My favorite city in Japan made the news a few months ago, following a burst of lava from the side of its volcano, Sakurajima, sited in Kagoshima Bay. Sakurajima has had small eruptions for some time now, which are of concern because a nuclear plant lies only 30 miles away. For me the concern is personal, for Kagoshima holds a special place in my heart that stretches back to childhood.
It all began in 1957 when my parents took me to see Teahouse of the August Moon, a service comedy about the early days of the American Occupation of Okinawa. I adored it. (That Sakini, the Okinawan interpreter, was being played in yellow face by Marlon Brando went by me completely.) I watched my first grown-up movies (Oklahoma!, Tammy and the Bachelor) that summer, but in retrospect I realize that the trip to see Teahouse was meant mainly as a softening up tactic. A few weeks later, my mother confided that we ourselves would move to Okinawa that fall. I was thrilled.
When did I become a Japanophile? Was it pouring over Little Pictures of Japan from the My Book House series (of which we owned every volume) or playing with the clamshell novelties my mother brought back from New York’s Chinatown that opened up into beautiful paper flowers when soaked in a glass of water? Didn’t all children at the time try to dig a hole to China (which, we were told, lay just below us on the opposite side of the earth)? Perhaps we were all incipient orientalists. But in my case, it lay very close to the surface.
Eagerly anticipating a land of pine-covered hills and kimono-clad geishas, I was horribly disappointed six months later to find myself on a sub-tropical island, whose bright sunlight was blindingly intensified by the ubiquitous coral dust. A battle 12 years earlier had scoured the island, leaving much of it treeless. Pampas grass and sugar cane grew where vicious fighting once took place and often covered deadly unexploded ordinance. As ubiquitous as the coral dust were American military vehicles and installations. No pine trees lit by moonlight, no geishas, no soft breezes, no distant mountains. Teahouse, it turned out, had been shot on the Japanese mainland, not on Okinawa. (A recently constructed Teahouse of the August Moon did exist in Okinawa, but it had been inspired by the movie, not vice versa.)
Although the island abounded in ancient local arts, whose revival the American military government had encouraged (and—as per the movie—cricket cages were for sale in every local tchotchke shop), at nine I had no more ability to appreciate the local pottery and textiles than I had to discern Marlon Brando under his make-up. I longed for the classical arts and picturesque landscapes of “real,” Japan, land of lanterns, ukiyoe and fireflies.
I was ecstatic, therefore, as I embarked with my mother and sister on my first trip to the main islands of Japan. We left on the overnight boat from Naha, Okinawa’s capital city, and landed the next day in Kagoshima, the southernmost port city of Japan’s four main islands. This time it was love at first sight. My mother had splurged and booked us into a genuine ryokan [Japanese inn]. Our tatami-mat-covered room opened onto an exquisite garden, and waitresses in kimono served our dinner and made up our beds, futon [thick quilts—the foam rubber kind hadn’t been invented yet] spread on the floor.
The inn sat atop the kind of pine-covered hill I had been waiting a whole year to see and looked down over the city. Houses with black tile roofs lay below, a contrast to the red tile roofs of the more affluent homes in Okinawa, and they had good reason to be black. Sakurajima, sitting majestically in the distance, issued a thin plume of smoke from its conical peak. Smoke billowed, too, from the steam locomotives that pulled the trains that wound around the city in the valley below us.
I had not been on a train since I was three and could only dimly remember the experience. Trains did not even exist in Okinawa, so I could barely contain my excitement, knowing we would soon be on that train, heading north to other cities in Japan.
Watching the train and actually riding on it were two different things, however. These steam-driven vehicles had no air conditioning, and, it being summer, the windows were all open, allowing soot from the smokestack to blow in, covering passengers, seats, and floors alike. Tunnels, of which there were many, particularly on the tracks between Kyoto and Tokyo, proved particularly obnoxious as the smoke had nowhere to go except into the train. Passengers rushed to close the windows, rendering the carriage hot and stuffy. Mostly, though, the long slow journey—Kagoshima to Kyoto required an overnight trip—felt incredibly boring to a ten-year-old.
At stations, hawkers filled the platforms, selling bento [lunch] boxes, constructed from the thinnest of thinly shaved wood, and tiny clay pots of tea, and passengers purchased these refreshments through their open windows. Once their contents had been consumed, the empty boxes and teapots, along with disposable chopsticks, all ended up on the floor of the train. Bored by the journey and 
fascinated by the perfectly shaped clay pots, whose covers served as tiny cups and which varied in color, shape, and markings from station to station, I amused myself by crawling underneath the seats on the train’s dirty floor to collect them, much to our fellow passengers’ surprise and my mother’s chagrin. (Incredibly, this saintly woman, at my insistence, carried a very large basket of these discarded vessels back to Okinawa for me.)
The little teapots and many other charms of mainland Japan notwithstanding, the trip was hard on one as young as I. The shrines and temples in Kyoto began to all look alike, and in Tokyo I spent a whole day in bed, possibly sick but probably just exhausted. We broke our return journey in the spa town of Beppu—no one had warned us how tacky spa towns in Japan can be—but the long trip south was as tedious as the trip north, and the inn in Kagoshima beckoned like a long lost friend. (Trains, I decided, were best experienced from that hill above the city.)
Besides Sakurajima and the beautiful ryokan, Kagoshima featured Satsuma-ware, an elegant white ceramic with a crackled glaze covered by delicately painted bird and flower decorations. Shiny and colorful—in contrast to subtle earth tones of much Japanese pottery, including Okinawan—it captured my ten-year-old heart and has never lost its charm for me.
Satsuma-ware derives its name from the feudal Satsuma Domain, which was ruled by the Shimazu daimyo from Kagoshima. Satsuma,
along with other southern provinces, led the revolt against the moldering Tokugawa Shogunate that produced the Meiji Reformation. Satsuma had, in fact, colonized Okinawa in 1609, making it a vassal state, although the island remained “officially” independent until 1879—one reason its culture remains so distinctive—when it was officially annexed to Meiji Japan.
Two summers after that first rocky trip to mainland Japan, we returned to the U.S. (though not before docking in Tokyo Bay in the midst of the 1960 Anpo riots), but 1964 found us back in Okinawa. The following summer my mother and I made a three-week trip to Kyushu, Honshu and Shikoku where we visited with family, friends, and an array of Japanese potters. Once again Kagoshima welcomed us and became the first stop on our pottery tour, where my mother hunted down the Korean potters whose ancestors had developed Satsuma-ware. The ryokan had been a one-time extravagance, so we stayed in a modern hotel with a large accommodating garden.
Although the shinkansen [bullet train] now ran between Tokyo and Kyoto, Kagoshima to Tokyo still required an overnight journey, but diesel engines had replaced the steam engines, and, sadly, plastic teapots had replaced the charming clay ones formerly sold on station platforms. (Progress, as we know, is a two-edged sword.) I had looked forward to this trip as keenly as the first one, but, at 17, I was old enough to relish every aspect of it. Mist rising from acres of rice paddies graced by egrets, wooden houses with sliding doors and tile roofs, blocks of traditional wood-framed storefronts with their goods out front for customers to see and living quarters—with a cup of green tea for special guests—behind the store—today these things are mostly relegated to movies, museums and theme parks, but they were my Japan. In Shikoku, emerald green rivers ran down the mountains alongside the road our bus travelled. In Tokyo I joined Hiroko, my father’s former secretary, at her local public bath, and far up in the mountains of Kyushu, we visited potters in Onda, where all day long pestles, fueled by water flowing off the mountains, pounded clay. Thrilling but tiring, our trip ended once more in Kagoshima, where our gracious hotel and our ship home to Okinawa awaited us.
A year later I went to camp in Tokyo with my Girl Scout troop. We travelled TDY in an Army cargo plane, but when I stayed on after camp to visit Hiroko in Tokyo, I was back to using local transportation. I rode the shinkansen for the first time to visit friends in Kyoto, then, late one night, boarded the overnight train to Kagoshima. The next evening I met a family in the garden of the hotel where my mother and I had stayed the year before, and, seeing I was alone, they scooped me up the next morning and brought me to their home for tea and a visit before my boat departed. This would not be my last encounter with the warm hospitality of Kagoshima.
I returned to the United States, went to college, became an art historian, and spent many years in Europe. Finally, in my mid-30’s I reunited with my Asian past when I began to study the filmmaker Yasujiro Ozu. (Ironically, in Okinawa Hiroko had taken my father to see Ohayo, one of Ozu’s late films, and he had described the delightful comedy to me in some detail. When, many years later, I finally connected the film he had described, which for a long time was marketed in the U.S. under the title “Good Morning,” to my beloved director, I asked my father if he remembered it. Although his account of the film had imbedded itself in my mind all those many years before, he had no recollection of it at all!)
In 1991, I returned to Japan, having accepted a teaching job at a college near Nagoya. That summer, my husband and I travelled south, visiting friends and tourist destinations and managing to attend memorial ceremonies for the bombings of both Hiroshima and Nagasaki. From Nagasaki, we headed, for nostalgia’s sake, to Kagoshima to catch the boat to Okinawa. No overnight sleeper this time, but our destination nevertheless required us to travel all day by bus, ferry, and train. The city had modernized, of course, but its rolling hills and comparative lack of congestion made a soothing contrast to the crowded cities of Honshu. I purchased my own Satsuma-ware, and rediscovered the hospitality I had enjoyed as a teenager when the young host at our minshuku [Japanese-style B&B] insisted on performing a tea ceremony for us.
We took the ferry to Sakurajima, but the majestic volcano seemed less benign than before. A thin layer of ash lay over the city and more thickly on the volcanic island itself. Several volcanoes near Nagasaki had erupted within the previous two years, and the ash around Kagoshima looked ominous.
Sakurajima’s largest eruption in modern times actually occurred in 1914. Thirty-five people on the island died and lava poured into the sea, creating the land bridge to the city of Kagoshima that exists today. The city itself was covered in a thick layer of ash but otherwise remained intact. Subsequently, the volcano lay quiet until 1955 when small eruptions began, hence the smoke I witnessed first in 1957. In 2009 the volcano spewed lava and ash more than a mile above its crater and exploded most recently on Feb. 5, 2016. No one was injured and Kagoshima-jin [people] considered the 2016 eruption “average.”
The threat posed by Sakurajima’s increased activity arises mainly from the fact that the Sendai nuclear plant in Satsumasendai, former 
capital of the Satsuma Domain, lies only 30 miles away. The first Sendai reactor was built in 1984, the second in 1985. (Japan’s first nuclear reactor was built in 1966.) After all of Japan’s nuclear reactors were shut down in 2011 in the wake of the Fukushima meltdown, Sendai was the first to re-open (2015). Why Japan builds reactors close to live volcanos or on tidal plains or builds them at all, given the likelihood of earthquakes, is a mystery beyond solving in this essay.
Mainly, Sakurajima’s 2016 eruption reminded me of a city dear to my heart, which, like so much of Japan, lives on the edge of disaster with calm and dignity and grace.
Sakurajima photographs by Steven Sternbach
