winter

in Japan.

When it’s colder inside than it is outside.

I make tea but if I don’t drink it in five minutes, it’s cold. So I stick it in the microwave, pull it out, take one sip, and proceed to forget about it for the next five minutes. Rinse and repeat.

Whoever invented the kotatsu should get an award. And also a slight reprimand because its main function is providing warmth and a surface on which to eat citrus fruit and sip tea, but it has a neat side function of rendering all living beings who use it immobile and incapable of any productive activity. As an aside, I feel like I could make a whole catalog of those kinds of products (I’m looking at you, giant Muji beanbag aka hito wo dame ni suru kusshon, literally cushion-that-makes-people-worthless).

The never ending cycle of sweat and chill when you use public transportation. Because when you’re dressed for sub-freezing temperatures and wind chill, you are not happy to stand packed sardine-style in a traveling tin box that’s infuriatingly well-heated with both air conditioning and the body heat of your fellow commuters.

And they say, just take off your coat. (And your scarf. And your hat. And your arm warmers. And your gloves.) Which, yes, logic. Thank you.

But one, who has time for that in the hustle and bustle of working your way through crowds to get through the station and onto the proper platform? Before you know it, the train has arrived, and the people lined up behind you push you onto said train, and you are perhaps 80% involuntarily (I say 80% because you were intending to ride said train in the first place) slotted into a space between a gruff looking business man and a toothy elementary school kid with a dozen watches on his wrist where you barely have enough room to just stand still let alone take off a coat and a dozen other cold weather accessories.

And two, if I take off my hat, I’ll have hat hair. Duh.

If I stay outside long enough, my ears hurt.

When it’s winter in Japan, you forget how hot summer was. And when it’s summer in Japan, you forget how cold winter was.

click for good vibes|breathy vocal jams

For vocal inspiration, some of my favorites in different languages; paying particular attention to phrasing, breath, and tone. Best listened to in peace and quiet; rainy weather optimal but not necessary.

Through the Night – IU | Free – Deniece Williams | Beauty and the Beast [cover] – Aoi Teshima | Can’t Love You Anymore – IU (With. OHHYUK)

 

eggs

When your sister messages you in the middle of the night and asks you to write something about eggs.


 

eggs, take one

 

in front of me

White and crisp

crackling shell

 

paint, paint, they say

stripes in blue and purple

yes, purple’s good

(lavender is all the rage lately)

 

smiley face

make exes for the eyes

all the white is gone

 

It’s not until after I finish painting that I regret not eating them instead. Why the hell would you paint an egg anyway


 

eggs, take two

 

Eggs are good for dieting.

Take two eggs and crack them into a bowl. Add a pinch of salt (only a touch, because sodium). Whisk vigorously and sneak in some muscle training. Throw in some chives for flavor and health—

some spinach

some kale

some protein powder

some acai

some apple cider vinegar

some spirulina

a whole damn jar of coconut oil

24k gold flakes

some water from the fountain of youth

some unicorn blood

Scramble in pan until slightly soft and fluffy. Transfer to plate. Take plate to toilet. Dump contents into toilet.

Flush.

 

 

Cry.


 

eggs, take three

 

my favorite way to eat eggs: raw and cracked over rice. eggs in Japan are nice. they won’t make you sick. the yolks are like little orange suns.

hikari. 7/2018.

i like to bite | editorial motion piece

My sister is studying graphic design at Art Center and rendered one of my written pieces into a visualized motion piece and zine. I put lipstick on and play with tulle for the majority of it.

i like biting things.

he’s driving. sometimes he threads his fingers through mine and lifts my hand to his lips. they’re always cold, so he warms them, leaving little kisses trailing down, so i copy him. i pull his arm a little bit until it tucks right under my chin and plant my lips on the fleshy side of his hand opposite his thumb.

my teeth come out. i bite. not hard, but enough to satisfy some stirring within me. i feel at peace.

he snorts a bit, but never really complains, fingers flexing between mine.

he drives beautifully divided, one hand on the steering wheel, half his mind on the road.

hikari.

motion piece by skimarts.

heart room

The room where I live is a green smelling room. There is a powdery sort of warmth that I can sink into.

Most people want to curl into a ball and shrivel when they get back home, but I am the opposite.

There is just too much outside sometimes. Screaming, kicking, yelling. Catcalls that parade as compliments. Dishonesty disguised as individuality. Rocks and thorns and birds and burning, dry sun and nothing alive.

But the room where I live is a green smelling room. Flowers spring from the floors and the walls. Fresh fruit grows.

Most of all,

“Welcome home,” says He who tends the garden.


Let’s say that your heart is a room and someone lives in it. You’re like a property owner and you’re renting the space out. The only difference is, property owners aren’t directly connected to the property they own.

You, however, are directly affected by the state of your heart, by what’s in it. Your emotions, which bleed across your thoughts and actions. Your identity. What populates your body, mind, and soul as you wake up in the morning. What seeps out of you to your surroundings as you go about your day. What weighs upon you as you go to sleep at night.

Who are you going to let live in there?

I think that’s a choice we can make.

All kinds of hopefuls line up to take residence. School. Culture. People we like. Fame. Others’ opinions of us. Grudges. Money. Sex. Pride.

Actually, they probably don’t line up. They probably barge right on in, or maybe fight each other in the doorway. Maybe we’ve all had one or more of those often rowdy and troublesome residents occupying our inner room.

The thing is, they really trash the place, don’t they? Loud and crazy in all the wrong ways. Lazy when they shouldn’t be. Partiers who have no respect for who you are–how lovingly your room was made or who it belongs to. They stay up late, yell and scream at odd hours, trash the place and refuse to clean, leave cracks and holes and horrible graffiti lies on the walls.

These manifest on you and in you. Tears, anxiety, depression, self-doubt. Panic. Being unable to trust anyone. A whole slew of things that words cannot even begin to describe. It takes a lot of time and effort to clean things up and patch up the walls.

And then there’s the one who always waits outside the door. You never see him, but he’s always there. He’s easier to see when you’ve become a bit disenchanted with all the other potential residents.

So maybe you let him in. Maybe he comes in, and he cries, looking at the horrible state your room is in. His heart breaks for you as he sees how broken yours is. But he doesn’t complain.

“How can I live in this dump??”

He never says that.

“Okay,” He says, and gladly takes up residence in your torn up room.

He starts by cleaning things up. Clean, white walls, all patched up. Trash swept away, with not a speck remaining. Safe, comforting.

And then, He plants a garden.

Sometimes, you drop by and you’re excited because you see how awesome everything is getting. After a while, you get used to it and you don’t really see the progress; and you wonder, “What’s He doing in there? Is He even in there?”

But little by little, roots are forming. They come first. And then, you start seeing flowers. They’re beautiful, and your heart starts to lighten, breathe a little. Everything looks a little brighter.

Finally, there’s fruit. It nourishes you and strengthens you.

Life’s storms come, but you’re healthy enough to weather them.

Most importantly, life flows through you and from you in all that you do. Your thoughts are nourishing, your actions are loving. You are whole. You are rooted in life–the push and pull of circumstance no longer have you swinging back and forth.

And He stays there, tending to the garden, welcoming you home, eating with you when you’re hungry and thirsty because there’s no life–nothing substantial–out there in the wilderness.

Maybe he’s knocking, right now.

on the creative process

Whenever I try to force myself to write, it never goes over well. I’ll feign an organized, productive lifestyle by planning out little pockets of “creation time” throughout the week to tide the anxious, worried-about-the-future side of me over until the next bout of “I have to get my life together” strikes.

But the creative process isn’t something you can schedule. Inspiration is not that kind of creature. It’d be nice, yes, to be able to open up my planner and call old Inspiration—sly, flighty, tricky friend—up to say, “Yeah, can you come tomorrow around 4 when I’m at home with absolutely no plans?”

But he’s a capricious one.

I’ll sit for thirty minutes in front of a blank page sometimes, able to think of nothing except for today’s dinner. And then of course, I’ll be somewhere crazy—at church, standing in line at a grocery store, sitting on the porcelain throne—when he decides to come calling.

There are moments when I’m struck with an intense desire to write. To create. To make ideas, visions, dreams, tangible. With that desire comes a certain level of ability.

These two things are present generally because I have an entity within me. Something that’s living, breathing, and gives me the capacity for this kind of idea-birthing. That something is love.

I’ve explored this idea for a while now. It was the topic of my term paper in the Torrey Honors program at Biola University the year we studied and discussed theological texts. Creation is interesting to me because, as a Christian, I believe God created all things. He created me. He, in His essence and nature, is a creator, and in a beautiful, loving way, He passed on that desire to all of us.

Creating is fun. It brings me a lot of joy.

I’ve wondered why it’s so enjoyable. There’s expression of the self, for one. There’s the satisfaction in creating something good and complete. But the overwhelming driving force behind the act of creating something is love.

To see that something has so much value–something that has yet to exist–as to give it life and existence and purpose seems to be one of the greatest expressions of love.

When we create something, we love it before and after its creation. Thinking about it in that sense helps me make the connection between God as our Creator and God as one who loves us in the most complete, full sense of the word.

To get more brainy and (loosely) theological about it, the conduit for sub-creation (as I like to think of our secondary capacity for creation in comparison to God’s primary capacity) is, I think, His very Spirit within us. John writes in 1 John 4:8 that God is love. His very Spirit is love (this is difficult to swallow if you relegate the concept of love to mere emotion), and this comes into play in the original creation in Genesis. So then, our proclivity for creating things seems to come from a flow of the Spirit within ourselves (as believers), or, at an even more fundamental level, from the root of who we were created to be (which is why non-believers also have a capacity/longing to create).

Still mulling things over.

intermittent

post-relational musings; quickly jotted down in a scrap of paper upon feeling the sudden need to document my desire to be a particular sort of woman. now a thing of the past.


 

she walked quickly when she was with him. it was never to keep up—no, he was an ambler, not a strider. but under the thick gaze of his hooded eyes and the well-waxed tufts of his black hair she felt a quickening of the soul that loosened her legs to spring forward. they weren’t long, nor were they particularly pleasant to look at, but she liked to think that the speed lengthened them and straightened her shoulders.

it made her feel taller.

she hardened her eyes and overlooked everything around her as she walked. she wanted it suddenly, to be biting, to be fierce. she wanted to buy tight skirts and smack red lips condescendingly. under the thick, languid gaze of his hooded eyes, she became a fighter, and the assured movements of her tightly drawn back was her shield. he ambled, and she strode, staying always just

a little ahead of him.

she needed that, to feel like she was somebody, because most of the time

under the thick, languid gaze of his hooded eyes,

she didn’t.

until he grabbed at her with a low smile and strained at her with his pristine brows, the ones he trimmed weekly before the dimly lit sink mirror. “wait up.”

and upon feeling this straining, she worked the fleshy insides of her cheeks between her teeth, made eyes at him. but she slowed down. the fluttering in her legs subsided, and she rubbed the redness of her lips away on his cheek.

HIKARI. 12/2015.

rock of ages

There’s a piece that I wrote about four years ago, when I was in high school. Having always enjoyed playing with everyday objects in a way that tickles the humdrum of normalcy, I painted a lengthy portrait that likens our general lifestyle to climbing a ladder. It’s a long, murky piece full of remorse at the way in which our academic and social standings became primary, value-ascribing goals.

I still see that as a problem, but I want to change my approach. when I was in high school, I was caught up in a mite of hypocrisy, a little whirlwind of self-righteous heroism that had me talking in voluminous prose about how messed up, self-serving, and ultimately futile the cleft of society I occupied was. Now, I want to shed that personal justification, feel-good-about-myself journey and turn it into one of honest confrontation. Because it starts with me.

Can I say it? I am deeply afraid of being criticized by others. I want to be seen as good, as cool, as withstanding the brunt of scrutiny and criticism from all angles. I catch myself making a facade based on how people might perceive me.

I think that’s why I have trouble regularly putting things out there for people to see. Making content—blogging, writing, and making videos—and putting them in the public sphere is an act that invites the opinions and scrutiny of others. I am highly defensive, so I want everything to be bulletproof before i put it out there, into the fray. I don’t want to come out scarred. But my striving for perfection ultimately gets me nowhere, because no matter how I look at myself and the way I pour myself into the content that I make, I am dissatisfied.

This blog, which is likely to be a growing, organic sort of thing, is me stepping away from that defensive need for perfection. I’m growing and transforming, never perfect. I make mistakes. I sleep in, and eat ice cream with reckless abandon, I sometimes skip that much needed shower (sorry not sorry). I have pimples (ugh! and wage war against them!). I make judgments based on appearances, even when I know it’s wrong. I lie. I don’t have the answer to everything. I ask stupid questions. I fall as a result of my own mistakes, get hurt, pick myself back up, and learn.

And that’s okay. What I have to share is not only my story. It’s my small, ephemeral story of gritty, imperfect reality contained within His perfect story of complete love and redemption. In fact, it’s in my imperfections and need for growth that His power and grace are revealed.

It’s beautifully sweet. It fills my heart with peace, because it doesn’t just override the gritty, real things (like food, and articles of clothing, and skin care, and technology. How we should deal with our finances. And how we should treat people who are different. The list goes on). It somehow, in a way that I don’t (and maybe never will) fully understand, embraces and informs all of that. And this is often manifested imperfectly through us, but that’s where the learning takes place.

This blog is about me sharing something that doesn’t come only from me. And this blog is also about me learning about that something, and constantly being reminded that it doesn’t come only from me.

So i know that not everyone will agree with what I say and how I choose to do things. I know that I will not stand before all scrutiny and come out unscathed. It might hurt. But my experience so far has proven that I too, as Charles Spurgeon so beautifully and honestly says, can “learn to kiss the waves that throw me up against the Rock of Ages.”

Kiss, thrown up and clinging, forever.

bright red|真っ赤

I was seven the first time I fell in love. The moment will never be hard to pinpoint, even if you’ve shaken me awake to a bleary mauve sky. It rests just behind my eyes—a place where, when I choose to, I can see it with astounding clarity. My mother’s friend ran the festival. She has for as long as I can remember. It was obligation with a pretty name that wrapped me up like a mummy in painted silk some undefinable summer night every year. Sweaty and breathless from the tight sash at my belly, I walked with my brother towards the bobbing red lanterns in the distance to repay my mother’s debt from her college years: heaping bowls of rice, clean laundry, and most of all, someone to share it with.

“Friendship is eternal involvement. Imagine the look on her face if you two didn’t show, the two children of the woman she once fell asleep gazing at,” she spoke to my annual complaints. Her mouth was a perpetual slash of red. “Now stand still. Your hair is a disaster.”

It never mattered what she did with it. Ribbons, pins, ties—I promptly ripped out everything as soon as my wooden sandal sprang off the last porch step. My brother snicker-sighed and snapped his gum; that year, as I did every year, I walked to the festival with him, my hair down my back.

“I want to see the performances this year, so we won’t be able to scoop for goldfish. Maybe not even scoop for balloon yo-yos.” My brother clacked hurriedly in front of me. His kimono skimmed his ankles an inch higher than it should have. The air seemed heavy.

“But I want a balloon. A blue one, like the one you got last year.”

“I said maybe. But only if you’re good.”

There was an unfamiliar smattering of applause as we approached the stage area, my heels digging trenches past roasted sweet potatoes, steaming octopus dumplings, sticky rice cake, and swirling pinwheels decorated with images of fish. My eyes spun and my mouth watered, but I had to be good for my brother, so I clung tightly to his hand and bit my tongue. The stage was before us then, smelling of smoky pine.

She was there from the start.

And oh, she was magnificent. Dainty in a bright red cheongsam that seemed a size too small, flesh spilling over seductively where the cuffs caught her upper arms. She had a doll’s face, right down to the pristine curve of her brow. Flawless. Her cheeks were her only possible blemish, unusually rosy. They glowed from atop the stage like twin stars; they appeared blotchy, interrupted by dips and dots–set with the marks of liveliness. I thought they were beautiful. Almost as an afterthought, I noted the women who surrounded her in a circle, assuming various poses. Clad in cream and blush, faces smooth and hard as wax, they were vapid.

“Why is your kimono so short this year? Isn’t it the same one?” I asked my brother, who was craning his neck in a strange fashion toward the stage. An old man mumbled drunkenly. I was suddenly struck with a sense of impatience and grabbed my brother’s sleeve. “Why aren’t they starting yet? When are they going to play the music? Your kimono?”

He glared obtusely down at me. “Be quiet if you want your balloon.”

The air was damp and swollen with the musky smell of the stage. It was intoxicating and I was drowsy in the warmth of the night. I had never before felt such a profound exhilaration as I did at that moment, awaiting something I couldn’t even begin to imagine.

“I might want a red one instead of a blue one.”

BOOM. BOOM. BOOM. Something I couldn’t even begin to imagine.

“Look, it’s starting. Hear the drums?”

She was a shaft of light. She barely moved. Around her, colorless women dipped and spun, sleeves swirling the cold flaps of a crow’s wings, and she barely moved. She drifted about the stage as if confused, but those ruby cheeks trembled with a precise determination I believed in. I bit my tongue. I could see nothing but red. Red dress, red cheeks, red lips. Red-tasting blood trickling from the gash in my tongue. I was convinced the taste of her kiss would have been no different. She tilted her head up, up… her sad eyes were fixed on something far away, those pretty lips parted, she was calling out, calling, calling…

“I don’t like this. Let’s go yo-yo scooping. I feel sick.” My brother had me by the arm. “I’ve a splitting headache. Let’s go home, come, lousy girl.”

No. I wanted to stay. I had to find out who she was calling out to and what she was waiting for. I wanted to ask her about everything. About how warm she liked her miso soup. About how many seconds it took her to tie her sneakers, or if she even wore lace-up shoes. About how many times she stared out on nights when sleet, neither rain nor snow, met her lovingly at the windowpane. About her dreams.

“I’m staying,” I told my brother, my hair down my back. “I’m staying to watch this. I don’t care if you’ve a headache. Press your temples.”

She was slumping over. Her eyes were glass. Sweet flesh spilled onto the smoky wood. The other women were suddenly gone.

“We’re going, now. You’ve got to listen to me.”

There were men filing on stage. They wore masks like barbarians.

“No such thing. Go away! Go, go, go home by yourself!”

They clawed at her, pulling at her red dress and smacking at her red cheeks. Still she stared vacantly out into the distance, ceaselessly waiting upon something. The hope in her eyes was radiant.

“Fine. I’m leaving you.” I let my brother turn his back on me as they dragged her away.

As soon as her rose slipper disappeared off the stage, the drums stopped. The man playing them crossed his legs and swigged from a brown bottle, and a sharp, volatile sound rang out like the keening of a lost child. The bamboo flute signaling the end of the dance. I met my brother at the lit gate of the festival. He held out a red balloon yo-yo to me, and I grasped his hand even though the air was hot and heavy. Most years, we sprinted home eagerly to show off our bounty of whistles and pinwheels and sticky fingers, but we plodded home slowly that year. My brother was silent. I kept staring at the dying grass that lined the torn pavement.

“We’re home,” my brother said at last.

I drifted up the porch steps into the waiting arms of my mother and gazed up at the red slash of her mouth. “Will you please do my hair?”

hikari. 10/2013.