…Where he opened his eyes.

It was freshly painted gray, and there were no windows. The overhead light was so painfully bright that he squinted to keep his vision from smearing.

Nicholai lived in solitary confinement in that cell for three years.

The transition from the nightmare of interrogation to the years of solitary existence under the burden of “silent treatment” was not abrupt. Daily at first, then less often, Nicholai was visited by the same fussy, distracted Japanese prison doctor who had confirmed the General’s death. The treatments consisted only of prophylactic dressings with no cosmetic efforts to close cuts or remove crushed bone and cartilage. Throughout each session the doctor repeatedly shook his head and sucked his teeth and muttered to himself, as though he disapproved of him for participating in this senseless violence.

The Japanese guards had been ordered to deal with the prisoner in absolute silence, but during the first days it was necessary that they instruct him in the rudiments of routine and behavior. When they spoke to him they used the brusque verb forms and a harsh staccato tone that implied no personal antipathy, only recognition of the social gulf between prisoner and master. Once routine was established, they stopped speaking to him, and for the greater part of three years he heard no other human voice than his own, save for one half hour each three months when he was visited by a minor prison official who was responsible for the social and psychological welfare of the inmates.

Almost a month passed before the last effects of the drugs leached from his mind and nerves, and only then could he dare to relax his guard against those unexpected plunges into waking nightmares of space/time distortion that would grip him suddenly and rush him toward madness, leaving him panting and sweating in the corner of his cell, drained of energy and frightened lest the damage to his mind be permanent.

There were no inquiries into the disappearance of Hel, Nicholai Alexandrovitch (TA/737804). There were no efforts to free him, or to hasten his trial. He was a citizen of no nation; he had no papers; no consulate official came forward to defend his civil rights.

The only faint ripple on the surface of routine caused by Nicholai Hel’s disappearance was a brief visit to the San Shin Building some weeks later by Mrs. Shimura and Mr. Watanabe, who had spent nights of whispered conversation, screwing up their courage to make this hopeless gesture on behalf of their benefactor. Fobbed off on a minor official, they made their inquiries in hushed, rapid words and with every manifestation of diffident humility. Mrs. Shimura did all of the talking, Mr. Watanabe only bowing and keeping his eyes down in the face of the incalculable power of the Occupation Forces and their inscrutable ways. They knew that by coming to the den of the Americans they were exposing themselves to the danger of losing their home and the little security Nicholai had provided, but their sense of honor and fairness dictated that they run this risk.

The only effect of this tentative and frightened inquiry was a visit to the Asakusa house by a team of military police searching for evidence of Nicholas’s wrongdoing. In the course of this search, the officer in charge appropriated as material to the investigation Nicholai’s small collection of prints by Kiyonobu and Sharaku, which he had purchased when he could afford them, feeling distressed that the owners were forced by the economic and moral anarchy of the Occupation to relinquish these national treasures, and eager to do what little he could to keep them out of the hands of the barbarians.

As it turned out, these prints had a minor influence on the downward path of egalitarian American art. They were sent home by the confiscating officer, whose twilight child promptly filled in the open spaces with Crayola, so ingeniously managing to stay within the lines that the doting mother was convinced anew of her boy’s creative potential and directed its education toward art. This gifted youngster eventually became a leader in the Pop Art movement because of the mechanical precision of his reproductions of tinned foods.

Throughout the three years of confinement, Nicholai was technically awaiting trial for espionage and murder, but no legal proceedings were ever instigated; he was never tried or sentenced, and for this reason he lacked access to even the spartan privileges enjoyed by the ordinary prisoner. The Japanese administrators of Sugamo Prison were under the thrall of the Occupation, and they held Nicholai in close confinement because they were ordered to, despite the fact that he was an embarrassing exception to their rigid organizational pattern. He was the only inmate who was not a Japanese citizen, the only one who had never been sentenced, and the only one being held in solitary confinement with no record of misbehavior in prison. He would have been a troublesome administrative anomaly, had not those in charge treated him as institutional people treat all manifestations of disturbing individuality: they ignored him.

Once he was no longer tormented by unexpected returns of drug panic, Nicholai began to accommodate himself to the routines and chronological articulations of solitary life. His cell was a windowless six-foot cube of gray cement with one overhead light recessed into the ceiling and covered by thick shatterproof glass. The light was on twenty-four hours a day. At first Nicholai hated the constant glare that denied him retreat into the privacy of darkness and made sleeping fitful and thin. But when, three times in the course of his confinement, the light burned out and he had to live in total dark until the guard noticed it, he realized that he had become so accustomed to constant light that he was frightened by the weight of absolute dark closing in around him. These three visits by a trustee prisoner to replace the light bulb under the close surveillance of a guard were the only events outside the established and predictable routine of Nicholai’s life, save for one brief power failure that occurred in the middle of the night during his second year. The sudden darkness woke Nicholai from his sleep, and he sat on the edge of his metal bunk, staring into the black, until the light came back on, and he could return to sleep.

Other than the light, only three features characterized the freshly painted gray cube in which Nicholai lived: the bed, the door, the toilet. The bed was a narrow tray of steel secured to the wall, its two front legs sunken into the cement of the floor. For reasons of hygiene, the bunk was off the floor in the Western style, but only by eight inches. For reasons of security, and to deny materials that might be used to commit suicide, the bed had neither boards nor wire mesh, only the flat shelf of metal on which there were two quilted pads for warmth and comfort. This bed was opposite the door, which was the most intricate feature of the cell. It was of heavy steel and opened out on silent, well-greased hinges, and it fit into its sill so exactly that the air in the cell was compressed when the door was closed and the prisoner felt some temporary discomfort in his eardrums. Let into the door was an observation window of thick wire-reinforced glass through which guards routinely monitored the actions of the prisoner. At the base of the door was a riveted steel panel that hinged from the bottom for passing in food. The third feature of the cell was a tiled depression that was the squat toilet. With Japanese nicety of concern for dignity, this was in the corner on the same wall as the door, so the inmate could attend to his physical needs out of range of observation. Directly above this convenience was a ventilation pipe three inches in diameter set flush into the cement ceiling.

Within the strict context of solitary confinement, Nicholai’s life was crowded with events that punctuated and measured his time. Twice a day, morning and evening, he received food through the hinged inner door, and in the mornings there was also a pail of water and a small bar of gritty soap that made a thin, greasy lather. Every day, he bathed from head to foot, splashing up water with cupped hands to rinse himself, drying himself off with his rough padded shirt, then using what was left of the water to rinse down the toilet.