The Restaurant My Father Used to Love

I visited it 47 years later by chance

Although I don’t remember exactly when, it must be on a spring or early summer night in 1979. I was a junior in high school, got accepted to spend a whole year in the US as an exchange student through an organization called AFS, then called American Field Service.  Before I left for the US in July, my father took us to a fugu (blowfish) restaurant for a family dinner.

My father, being the owner of a small electricity-construction company, was working hard and seldom at home for dinner time.  Even on the weekend, he would usually be gone visiting worksites.  So, going out for dinner with the family itself was a special event for me.  My father must have realized that not seeing his only daughter for the whole year was not a trivial matter. 

And considering that his daughter would be away from Japan for a whole year, my father must have thought it through to decide which restaurant to take us.


The restaurant was called Seigetsu 清月. Our family was taken to a tatami-mat room upstairs. We were the only customers in a rather large room.

From the way my father and the okami, or proprietress of the restaurant, were talking to each other, I sensed that they had known each other for a long time.  I assumed my father must have often used this place to entertain his clients.  

As the first dish, Tessa, or fugu (blowfish) sashimi, was served.  Very thin slices of fugu meat were spread neatly like flower petals on a large, flat, round porcelain plate. The firm texture of the thin slice was a surprise for me.  It must have been my first time to eat fugu, and I loved it!

The main dish was “Tetchiri” or fugu hot pot. The fugu meat was cooked with various kinds of vegetables and tofu.  The broth was brilliantly light both in color and the taste.  The delicate fugu meat was delicious with the ponzu, the mixture of soy sauce and citrus juice. 

After we ate Tetchiri, the okami brought white rice.  She cleared away most of the leftover vegetables and flakes of fugu meat carefully with a mesh ladle.   Into the transparent broth left in the pot, she put rice and kept on cooking for a while. Then she poured beaten eggs on the rice. “Once you pour eggs, you turn off the heat and close the lid.  You cook the eggs with the residual heat of the rice and the broth.  That’s the secret of making the most delicious Ojiya,” said the okami.

It didn’t take long.  Maybe only three or four minutes.  The thick pot made of clay kept the rice and broth warm.  When the okami opened the lid, the rice, broth, and the eggs were harmonized to make the perfect Ojiya. After she served the Ojiya to four individual bowls, she instructed us to pour a little bit of ponzu and sprinkle crushed nori (dried seaweed) on top of it.  The Ojiya was heavenly.


Time has passed.  After I returned from the US, our family did go out for dinner, maybe several more times, but never back to Seigetsu.

I moved to the US to live.  My father passed away in 2004. 


On a sunny day in April, 2025.  After we went to see Yoshitsune Senbonzakura at the National Bunraku Theatre, my mother and I were hungry.  Along the way, walking back to the subway station from the theatre, I happened to turn my head on the right, and noticed the character on the sign of an old Japanese-style restaurant.  I could only see the second character and it was “月.”

I couldn’t help but approach toward the sign to see what the first character. It was “清.” 

Does the restaurant serve fugu? The tagline of the restaurant said only ‘Kappo,” a more generic term of a type of Japanese cuisine.  Closely looking at the list of items shown on the menu by the door, I found the word “fugu.”

This must be the one. After 47 years, I finally found the restaurant that I hadn’t even been particularly looking for or seriously thought of.


My mother and I went inside.  The woman in an apron welcomed us.  She looked not much older than me.  We were seated on a small tatami section on the opposite side of the counter.  Beyond the counter was a chef working alone.  He looked around in his seventies.

“How long has this restaurant been here?” I asked.  The chef responded, “My parents started this restaurant shortly after the war was over.  My mother, in her late 90’s, still comes here to work once or twice a week.  I want to retire someday, but not as long as my mother is still alive.”

My mother and I ordered a hot pot.  When it came to adding rice to the broth to make Ojiya, I asked the woman in an apron.  “As soon as you pour eggs, you close the lid, and turn off the heat, right?”  The woman said, “I don’t know about any other restaurants, but  that’s the way our restaurant has always been doing.” 

The meal was more than delicious.  My mother and I would definitely come back here again, hopefully soon.  Hopefully when the okami is working here.   To ask her if she by any chance remembers my father… 

Bunraku 文楽: Puppet Theatrical Art My Mother Loves

Tradition is alive in my mother’s blood

My mother reciting Gidayu – photo by Author

It’s called Ningyo Joruri人形浄瑠 or Bunraku 文楽.  According to UNESCO’s website, it has a longer name as Ningyo Joruri Bunraku Puppet Theatre.  On UNESCO’s Intangible Heritage website, it is described as “Ranking with Nô and Kabuki as one of Japan’s foremost stage arts, the Ningyo Johruri Bunraku puppet theatre is a blend of sung narrative, instrumental accompaniment and puppet drama.”

Let me call it Bunraku for short. 

As the UNESCO site describes, it’s one of Japan’s stage arts, like Nô (or Noh) and Kabuki.  There are many academic distinctions among the three arts.  For example, Noh is different from the other two because Shamisen, a three-string musical instrument, is NOT used in Noh.  Kabuki is different from Bunraku because real people act on the stage rather than puppets.  During the Edo period (1603 – 1868), Noh was patronized by the ruling samurai clan.  Kabuki and Bunraku, on the other hand, evolved among ordinary people, including merchants, craftspeople, and farmers.

For my mother, the distinction among the three arts is more subjective and absolute.  She grew up with Bunraku, not with Noh or Kabuki.


There used to be small Bunraku stages in a small village in Tokushima Prefecture in Shikoku Island, where my mother grew up.  In those days, people living in rural villages in Japan must have had very little entertainment, and Bunraku must have been a precious one.  Still today my mother recalls how excited she used to be whenever she heard the powerful, low sound of Futozao (thick neck) Shamisen playing on the Bunraku stage. I don’t think my mother has ever watched Noh play.  For her, Noh is as foreign as Shakespeare or Western plays.  But Bunraku is in her blood. 

One of her life’s highlights is the days that she took lessons of Gidayu, the reciting part of Bunraku.  In Osaka, the then-living national treasure Takemoto Sumidayu 竹本住太夫 used to teach Gidayu at Asahi Culture Center.  My mother must have been in her forties or early fifties.  She happened to see the advertisement for the class.  With no hesitation, she signed up for it.

“There were 7 or 8 people in the class.  Each student had a chance to recite the part we learned from the previous lesson in front of Master Sumidayu, no more than 5 minutes.  But when it came to my turn, I started reciting, and the 5-minute limit passed, but the master ignored the time limit, and let me recite the whole part.  I must have been that good or at least I must have been reciting from the bottom of my heart, and the master knew how much I love Gidayu.”  My mother was so proud of that moment and would often tell me the same story.     

Time has passed.  Master Sumidayu passed in 2018.  Now my mother has complete dentures, and with the fear that her dentures would fly out from her mouth while reciting, she has quit Gidayu.  

But her love for Bunraku has not waned.  She often takes a train to the National Bunraku Theature in the center of Osaka and enjoys watching it. 

When I visited my mother this April, Yoshitsune Senbonzakura 義経千本桜 was playing at the National Bunraku Theatre. My mother and I went to see the mid-afternoon part.  The theater was a little over half full. To my surprise, I saw quite a few foreign tourists.  With the help of the audio guide they rented, I wondered how much of the reciting they understood.  Without that equipment, maybe I understood less than those tourists, because the reciting was in old Japanese that I was not familiar with.  

The reciting, however, is only half of the whole appreciation of the Bunraku play.  The movement of the puppets!  When the puppets express human feelings, like laughter, anger, sorrow, with exaggerated action of crying, laughing, screaming, dancing, pounding something, holding each other tightly, looking at each other intensely, eyes to eyes, by crying so hard that the head is shaking constantly… You no longer think that you are looking at the puppets but as if you were watching real humans acting.  The exaggerated narration of Gidayu helps you become immersed in feeling of the character.  It’s all magic. 

Now I understand why my mother loves Bunraku so much.  While watching, I heard my mother murmuring the Gidayu part together with the performer. She must have learned the scene from Master Sumidayu.

Several years ago my mother asked me to digitize the old cassette tapes that she had recorded during her lessons with Master Sumidayu.  For a long time, I forgot all about it.  It’s still on my computer!  Next time I visit my mother, I will play it for her.  It’s my present for her next birthday.  I hope she will like it.

The Palace Waiting for Its Master to Return for over 150 Years

Will it ever happen?

The Imperial Palace in Kyoto is now open to the public.  After we enjoyed the cherry blossoms in the outer garden, three of us in kimono went into the entrance gate to take a tour of the inner side of the palace.

The main building is called Shishinden 紫宸殿, where formal rituals were held.  When we visited, the cherry tree on the right side of the building was in full bloom.  The tree is called “Sakon no Sakura 左近の桜 (the cherry on the left side).”  Why left?  Because the tree is on his left when the emperor looks out from inside the building.       

The tour doesn’t allow us to go into the building, but you can look inside from the pathway.

Compared with the flamboyant palaces in European countries like Versailles, the interior of this palace is quite simple.  Pictures are painted on the sliding doors here and there. 

You can walk through the private garden where past emperors used to spend time. The serene scenery that changes colors according to the seasons must have offered the emperors an opportunity to be reflective from time to time.


Kyoto became Japan’s capital when the emperor Kammu (737 – 806) moved there in 794, and it remained so for over 1000 years until 1869.

The emperor used to be the ruler of the country in the early days.  The ruling power moved to the samurai clans in the 12th century.  Minamoto Clan (12th – 14th  C), Hojo (14th – 15th C), Ashikaga (15th – 16th C), and Tokugawa Clan (17th – 19th C)… While the rulers changed hands, Japan’s emperors remained as the ritual figurehead and kept their residency in Kyoto. 

When Tokugawa Ieyasu unified the country after a century of civil wars, he built his own castle in Edo and began to rule Japan from there.  Ieyasu, however, never dethroned the emperor nor moved the emperor from Kyoto.  The lineage of emperors continued to reside in the palace in Kyoto.

Then the Meiji Government took over in 1868.  By then, Edo was practically the center of Japan economically and politically.  The newly formed government changed the name of the city from Edo to Tokyo 東京, which literally means the eastern capital, and also moved the emperor from Kyoto to Tokyo.  As the new residence of the emperor, people regarded Tokyo as Japan’s new capital.

Many people in Kyoto, however, think that the emperor is away from Kyoto only temporarily.  The imperial palace in Kyoto is maintained as a place for special rituals.  Not only that, many people believe that the facilities are waiting for the master to return eventually.

Will the emperor ever return to Kyoto permanently?   Who knows.  After having hosted the emperor for over 1000 years, many people in Kyoto think that 150 years is too short to justify Tokyo as the new capital.