waiting for you to stop long enough to hear it.

    Because once you find it—

    You stop searching for something you’ve already been all along.

  • The Weight of a Few Simple Words. 158

    A whisper in the dark—
    Soft, unnoticed,
    Yet it lingers for years.


    The Words That Stayed

    It wasn’t the most extravagant thing anyone had ever said to me. Not the most poetic, not the kind of compliment that would make for a great story. It wasn’t spoken in front of a crowd, wasn’t written down in a letter, wasn’t meant to be remembered.

    But I did.

    It was late, and we were sitting on a balcony, watching the city move in soft yellow glows beneath us. The conversation was slow, unhurried, the kind that doesn’t need a destination. Somewhere between silences, between thoughts half-formed, she looked at me and said—

    “You make things feel lighter.”

    That was it.

    No grand declaration, no dramatic emphasis. Just a simple truth, offered casually.

    And yet, years later, I still carry it.


    The Compliments That Disappear

    Most compliments don’t stay.

    • You’re so talented. (But talent needs proof, and proof fades.)
    • You look amazing. (Until time reshapes everything.)
    • You’re the smartest person I know. (Until a mistake rewrites that story.)

    They are tied to something external. Something that shifts, something that slips away.

    But to make things feel lighter? To be the kind of person who makes someone else feel a little less alone, a little less burdened by the weight of their own mind?

    That is not about what you have. It is about what you leave behind.


    The Quiet Power of Being

    Some people enter a room and fill it. Others enter and soften it.

    Not by force, not by effort, but by something simpler—presence.

    • The friend who listens without waiting for their turn to speak.
    • The person who doesn’t rush to fix, but simply sits beside you in the mess of it all.
    • The stranger who holds the door just a second longer than necessary, just long enough to remind you the world still has kindness in it.

    We think we have to be extraordinary to matter. That we have to be unforgettable, brilliant, magnetic.

    But maybe the most powerful thing is to be the person who makes things feel lighter.

    Because the world is heavy enough as it is.


    The Balcony, the Words, the Moment That Remained

    I don’t remember what we were talking about that night. I don’t remember what had made her say it, or if she even meant for me to carry it the way I do.

    But I do.

    And maybe that’s the point.

    Maybe the words that stay with us aren’t the loud ones, the grand ones, the ones meant to impress.

    Maybe they are the quiet ones. The ones that slip in unnoticed. The ones that make us feel, for even a moment, like the weight isn’t just ours to carry.

  • The Weight of a Few Simple Words. 157

    A whisper in the dark—
    Soft, unnoticed,
    Yet it lingers for years.


    The Compliment That Stayed

    It wasn’t the loudest compliment I’d ever received. Not the most poetic, not the most dramatic. Not the kind that gets written in birthday cards or spoken in front of a crowd with raised glasses.

    It happened on an ordinary night, in an ordinary place. A small, dimly lit kitchen, the kind with a single window that fogs over when the water boils. The hum of the refrigerator filled the silence, and outside, the city moved on without waiting for us.

    “You make people feel safe,” she said.

    It was almost an afterthought, the kind of sentence that slips out between pauses, unnoticed in the moment, only to take root somewhere deep, unfelt until later.

    Safe.

    Not interesting. Not charming. Not impressive.

    Safe.


    The Compliments That Fade

    Most compliments don’t last.

    They land in the moment, feel good for a while, then slip through the cracks of memory like sand through fingers.

    • You’re so talented. (Maybe. But there’s always someone better.)
    • You look amazing. (Until time takes its share.)
    • You’re the smartest person I know. (Until you fail.)

    They are conditional, fleeting, tied to things that change.

    But to make someone feel safe?

    That was not about looks, or talent, or intellect. It was not about being the best, the fastest, the most.

    It was about presence.

    It was about being the kind of person who doesn’t make others feel like they need to be anything other than what they are.


    Wabi-Sabi and the Compliments That Matter

    Wabi-sabi teaches that what lasts is not what is perfect, but what is real.

    A cracked bowl still holds warmth.
    A worn book still carries its story.
    A person who makes others feel safe is never forgotten.

    There is a quiet kind of beauty in that.

    Because when everything else fades—when youth disappears, when intelligence stumbles, when ambition runs out of things to chase—what remains is the way you made others feel.


    Lessons from a Compliment That Never Left

    • The best compliments are not about what you have, but about who you are.
    • Being impressive fades. Being safe to be around never does.
    • A person who makes others feel seen is worth more than a person who demands to be seen.
    • What people remember about you has little to do with what you try to prove.
    • There is no beauty greater than the feeling of being at peace with someone.

    The Kitchen, the Words, the Moment That Echoes

    Years later, I still think about it.

    I don’t remember what we were cooking that night, what we talked about before or after. I don’t even remember why she said it.

    But I remember how it felt.

    Like the world had paused for a second, like the weight I carried wasn’t mine alone.

    Like maybe, in a life full of noise and competition and expectations, being a safe place for someone else was enough.

    Daily writing prompt
    What was the best compliment you’ve received?
  • The Fear of the Rich. 157

    A man clutches gold—
    Not for the wealth itself,
    But for the fear of losing it.


    The Man in the Corner Office

    The office had no clocks.

    Not because time didn’t exist here, but because it wasn’t meant to be acknowledged. The world outside moved in hours, days, years. Inside, everything was measured in profit, in percentages, in the slow climb of numbers on a screen.

    He sat behind a glass desk that reflected the city skyline, his reflection distorted in the curve of the window. Below, people moved like ants, scurrying in and out of taxis, through revolving doors, across pedestrian crossings.

    A decade ago, he had been one of them. Running. Reaching. Wanting.

    Now, he had everything.

    And yet, he had never been more afraid.


    The Weight of Having

    People believe that wealth is freedom. That once you have enough, the fear will disappear. But money doesn’t erase fear—it sharpens it.

    • The poor man fears hunger. The rich man fears losing his appetite.
    • The poor man dreams of more. The rich man wakes up afraid of less.
    • A man who has nothing can move freely. A man who owns the world is trapped inside it.

    He had spent his life climbing, convinced there was a summit where the fear would end.

    But now, standing at the top, he realized there was no summit at all. Just a thin ledge—and a long way down.


    Wabi-Sabi and the Art of Letting Go

    Wabi-sabi teaches that all things are temporary, incomplete, imperfect.

    A river does not hold onto the water that passes through it.
    A tree does not mourn the leaves it sheds.
    A man who understands impermanence does not fear losing what was never his to keep.

    What if wealth was not something to protect, but something to release?

    What if security was not in holding on—but in knowing when to let go?


    Lessons from a Man Counting What He Cannot Keep

    • Money can buy comfort, but never peace.
    • The fear of loss is proof you are not free.
    • Wealth is not in what you have, but in what you can afford to give away.
    • If you live only to protect, you have already lost.
    • The richest man is the one who could walk away tomorrow.

    The Office, the City Below, the Realization

    He closed the laptop, the numbers still glowing in the dim light.

    Outside, the city pulsed. People moved through the streets, laughing, talking, living. They had nothing compared to him. And yet, in that moment, he wondered if they had something he didn’t.

    He reached for his phone. The market was still open. He could check the latest reports, the newest investments.

    Instead, he placed the phone face down.

    And for the first time in years, he just sat there.

    Not counting. Not calculating. Just existing.

    For a moment, it almost felt like freedom.

  • The Beautiful Lie. 156

    A mirror distorts—
    Not in the glass itself,
    But in the eyes that search it.


    The Woman at the Restaurant

    The lighting was dim, the kind meant to flatter rather than reveal. She sat across from him, hands resting lightly on the table, skin glowing under the soft candlelight. She had chosen this place carefully—the ambiance, the angles, the way shadows made everything seem softer, kinder.

    He was saying something, laughing at his own words. She smiled, just enough. A practiced art. She knew how to hold attention without demanding it, how to give just enough of herself to make someone believe they had uncovered something rare.

    She reached for her wine glass, the stem cool beneath her fingertips. In the window’s reflection, she caught a glimpse of herself—filtered through the low light, blurred at the edges, a version of her that only existed in this moment. The kind of beauty that was not real, but convincing.

    She wondered how long she had been performing. And if she had ever stopped.


    The Performance of Beauty

    Beauty is not just something you have. It is something you maintain.

    It is the right shade of lipstick, the slight tilt of the head in photographs, the art of walking into a room with the kind of presence that suggests you belong.

    • A man sees a beautiful woman and assumes she is effortless.
    • A woman sees a beautiful woman and knows how much work it takes.
    • The world sees a beautiful woman and does not wonder what she sees in herself.

    Because the truth is—it is exhausting.

    Not the makeup or the styling, not even the careful calculations of dress and posture. No, the exhausting part is the awareness. The constant, quiet self-monitoring. The way beauty becomes a second language, one spoken fluently but never naturally.

    She wondered what it would feel like to stop. To exist without noticing how she existed.


    The Reflection That Does Not Belong to Her

    She excused herself to the restroom, walking past rows of candlelit tables, past glances that slid over her like waves retreating from the shore.

    In the mirror, she took herself in. Not the version sitting at the table, laughing at the right moments. But this version—bare, quiet, staring back at her with something that looked almost like recognition.

    She reached up, wiped away a smudge of lipstick. The color faded slightly, revealing something less polished beneath. Something real.

    And for the first time in a long time, she didn’t fix it.

    She stepped back into the restaurant, back into the role she had written for herself. But this time, just a little less perfectly.

    And somehow, that was enough.

  • The Beautiful Lie 156

    A mirror distorts—
    Not in the glass itself,
    But in the eyes that search it.


    The Woman in the Dressing Room

    The boutique was dimly lit, the kind of place where soft jazz hummed through hidden speakers and perfume lingered in the air like a whispered promise. She stood in front of a full-length mirror, adjusting the strap of a dress that clung to her body in ways both flattering and unforgiving.

    The saleswoman hovered nearby, all gentle smiles and quiet persuasion. “It looks stunning on you,” she murmured, with the certainty of someone who had said the same thing a hundred times that day.

    She wanted to believe it.

    But the mirror had its own opinion.

    She tilted her head slightly, assessing the reflection, scanning for flaws only she could see. A shadow where there shouldn’t be. A curve that didn’t fit the lines she wished for.

    She had learned young that beauty was not just something you were given—it was something you earned. Through discipline, through small rituals of correction, through an endless, quiet war with time.

    She touched her collarbone absently. Once, years ago, a boy had kissed her there and called her perfect. She had laughed then, not realizing how many years she would spend chasing the illusion of that word.

    Perfect.


    The Currency of Beauty

    People say beauty is power. But power over what? Over whom?

    • A man sees a beautiful woman and imagines desire belongs to him.
    • A woman sees a beautiful woman and measures herself against her.
    • The world sees a beautiful woman and assumes she must be happy.

    But beauty, real beauty, is never owned. It is borrowed, fleeting, held together by light and shadow and the right kind of silence.

    She knew this.

    And yet—she still wanted it.

    Wanted the approval, the glance held a second too long, the ease of walking into a room and knowing the world had already decided in her favor.

    Maybe it was vanity. Maybe it was survival. Maybe, in a world that rewarded beauty like currency, she simply didn’t want to be poor.


    Wabi-Sabi and the Face in the Glass

    Wabi-sabi teaches that true beauty is imperfect, impermanent, incomplete.

    A cracked bowl still holds tea.
    A faded kimono still tells a story.
    A woman who has lived, who has softened at the edges, who has let go of the sharpness of youth—that is beauty, too.

    The problem was not the mirror.
    The problem was the questions she asked it.


    Lessons from a Woman Who Almost Believed the Lie

    • Beauty is not perfection. It is presence.
    • What fades is not lost—only changed.
    • A mirror does not reflect worth. Only light.
    • The most beautiful thing about you is what time cannot take.

    The Mirror, the Dress, the Decision

    She exhaled, a quiet surrender.

    The dress fit. It didn’t fit. It didn’t matter.

    She slipped it off, folded it carefully, handed it back to the saleswoman with a polite smile.

    Outside, the city air was cool against her skin. She walked through the streets, past glowing billboards selling faces that weren’t real, past shop windows filled with dresses promising new versions of the same old dream.

    And for the first time in a long time, she didn’t stop to look.

  • The Weight of Wealth 155.2

    A coin spins midair—
    Heads, you win nothing.
    Tails, you lose everything.


    The Man at the Window

    He sat in the corner of a high-rise café, overlooking the city skyline. The kind of place where the espresso cost more than a meal and came served on a porcelain tray with a tiny spoon he never used. He barely touched his coffee.

    Instead, he checked his phone. Again. Stock charts flickered, numbers moving too fast to grasp. He refreshed. He scrolled. He checked again.

    The market was down. Not by much. Just enough to make his breath catch, just enough to remind him that what he had could slip through his fingers in an instant.

    Outside, the city pulsed. People walked briskly through crosswalks, hurried into taxis, stood in line for things they could barely afford. He used to be one of them. He remembered the hunger, the way ambition had burned in his chest, the certainty that if he just worked hard enough, just made the right moves, he would be free.

    Now he was here.

    And yet—he did not feel free.


    The Fear of the Fall

    People think the rich are fearless. That money is an armor, a shield, an escape hatch from the anxieties of the world.

    But the truth is this: The more you have, the more you have to lose.

    • A man with nothing sleeps soundly. A man with everything lies awake, counting what might be taken from him.
    • A gambler risks his last dollar without flinching, but a billionaire flinches at the sight of a red arrow on a screen.
    • Poverty teaches desperation, but wealth teaches a different kind of hunger—the fear of slipping, of becoming what you once escaped.

    The world doesn’t tell you that. It tells you to climb. To chase. To build and collect and protect.

    But what happens when the weight of having is heavier than the weight of wanting?


    Wabi-Sabi and the Fear of Loss

    Wabi-sabi teaches that nothing is permanent—that the beauty of life comes not from hoarding, but from embracing the fleeting nature of things.

    A cup will break.
    A flower will wilt.
    A fortune will rise and fall, like the tide.

    And yet, this does not make them meaningless.

    A cup is beautiful because it can break.
    A flower is precious because it won’t last.
    And wealth—true wealth—is not about what can be taken, but what can be let go.

    Maybe the man at the window had forgotten that. Maybe he was still chasing freedom, not realizing it was already there, waiting in the space between breaths.


    Lessons from a Man Who Had It All

    • More is not always safer.
    • What you fear losing controls you.
    • True wealth is not in numbers, but in what numbers cannot touch.
    • Happiness is not in the having, but in the knowing when to stop.
    • Everything you own, one day, will belong to time.

    The City, the Window, the Moment That Passed

    He put his phone down.

    The numbers still flickered, but he no longer checked. His coffee had gone cold. He took a sip anyway.

    Outside, the city kept moving. People still walked. Cars still honked. The world did not care about his fear.

    And, maybe, just for a moment—neither did he.

  • A Moment between Pages. 155.1

    Some things in life slip away unnoticed—a train pulling out of a station, a quiet goodbye, a cup of coffee that goes cold before you finish it.

    But some things remain. A rhythm, a conversation, a shared moment between strangers who might never meet, yet somehow understand each other.

    That’s what this space has become. A place where thoughts find a home. And for that—for your time, your presence, your quiet nods from across the world—I am grateful.

    If these words have meant something to you, share them. Let them find others who need them. Subscribe, so we can keep meeting here, between the lines.

    The world is noisy, but here—just for a moment—there is space to breathe.

    Thank you for being part of it.

  • The Gravity of Confidence. 154.2

    A bird does not ask the wind
    if it may fly.
    It simply opens its wings.


    The Man Who Walked Like He Owned the Air

    There was a man I used to know. Not famous. Not loud. But he carried himself in a way that made space bend around him.

    He wasn’t tall. He wasn’t particularly handsome. His clothes were nothing remarkable—slightly wrinkled, always a little too loose, as if he couldn’t be bothered to care.

    But when he walked into a room, the air shifted. Not because he demanded it. But because he simply belonged wherever he stood.

    Some people confuse confidence with volume. They think the loudest voice wins, that dominance is the same as presence.

    But this man was quiet.

    And somehow, that made him louder than anyone else.


    The Nature of True Confidence

    People think confidence is built on achievements, wealth, power. But those things can be taken away. Real confidence comes from knowing that even if you lost everything, you would still be you.

    • It is the way a person orders coffee without hesitation, as if the world was designed to give them exactly what they need.
    • It is the way someone sits in silence without reaching for their phone, unbothered by empty space.
    • It is the way a person can say ‘I don’t know’ without shame, as if ignorance was just another step toward understanding.

    This man, the one I used to know, never tried to prove himself.

    And because of that, he never had to.


    Wabi-Sabi and the Strength of Simply Being

    Wabi-sabi teaches that beauty is found in the unpolished, in the effortless, in the acceptance of what simply is.

    A cracked tea bowl does not pretend to be whole.
    A fading autumn leaf does not beg to be green again.
    A person who knows themselves does not need to convince anyone else.

    Confidence is not performance.

    It is presence.

    And the moment you stop trying to be anything other than who you already are, the world will begin to adjust itself around you.


    Lessons from the Man Who Never Needed to Shout

    • Confidence is not something you wear. It is something you carry.
    • Silence is sometimes the loudest thing in a room.
    • You don’t need to prove yourself to those who already see you.
    • Knowing what you don’t know is more powerful than pretending you do.
    • You belong—not because you say so, but because you are here.

    The Air, the Room, the Space That Opened

    One day, I watched him walk through a crowd. He didn’t push. He didn’t weave.

    And yet, people moved.

    Not out of fear. Not out of deference. But as if some part of them simply understood—this man was going exactly where he was meant to go.

    And maybe, just maybe, so were they.

  • The Quiet Shape of Confidence. 154.1

    A candle flickers—
    Not because it fears the wind,
    But because it knows it will keep burning.


    The Man Who Never Raised His Voice

    He wasn’t the loudest person in the room. He never walked in with the kind of presence that demanded attention, never filled the silence just to prove he belonged. If anything, he spoke less than most. But when he did, people listened.

    There was something about the way he carried himself. Not in the way confidence is often mistaken—puffed up, exaggerated, heavy with the need to be noticed. No, his was quieter. A certainty, not in being right, but in knowing he didn’t need to be.

    He never rushed to defend himself. Never argued just to win. He let people talk, let them be wrong if they needed to be, let them fill the space he didn’t need to take up.

    And yet, somehow, he was the most present person in every room.


    The Difference Between Noise and Knowing

    Confidence is often mistaken for volume. For the ability to walk into a room and take it over. For sharp comebacks, for unwavering certainty, for being the loudest, the boldest, the most sure.

    But real confidence doesn’t need to prove itself.

    • It listens more than it speaks.
    • It doesn’t rush to fill silence, because silence isn’t a threat.
    • It isn’t afraid to be wrong, because being wrong isn’t a failure.
    • It knows when to step back, when to let others shine, when to hold space without needing to own it.

    The strongest presence isn’t always the one in the spotlight. Sometimes, it’s the one in the background, steady, unmoved, enough.


    The Conversation That Stayed

    One night, he and I sat on a balcony, city lights flickering in the distance. We weren’t talking about anything important, just life, the way people do when it’s late and words come easier.

    At one point, I asked him, “How are you so sure of yourself all the time?”

    He smiled, shook his head. “I’m not. I just don’t need to be.”

    I didn’t understand then. Not fully. But I think I do now.

    Confidence isn’t about knowing everything. It’s about knowing you don’t have to.

    And somehow, that’s enough.

  • The Ways We Carry Ourselves Through 153.2

    A wave hits the shore—
    Not to break it,
    But to remind it how to bend.


    The Apartment with the Locked Window

    He hadn’t opened the window in weeks. Not because he didn’t want to, but because it felt easier to keep the world out. Outside, the city pulsed, people moved, life continued. But in here, it was still. Controlled. Contained.

    When the feeling came—the heavy one, the one that sat in his chest like a stone—he did what he always did. He straightened the books on his desk. He washed the same cup twice. He let the kettle boil, then cool, then boil again. Small things. Meaningless things. Things that gave shape to the shapeless.

    Some days, it worked. Some days, it didn’t. But still, he kept moving, even if only in circles.


    The Rituals That Keep Us Afloat

    There are things we do, without thinking, when the weight becomes too much.

    • Walking without a destination, just to remind ourselves that we can move.
    • Organizing shelves, drawers, anything, because order on the outside can quiet the inside.
    • Playing the same song over and over, as if the melody might anchor something deep and drifting.
    • Writing words that don’t make sense, just to get them out, just to make them real.

    Not solutions. Not cures. Just small lifelines. Just enough to get through the next moment, and then the next.


    The Window, the Air, the Moment That Passed

    One night, without thinking, he reached for the latch. The window groaned open, stiff from being ignored. A breeze slipped in, carrying with it the scent of something distant—rain on pavement, warm bread from a bakery still open late, the faintest trace of the ocean miles away.

    He closed his eyes. Breathed in.

    The weight hadn’t disappeared. The thoughts hadn’t unraveled. But something had shifted, just enough.

    And for now, that was enough.

  • The Art of Holding Shadows 153.1

    A wave meets the shore—
    Not to erase itself,
    But to be embraced.


    The Rooftop, the Cigarette, and the City Below

    He stood on the rooftop, cigarette in hand, watching the city exhale neon light into the night. The air smelled like rain that hadn’t come yet, thick with promises it wouldn’t keep.

    Below, the streets pulsed with movement—buses sighing to a halt, lovers arguing in doorways, a lone cyclist weaving through traffic like a thread through fabric.

    Up here, it was quiet.

    Not the absence of sound, but the kind of quiet that wraps itself around you when you are the only one left awake.

    He wasn’t sad. Not exactly.

    Just heavy.

    Like someone had taken the world and poured it into his chest without asking first.


    The Nature of Shadows

    People talk about negative emotions like they’re something to get rid of. Like grief, anger, loneliness—like all of it is a kind of dirt that needs to be scrubbed away.

    But shadows don’t disappear just because you turn on a light.

    They move. They stretch. They learn how to wait.

    He had learned this the hard way.

    • Drinking it away didn’t work. The silence always came back louder.
    • Running from it didn’t work. It always ran faster.
    • Pretending it wasn’t there didn’t work. It would slip into his reflection, into the way his hands shook when he reached for the wrong memories.

    So he had learned, instead, to sit with it.

    To let the feeling stay long enough to say what it came to say.


    Wabi-Sabi and the Elegance of Imperfection

    Wabi-sabi teaches that beauty isn’t in the flawless.

    It’s in the worn edges of a teacup, in the crack that runs through old porcelain, in the way autumn never apologizes for the leaves it lets go.

    Maybe emotions are the same.

    Maybe we are not meant to smooth them out, to iron them away, to bleach them into something palatable.

    Maybe we are just meant to hold them—gently, like a bowl that has already been broken, like something that still has a purpose even after it has cracked.


    Lessons from a City That Never Sleeps

    • You don’t have to fix a feeling. You just have to let it be.
    • Sadness is not a flaw. It is a reminder that you are alive.
    • The past will visit, but you don’t have to let it move in.
    • Healing is not the absence of pain, but the presence of acceptance.
    • A shadow only exists because something is standing in the light.

    The Rooftop, the Cigarette, the Sky Before Rain

    He took a final drag, watching the ember glow for a second before flickering out. The city was still moving, still restless, still full of stories he would never hear.

    But up here, above it all, he let himself breathe.

    Let himself be.

    And as the first drop of rain finally fell, he smiled.

    Because even shadows, in the end, were only waiting for the storm to pass.

  • The Things That Make Us Forget Ourselves. 152.2

    A ripple on water—
    Not lost, just moving deeper,
    Dissolving into flow.


    The Small Apartment with the Leaking Faucet

    The faucet dripped. A slow, steady rhythm, as if the room itself had a pulse. He had meant to fix it weeks ago, but now, he barely noticed it.

    Because right now, there was only the page.

    The typewriter hummed beneath his fingers, keys clicking like raindrops against glass. Words spilled out, half-formed, stubborn, resisting him at first. But then something shifted. The hesitation vanished. Sentences began to chase each other, ideas stacking and collapsing like waves on a shore.

    He didn’t check the time.

    He didn’t hear the sirens outside or the footsteps in the hallway.

    He didn’t even notice that the coffee he made an hour ago had gone cold.

    There was only this.

    This strange, fleeting moment when he wasn’t thinking about himself at all.


    The Vanishing Act of Flow

    Some things make you disappear in the best possible way.

    • A blank page filling with words you don’t remember writing.
    • Kneading dough until the world shrinks to the weight of your hands.
    • Running until your breath and heartbeat become the only language you know.
    • Playing a song where the notes seem to play you back.

    There are moments when the self dissolves. When the mind stops watching itself, stops narrating, stops questioning.

    You aren’t a person doing something.

    You are just the doing itself.

    And it’s only when you step away—when the song fades, when the last line is written, when the dough has risen—that you realize you had vanished completely.


    The Faucet, the Keys, the Silence That Follows

    The words slowed.

    He leaned back, stretching his fingers, suddenly aware of the room again. The faucet was still dripping. The coffee, untouched, had formed a thin film across the surface.

    The world had returned. Or maybe, he had.

    And for the first time that day, he breathed.

  • The Things That Make Us Forget Ourselves. 152.1

    A ripple on water—
    Not lost, just moving deeper,
    Dissolving into flow.


    The Small Apartment with the Leaking Faucet

    The faucet dripped. A slow, steady rhythm, as if the room itself had a pulse. He had meant to fix it weeks ago, but now, he barely noticed it.

    Because right now, there was only the page.

    The typewriter hummed beneath his fingers, keys clicking like raindrops against glass. Words spilled out, half-formed, stubborn, resisting him at first. But then something shifted. The hesitation vanished. Sentences began to chase each other, ideas stacking and collapsing like waves on a shore.

    He didn’t check the time.

    He didn’t hear the sirens outside or the footsteps in the hallway.

    He didn’t even notice that the coffee he made an hour ago had gone cold.

    There was only this.

    This strange, fleeting moment when he wasn’t thinking about himself at all.


    The Vanishing Act of Flow

    Some things make you disappear in the best possible way.

    • A blank page filling with words you don’t remember writing.
    • Kneading dough until the world shrinks to the weight of your hands.
    • Running until your breath and heartbeat become the only language you know.
    • Playing a song where the notes seem to play you back.

    There are moments when the self dissolves. When the mind stops watching itself, stops narrating, stops questioning.

    You aren’t a person doing something.

    You are just the doing itself.

    And it’s only when you step away—when the song fades, when the last line is written, when the dough has risen—that you realize you had vanished completely.


    Wabi-Sabi and the Beauty of Being Lost

    Wabi-sabi teaches that impermanence is not something to fear. It is something to sink into.

    Because real joy isn’t about control.

    It’s about forgetting to need it.

    • The best moments are the ones where time stops existing.
    • Perfection is an illusion, but absorption is real.
    • A day spent outside yourself is never wasted.
    • To lose yourself is not a loss. It is a return.

    The Faucet, the Keys, the Silence That Follows

    The words slowed.

    He leaned back, stretching his fingers, suddenly aware of the room again. The faucet was still dripping. The coffee, untouched, had formed a thin film across the surface.

    The world had returned. Or maybe, he had.

    And for the first time that day, he breathed.

  • The Films We Keep Watching. 151.2

    A flickering screen—
    Not just a story,
    But a memory rewound.


    The Hotel Room with a Broken Remote

    The first time he watched Casablanca, it was in a hotel room that smelled like old carpet and winter rain. He hadn’t planned on it. It was just what happened to be playing when he turned on the TV, a black-and-white world flickering against the dim glow of the bedside lamp.

    He told himself he would watch for a few minutes. Just until he felt tired enough to sleep.

    But then there was the music. The cigarettes curling in slow-motion smoke. The lines delivered with the kind of weight that made you feel like they had always existed, even before the film was made.

    By the time Rick said, Here’s looking at you, kid, the clock was past 3 AM, and sleep was no longer part of the equation.

    Some films aren’t just films. They are places you return to.


    The Stories That Stay

    There are movies you watch once. And then there are movies you watch so many times, they stop being stories and start becoming part of your life.

    They are the ones that fill the silence on sleepless nights.
    The ones you put on in the background when cooking dinner.
    The ones where you already know every line, but you still listen anyway, as if something new might reveal itself this time.

    Some films are comfort. Some are ritual. Some are a reminder of who you were the first time you saw them.

    And sometimes, you watch them over and over because you still don’t have the answers they make you ask.


    Why We Keep Watching

    Some films never change. The same story, the same characters, the same ending that refuses to be rewritten. But we—we change.

    The movie you once laughed at now makes you ache.
    The character you used to admire now feels like a stranger.
    The scene you never noticed before suddenly cuts too close.

    It’s not just nostalgia. It’s a way of measuring distance—between who you were then and who you are now.

    Maybe that’s why we return to them. Not because we need to see how the story unfolds. But because we need to see who we have become while watching.


    The Remote, the Hotel, the Ending That Never Changes

    Years later, he found himself in another hotel room. Another nameless city. Another night of too much thinking.

    He turned on the TV. And there it was again. The same film.

    Rick, standing in the rain. The plane waiting on the runway. The same moment, unchanged.

    But this time, something was different.

    Not the movie.

    Him.

    And so, he watched.

    One more time.

  • The Films We Keep Watching. 151.1

    A flickering screen—
    Not just a story,
    But a memory rewound.


    The Hotel Room with a Broken Remote

    The first time he watched Casablanca, it was in a hotel room that smelled like old carpet and winter rain. He hadn’t planned on it. It was just what happened to be playing when he turned on the TV, a black-and-white world flickering against the dim glow of the bedside lamp.

    He told himself he would watch for a few minutes. Just until he felt tired enough to sleep.

    But then there was the music. The cigarettes curling in slow-motion smoke. The lines delivered with the kind of weight that made you feel like they had always existed, even before the film was made.

    By the time Rick said, Here’s looking at you, kid, the clock was past 3 AM, and sleep was no longer part of the equation.

    Some films aren’t just films. They are places you return to.


    The Stories That Stay

    There are movies you watch once. And then there are movies you watch so many times, they stop being stories and start becoming part of your life.

    They are the ones that fill the silence on sleepless nights.
    The ones you put on in the background when cooking dinner.
    The ones where you already know every line, but you still listen anyway, as if something new might reveal itself this time.

    Some films are comfort. Some are ritual. Some are a reminder of who you were the first time you saw them.

    And sometimes, you watch them over and over because you still don’t have the answers they make you ask.


    Wabi-Sabi and the Art of Repetition

    Wabi-sabi tells us that nothing is ever truly the same twice. A cracked cup, a weathered wall, a river that looks identical but has never held the same water twice.

    Maybe that’s why we watch old movies again and again.

    Not because we need to see the story.

    But because we need to see who we are now as we watch it.

    • The movie you once laughed at now makes you ache.
    • The character you used to admire now feels like a stranger.
    • The scene you never noticed before suddenly cuts too close.

    No film is ever truly the same. Because no person watching it ever is.


    Lessons from a Screen That Keeps Replaying

    • The stories we return to say more about us than them.
    • Some films are not entertainment. They are reflection.
    • Rewatching is not nostalgia. It is measuring distance—between who you were then and who you are now.
    • A great film does not just show you a world. It holds up a mirror.

    The Remote, the Hotel, the Ending That Never Changes

    Years later, he found himself in another hotel room. Another nameless city. Another night of too much thinking.

    He turned on the TV. And there it was again. The same film.

    Rick, standing in the rain. The plane waiting on the runway. The same moment, unchanged.

    But this time, something was different.

    Not the movie.

    Him.

    And so, he watched.

    One more time.

  • The Shape of Unfinished Moments. 150.2

    A glass of water left untouched—
    Not forgotten, just waiting.


    The Apartment with the Locked Drawer

    He never considered himself sentimental.

    That was for people who saved ticket stubs in shoeboxes, for those who traced their fingers over old photographs as if touch could bring the past back. For people who kept old letters in the backs of drawers, even though the words had long since lost their meaning.

    But then, there was the drawer.

    The one in his desk. The one that was always locked, though he couldn’t remember when or why he had first started keeping it that way.

    There wasn’t much inside—just a few old receipts, a key he didn’t recognize, a folded piece of paper he never opened. But he never touched it. Never cleaned it out. Never threw any of it away.

    Maybe it was nothing. Just clutter. Just things. But after a while, it stopped being just a locked drawer.

    It became a question.

    Something unfinished. Something waiting. Something that, for whatever reason, he wasn’t ready to face.


    The Strange Comfort of Leaving Things Unresolved

    Not everything needs to be understood.

    Some people leave messages unanswered, not because they don’t care, but because responding would mean stepping into something too real.

    Some people keep a shirt from years ago, hidden in the back of a closet, not because they still need it, but because letting go of it would mean accepting that the person they were when they wore it no longer exists.

    Some people have locked drawers.

    Not because there’s something valuable inside. Not because they are hiding anything. But because some things feel more meaningful when left untouched.

    Maybe it’s human nature. The need to leave a door slightly open, just in case. The need to keep some things undefined, just so they can continue existing in a way that feels safe.


    The Drawer, the Key, the Question Left Unanswered

    One night, he stood by the desk, fingers resting against the cool metal of the handle. It had been years since he had last tried to open it. He wasn’t sure what had changed, why this night felt different from all the others.

    He reached for the key—the one he had never used, the one that had always been there. He turned it. The lock clicked, quiet but certain.

    The drawer slid open.

    Inside, nothing had changed. The same old receipts. The same key. The same folded paper, edges softened from years of waiting.

    He picked it up. Unfolded it.

    Just a name. A date. A place he had forgotten.

    Something small. Something meaningless. Something that, for reasons he couldn’t explain, still made his chest tighten just a little.

    He placed it back inside. Locked the drawer.

    Turned off the light.

    Some things don’t need to be understood.

    Some questions are meant to stay unanswered.