Why My Father Used to Buy Fruits by a Whole Box

In response to Dancing Elephants prompt 23 of 52

Photo by Priscilla Du Preez on Unsplash

Fruits! I grew up with lots of fruits all year round!

Bright red strawberries in the spring were sour and I used to sprinkle sugar. Nowadays, most strawberries are so sweet that no sugar is needed.  I guess the process of selective breeding has advanced so much in the last half a century.

Summer started with seedless grapes.  Delaware cultivar was the most common.  Did you know that people in Japan don’t eat the skin of grapes?  And watermelons –  my favorite! I could eat watermelons for breakfast, lunch, and dinner. 

Late summer to fall was fig season, although I didn’t care for it much… My tongue just doesn’t accept that texture.  Persimmons followed figs.  Our Pomeranian dog liked persimmons better than anyone else in our family. She could not stay still while my mother was pealing the skin. 

Then apples and oranges in winter.  My hands would turn orange by peeling the skins of so many oranges. 


In our family, it was not my mother but my father who brought fruits home.  Only four of us were in our family, my father, my mother, my younger brother, and me.  But my father would always buy fruits in a whole box from the wholesaler.  In a box, at least three dozen of apples were neatly lined up and stacked.  We tried to eat them all before they went bad, or simply gave some away to neighbors.

When my father was not at home, I asked my mother why he was so wasteful.  Granted that wholesale price was better than retail, but if he bought only as much as we could consume comfortably, we would appreciate the taste much better rather than shoveling in.

Then my mother started.

“When your younger brother was born, your father didn’t look excited but rather worried.  I asked him what was the matter, why he didn’t look as happy as when you were born.”

“Your father was afraid that now he has two children, those children would have to share one apple half.  You know, your father had eight siblings.  He never had an opportunity to eat the whole apple, but only one-eighth. Before your brother was born you used to have the whole apple.  Your father was afraid he could only give you half from now on.”


My father was 6 years old when World War II ended.  He grew up poor, not having enough even to eat.

Fortunately, my father could afford to buy a whole apple each for me and for my brother.  And more.  Maybe his urge to buy a whole box of fruits was a defensive reaction to his childhood trauma. 


After my mother told me this story, I stopped criticizing my father as being wasteful.  I simply thanked him for getting us abundant fruits.     

This Super College Teaches 10 Vital Courses for Japan   

An innovative way to pass Japan’s traditional arts and crafts on to the next generation

Buddha statue made by Ms. Nagasu of TASK: Photo by Author Akemi Sagawa

Traditional Arts Super College of Kyoto, TASK for short… Not only its name but the 10 courses it offers are also unique. 

They are:
ceramics, wood carving, Buddha engraving, woodcraft, Urushi (Japanese lacquer) craft, Makie lacquer work, metal craft, bamboo craft, Japanese paper craft, and Kyoto tegaki yuzen (kimono dyeing)

For centuries, people used to get trained in these arts and crafts through apprenticeship.  At an early age, they would live with their master, and do menial jobs like cleaning and running errands for years before learning the respective skills.  Only after decades of training would they become master craftspeople. 

Such apprenticeship, however, became harder to carry on.  The compulsory education system in the modern days doesn’t allow kids to start early.  Young people don’t have enough patience to go through such rigorous years.  Many master craftspeople are getting old with nobody to take over.  Once the master is deceased, the craft is forever gone.

In order to preserve traditional craftsmanship and pass it on to future generations,  there should be an innovation on how to train people.   TASK was the solution.

When I learned out TASK, I was determined that Five Senses Foundation* should focus on supporting TASK.

*Five Senses Foundation is a non-profit organization that I founded.  Its mission is to promote Japan’s traditional culture in the US. 

My Hinamatsuri Tea Bowl is Special  

Can you tell why?

Photo of my Hinamatsuri tea bowl: by Author Akemi Sagawa

March 3rd is Hinamatsuri ひな祭り… What is it? Well, there are so many articles that explain about Hinamatsuri in Medium, of which I listed two below.  Please read them to familiarize yourself.

The Dolls’ Festival is a Special Day to Celebrate Girls” by Diane Neill Tincher

“Happy Girl’s Day — Hinamatsuri” by Kyoko Nagano

The photo above is of my Hinamatsuri tea bowl.  I always look forward to using this cute bowl at this time of the year, to celebrate this girl’s festival.

Now you have read those three articles, and you see my tea bowl.  Have you found why I said my bowl is special?


Look at the photos of Hina dolls 雛人形on the above two articles.  Which side is the emperor situated?

As you see in the photos in the two articles, the emperor doll is situated on the right side of the empress.  But my tea bowl has the emperor situated on the left side of the empress.  You might wonder why…


In ancient Japan, the left was considered to be a higher position than the right. When placing the Hina dolls, therefore, people used to put the emperor on the left side of the empress. 

After Japan opened up the country to the West, however, the Japanese emperor and the empress started to follow western customs, that is, the emperor stands on the right side of the empress.  If you see the photos of the current emperor and empress standing together, the emperor is on the right side of the empress.

Regions near Tokyo now follow the new way and place the emperor doll on the right.  People in Kyoto, however, still follow the old way.


My tea bowl was made by a Kyoto-based potter. For him, the emperor doll has to be on the left side of the empress.  And I follow him because I’m from Osaka, much closer to Kyoto than Tokyo physically and culturally.

For me, right is not “right,” left is “right.”

What The Contrast between Golden Pavillion and Silver Pavillion Tells You

The rise and fall of Japan’s Ashikaga Shogunate and their tea utensil collection

Photo of Kinkakuji (The Golden Pavilion), Kyoto, Japan – Wikimedia

If you have ever visited Kyoto, I bet you visited Kinkaku-ji or the Temple of the Golden Pavillion.  Covered with gold leaf, the temple is lavish.  The original was built when tocha, tea gambling, was most popular.

Ashikaga Yoshimitsu足利義満(1358–1408), the 3rd generation of Ashikaga Shogunate, re-established trade between China and enjoyed enormous wealth.  In addition to building this lavish Golden Pavillion, he imported many valuable tea utensils such as tea bowls and kettles, accumulating his collection.

About a century later, Ashikaga Yoshimasa 足利義政(1436-1490), Yoshimitsu’s grandson and the 6th Shogun, tried to build a temple covered with silver.

He did build a temple, now called Ginkaku-ji or the Temple of the Silver Pavilion.  But it is far from lavish, with no silver coating.

Ginkakuji, Silver Pavilion – Wikimedia

Obviously, you can imagine the huge difference in their financial situation. 

Yoshimasa had to wait until the Onin no Ran, an 11-year civil war was ended, to build his dream villa, the Silver Pavillion.  By the time the war was over, his shogunate reign was weakened and his financial situation worsened. He could no longer afford the silver coating. 

Not only that, Yoshimasa had to sell many treasures that he inherited from his grandfather, including precious tea utensils imported from China.  Who became the new owners of such treasures?  Newly advanced samurais and merchants in Sakai. 

Burning Fire, Like Burning Love

Found in a Poem from Hyakunin Isshu  

Photo by Vinicius “amnx” Amano on Unsplash

What did ancient Japanese associate with the burning fire?  Let me refer to Hyakunin Isshu 百人一首, the classical Japanese anthology of one hundred waka poems by one hundred poets compiled in the 13th century.  Yes, I found one!  What’s the theme?

You guessed right.  One of the 43 poems that read about love!  I told you, that ancient Japanese people were more direct in expressing their passionate love.

49/100大中臣能宣 by Onakatomi no Yoshinobu Ason

みかきもり                Mikakimori

衛士のたく火の        Eji no taku hi no

夜は燃え                    Yoru ha moe

昼は消えつつ            Hiru ha kietsutsu

物をこそ思へ            Mono wo koso omoe

The following is the English translation by William N. Porter (1909)

MY constancy to her I love
  I never will forsake;
As surely as the Palace Guards
  Each night their watch-fire make
  And guard it till daybreak.

Just like the torch fire burns hard at night, the two lovers’ night is blazing. 

Source: A Hundred Verses from Old Japan (The Hyakunin-isshu), tr. by William N. Porter, [1909], at sacred-texts.com

Loneliness to Feel, Aloneness to Realize

Which one can I control?

Photo by Author Akemi Sagawa

There is a famous story of the Buddha when he was born.  The story is that as soon as he was born, he walked seven steps and uttered, “天上天下唯我独尊. “

There are so many English translations, but let me share with you my own interpretation:

“In the heaven and the earth (the vast world or universe), I exist here alone, and that is precious.”

I was born alone, and I will die alone.  No matter how much I love my husband, the death will come to us separately.  To me, aloneness describes my state of being or the simple fact of life.    In this world, all I can do is realize this truth.  I can’t do anything about it.

Loneliness is a state of mind or emotion, something that I feel.  And how I feel inside, is determined by me.  I have 100% control of how I feel, at least so I wish.   I have a choice to be lonely or not.  If I feel miserable when I feel lonely, I have a choice not to have such a feeling in me.


It’s becoming more and more important for me to distinguish between what I can control and what I can’t.  My time on this earth is limited, and is getting shorter every moment.  Anything I can’t control, I accept as it is.  I only focus on what I can control, and choose the way I want. 

Loneliness to feel ( or not feel, I have a choice), and aloneness to realize ( and I simply accept).    

Does it make sense to you?

Things to Keep in Mind When Reading Medium Articles

A chance to expand your horizon

Photo by Thomas Park on Unsplash

When I started reading Medium regularly last fall, I was only sarching topics that I was more familiar with.  Keywords I entered  in the search field were “Japan,” “inspiration,”  and “environment.”  I encountered many interesting articles and authors. 

Medium sent me email messages full of more articles.  Its recommendations were based on articles I read or topics I followed.

After a while, however, I found myself reading similar content from mostly the same authors.  It was easy to reinforce what I believe in, but I was not learning new things. 


That’s the danger and limitation of not only Medium but any kind of online media, like Facebook, Twitter, YouTube, and Amazon.   Their recommendations spitted out by their algorithm are based only on my past behavior.  There is no surprise.

How can I replicate a similar experience as I would have in a huge bookstore?  How can I encounter a totally new author, topic, or title, and end up selecting a book that I had never thought of?


With Medium, I implement two things.

First, I type some words I never typed before.  I’ve never been to Latin America or Africa before, so I type those words. There are so many articles about such topics, and some writers are well-known as experts on these topics.  

Second, I gauge my reading time.  If the content is so new to me, it takes longer to read than what Medium indicates.  My signal is if it takes longer to read, I’m learning something new. 

I’m surprised to find out that I enjoy reading poetry, especially English Haiku and Tanka.  A genre that I never would have thought I would ever be interested.  Now I follow one of the publications of Tanka. 


Change the topics to follow once in a while, type in some new keywords, and consciously stick to reading articles that take me longer to read… In order to expand my horizon of curiosities, I’m trying these things when reading Medium.

What is your practice to find new surprises in Medium articles?

I Grew Up Dressed Like This!

My selfie challenge

Photos property of Author Akemi Sagawa

Looking back through my photos in my early years, I noticed that they have become great archives documenting how people used to be dressed in Japan half a century ago! 

I must have been 3 years old. Circa 1965.   On New Year’s Day, I was dressed in a girl’s kimono, holding a hagoita, a decorative racket-like toy.  Quite traditional.  But the Western culture was already influencing our lives.  Commercialism to celebrate Christmas with a fake tree was already there.

A field trip with my kindergarten class, circa 1966.  My mother accompanies us.  I wonder how long it took her to set her hairstyle.    

Photo Property of Author Akemi Sagawa

The first day of my elementary school, on April 1st, 1968. The tallest one with a red hat is me.  The mothers of my classmates were all in kimono and haori, a jacket, on top of it, the most common formal wear among married women.

In 1970.  My mother, my grandmother, and I, standing in front of my father’s car.  As far as I can remember, my grandmother was always wearing kimono. 

I was the tallest in the class until the 6th grade.  Local clothing stores didn’t have children’s dresses large enough to fit me. So my mother’s good friend and also a mother of my classmate sewed almost all my clothes. My mother also made me like simple skirts. There was no Uniqlo back then.  Making clothes at home was not uncommon.    

I’m wearing the summer uniform of my middle school.  In 1975. We had school on Saturday morning.  Ironing the uniform every morning was my chore.  I really liked that blue color. 

My high school uniform, in 1977. I hated this uniform, and missed my middle school one.  No matter how cold it was, girls were to wear skirts.  Pants were only for boys.            

Akemi & her mom at the Sagawa house

On the morning of my college graduation day, in 1985.  My mother wore her kimono and haori, still considered the most formal wear.  I wore hakama, a pair of pants, on my kimono.  It was quite trendy to be dressed in hakama for graduation in those days. 

Akemi before graduation

After the graduation ceremony, I took off the hakama to attend the more casual graduation reception. 

I don’t know how many middle and high school students in Japan still wear uniforms today.  I have no idea how people dress up for their or their children’s graduations these days. 

Right now I’m wearing blue jeans, the world’s defacto uniform!  So comfortable, so convenient.  But I can’t help but feel nostalgic remembering my old clothes…  

This Poem Defines the “Wabi” Spirit of Tea Ceremony

No flowers, no tinted leaves. 

Photo by Gabriella Clare Marino on Unsplash

Born a year before the death of Murata Juko, Takeno Jōō (武野 紹鴎, 1502–1555) was a tea master who developed further the concept of “wabi” in the Japanese tea ceremony.

Jōō was born to a wealthy merchant in the town of Sakai and spent his youth studying poetry in Kyoto.  At the same time, he also practiced tea ceremony and became to be known as a master.


Out of so many classic poems that he studied,  Jōō used to recite one particular poem that was written by Fujiwara no Teika (1162-1241), because in this poem he found the essence of “wabi,” the very concept that he pursued in tea ceremony.

見渡せば Miwataseba
花も紅葉も Hanamo momiji mo
なかりけりNakari keri
浦の苫屋のUrano tomaya no
秋の夕暮れ Akino yugure

The English translation of this poem is introduced in Kakuzo Okakura’s The Book of Tea as below:

“I look beyond;
Flowers are not,
Nor tinted leaves.
On the sea beach
A solitary cottage stands
In the waning light
Of an autumn eve.”


Among us, tea ceremony practitioners today, this poem is a must to recite.  No flowers, no leaves.  You see only “no-thingness.”  Can you see the essence of “wabi”  spirit in this poem?

Source: The Book of Tea by Kakuzo Okakura (gutenberg.org)

The Origin of Japanese Flower Arrangement

A small temple in the middle of Kyoto is the birthplace of Ikebana

Rokkakudo Temple in Kyoto: Photo by Author Akemi Sagawa

In the middle of the city of Kyoto, surrounded by tall, modern buildings of steel and concrete, this hexagonal-shaped temple building stands humbly. 


Called Rokkakudo Temple, named after its shape (Rokkaku means hexagon), this temple is far from grander.  But for us, the students of Ikebana, the art of Japanese flower arrangement, this temple is a place of significance.

The sign of Rokkakudo Temple says “The Birthplace of Flower Arrangement” Photo by Author Akemi Sagawa


Ikebana, as we know it today, dates back to the Muromachi Period in the fifteenth century.

The ruling samurai clan in Muromachi Period (1336 – 1573) started to build gorgeous houses with alcoves called tokonoma. These alcoves became the special space to display a household’s precious treasures. The samurai showed off their ornate vases imported from China by decorating them on the tokonoma.

It was one of the tasks of the Dohoshu, usually Buddhist monks who served the Muromachi shogunate and other powerful samurai clans, to decorate the tokonoma with beautiful flowers and plants.

One day, Ikenobo Senkei(池坊専慶), a Buddhist monk of Rokkakudo Temple, was invited to a samurai’s residence and made a gorgeous flower decoration.  The decoration was so impressive that another monk who saw it wrote how great it was in his journal. 

Thanks to this monk’s writing, we know that it was precisely in 1462.  Hence Rokkakudo Temple is said to be the birthplace of Ikebana, and the Ikenobo School is said to be the origin of Ikebana.


Ikenobo School is the oldest, and the largest school of Ikebana today.  Behind the Rokkakudo Temple is the headquarters of Ikenobo School.  Many students come to take classes here. 

Photo by Author Akemi Sagawa

In front of the headquarters building is an Ikebana sculpture.  This sculpture is modeled from a painting of arrangements made by Ikenobo Senko 池坊専好(1575 – 1658).

Source: Ikenobo School Website