is always more interesting
than rehearsal, neh? ” I saw some heads nod ruefully. In more
than one face, I saw a dawning gratitude that someone else had
been selected to serve as a training partner. Yamashita moved
toward the man I had put on the floor. He got up, but I knew
that he wasn’t going to be able to use his right arm for a while.
His eyes bore into mine. For the first time that day, I let my
own eyes bore back into a trainee’s eyes. Shoulda used the kote,
bud.
Yamashita watched the silent exchange. “What we have
seen here is a lesson with two aspects. Like a sword blade, there
are two sides, omote and ura, the front and the back, the obvi-
ous and the hidden.” He canted the wooden sword in his hand
to show one side of the blade, now the other. I saw some frowns
from the group as they failed to follow his logic.
Yamashita saw it, too. He sighed. “ Omote. Burke Sensei has
clearly demonstrated how the technique you began to train this
morning can be finished in a match. It is not the only applica-
tion, perhaps,” he said and paused to give me a subtly arch look,
“perhaps not even the most elegant. But certainly effective.”
Heads nodded, and Yamashita stood there for a minute,
saying nothing. The lights of the dojo made the wooden floor
gleam and, if they seemed to make his eyes deeper and darker,
they also made his shaven head shine in imitation of the hard
surfaces of his world.
Finally, someone raised a hand. “Yamashita Sensei,” the
question came. “What was the second lesson?”
My teacher looked up and regarded the expectant circle
of trainees. He smiled slightly. “Ah. The hidden lesson?” He
30
Kage
looked around. “You spent all your time waiting for me. Doing
what Burke Sensei said, but waiting for me. The wise warrior
keeps himself hidden, in the shadows. Kage. You know the
word?” Heads nodded.
“Just so,” my master finished. “My pupil keeps himself in
shadow. Like most people, there is more to him than meets the
eye.”
The lesson was over.
31
3
Tales
I was talking to a bunch of mystery writers about the reali-
ties of fighting: how it works and the toll it takes. And how
long it takes to recover. The overfed guy was incredulous.
“A week!” he protested, his eyes blinking in outrage. The
conference room was a soothing beige and the hotel’s mam-
moth air conditioning units kept the desert heat from seeping
into the building, but I felt a bit warm anyway. The fluores-
cent ceiling lights played on the lenses of the man’s round steel-
rimmed glasses. He had a big mustache that helped balance out
his jowls and he held a hardcover book to his breast, front cover
out, so everyone could see. Look. This is mine. I wrote it.
I nodded and held my hands up to calm him. “A week to
ten days,” I repeated. The rest of the audience murmured in
displeasure as well.
“But I can’t have my main character laid up for that long,”
the writer continued. “It would destroy the pacing of the novel!”
I nodded in sympathy. “Sure.” But it seemed that they
wanted something more from me. I looked around the con-
ference room at the fifty or so people whose eyes were sharp-
ened in concern. I began again. “I’m not telling you how to
write your books,” I pointed out. “But the fact is, when you a
take a good beating, you can figure that you’re going to be like
the walking wounded for at least a week. Trust me, in the real
world, people don’t take punishment like that and bounce back
right away.”
32
Kage
They were all deeply disturbed. They had been raised on
Hollywood’s version of combat. Most had never been in a real
fight. You could probably stun three quarters of the people in
the room into immobility with nothing more lethal than a
good hard slap to the face. These folks were mystery writers.
Their fictional activity dragged them over just a little into my
world but its rules didn’t mesh well