Then I feel a sudden ionization in the air.

Nothing ahead. I turn, spinning my staff into a guard position.

An epigon with a six-legged canine body and a head like a giant fiery flower emerges from a doorway and sidles along the building’s front in my direction.

I follow its progress with my staff, feinting as soon as it is near enough. I strike, unfortunately with the wrong tip, as it comes on. My hair begins to rise as I spin out of its way, cutting, retreating, turning, then striking again. This time the metal tip passes into that floral head.

I had turned on the batteries before I commenced my attack. The charge creates an imbalance. The epigon retreats, head ballooning. I follow and strike again, this time mid-body. It swells even larger, then collapses in a shower of sparks. But I am already turning away and striking again, for I had become aware of the approach of another even as I was dealing with the first.

This one advances in kangaroolike bounds. I brush it by with my staff, but its long bulbous tail strikes me as it passes. I recoil involuntarily from the shock I receive, my reflexes spinning the staff before me as I retreat. It turns quickly and rears then. This one is a quadruped, and its raised forelimbs are fountains of fire. Its faceful of eyes blazes and hurts to look upon.

It drops back onto its haunches then springs again.

I roll beneath it and attack as it descends. But I miss, and it turns to attack again even as I continue thrusting. It springs and I turn aside, striking upward. It seems that I connect, but I cannot be certain.

It lands quite near me, raising its forelimbs. But this time it does not spring. It simply falls forward, hind feet making a rapid shuffling movement the while, the legs seeming to adjust their lengths to accommodate a more perfect flow.

As it comes on, I catch it square in the midsection with the proper end of my staff. It keeps coming, or falling, even as it flares and begins to disintegrate. Its touch stiffens me for a moment, and I feel the flow of its charge down my shoulder and across my breast. I watch it come apart in a final photoflash instant and be gone.

I turn quickly again but there is no third emerging from the doorway. None overhead either. There is a car coming up the street, slowing, however. No matter. The terminal’s potential must be exhausted for the moment, though I am puzzled by the consideration of how long it must have been building to produce the two I just dispatched. It is best that I be away quickly now.

As I resume my progress, though, a voice calls to me from the car, which has now drawn up beside me:

“Madam, a moment please.”

It is a police car, and the young man who has addressed me wears a uniform and a very strange expression.

“Yes, officer?” I reply.

“I saw you just a few moments ago,” he says. “What were you doing?”

I laugh.

“It is such a fine evening,” I say then, “and the street was deserted. I thought I would do a kata with my bo.”

“I thought at first that something was attacking you, that I saw something . . .”

“I am alone,” I say, “as you can see.”

He opens the door and climbs out. He flicks on a flashlight and shines its beam across the sidewalk, into the doorway.

“Were you setting off fireworks?”

“No.”

“There were some sparkles and flashes.”

“You must be mistaken.”

He sniffs the air. He inspects the sidewalk very closely, then the gutter.

“Strange,” he says. “Have you far to go?”

“Not too far.”

“Have a good evening.”

He gets back into the car. Moments later it is headed up the street.

I continue quickly on my way. I wish to be out of the vicinity before another charge can be built. I also wish to be out of the vicinity simply because being here makes me uneasy.

I am puzzled at the ease with which I was located. What did I do wrong?

“My prints,” Hokusai seems to say, after I have reached my destination and drunk too much brandy. “Think, daughter, or they will trap you.”

I try, but Fuji is crushing my head, squeezing off thoughts. Epigons dance on his slopes. I pass into a fitful slumber.

In tomorrow’s light perhaps I shall see . . .

Again, the print is not the reality for me. It shows peasants amid a rustic village, terraced hillsides, a lone tree jutting from the slope of the hill to the right, a snowcapped Fuji partly eclipsed by the base of the rise.

I could not locate anything approximating it, though I do have a partly blocked view of Fuji—blocked in a similar manner, by a slope—from this bench I occupy in a small park. It will do.

Partly blocked, like my thinking. There is something I should be seeing but it is hidden from me. I felt it the moment the epigons appeared, like the devils sent to claim Faust’s soul. But I never made a pact with the Devil . . . just Kit, and it was called marriage. I had no way of knowing how similar it would be.

Now . . . What puzzles me most is how my location was determined despite my precautions. My head-on encounter must be on my terms, not anyone else’s. The reason for this transcends the personal, though I will not deny the involvement of the latter.

In Hagakure, Yamamoto Tsunetomo advised that the Way of the Samurai is the Way of Death, that one must live as though one’s body were already dead in order to gain full freedom. For me, this attitude is not so difficult to maintain. The freedom part is more complicated, however; when one no longer understands the full nature of the enemy, one’s actions are at least partly conditioned by uncertainty.

My occulted Fuji is still there in his entirety, I know, despite my lack of full visual data. By the same token I ought to be able to extend the lines I have seen thus far with respect to the power which now devils me. Let us return to death. There seems to be something there, though it also seems that there is only so much you can say about it and I already have.

Death . . . Come gentle . . . We used to play a parlor game, filling in bizarre causes on imaginary death certificates: “Eaten by the Loch Ness monster.” “Stepped on by Godzilla.” “Poisoned by a ninja.” “Translated.”

Kit had stared at me, brow knitting, when I’d offered that last one.

“What do you mean ‘translated’?” he asked.

“Okay, you can get me on a technicality,” I said, “but I still think the effect would be the same. ‘Enoch was translated that he should not see death’—Paul’s Epistle to the Hebrews, 11:5.”

“I don’t understand.”

“It means to convey directly to heaven without messing around with the customary termination here on earth. Some Moslems believe that the Mahdi was translated.”

“An interesting concept,” he said. “I’ll have to think about it.”

Obviously, he did.

I’ve always thought that Kurosawa could have done a hell of a job with Don Quixote. Say there is this old gentleman living in modern times, a scholar, a man who is fascinated by the early days of the samurai and the Code of Bushido. Say that he identifies so strongly with these ideals that one day he loses his senses and comes to believe that he is an old-time samurai. He dons some ill-fitting armor he had collected, takes up his katana, goes forth to change the world. Ultimately, he is destroyed by it, but he holds to the Code. That quality of dedication sets him apart and ennobles him, for all of his ludicrousness. I have never felt that Don Quixote was merely a parody of chivalry, especially not after I’d learned that Cervantes had served under Don John of Austria at the battle of Lepanto. For it might be argued that Don John was the last European to be guided by the medieval code of chivalry. Brought up on medieval romances, he had conducted his life along these lines. What did it matter if the medieval knights themselves had not? He believed and he acted on his belief. In anyone else it might simply have been amusing, save that time and circumstance granted him the opportunity to act on several large occasions, and he won. Cervantes could not but have been impressed by his old commander, and who knows how this might have influenced his later literary endeavor? Ortega y Gasset referred to Quixote as a Gothic Christ. Dostoevsky felt the same way about him, and in his attempt to portray a Christ—figure in Prince Myshkin he, too, felt that madness was a necessary precondition for this state in modern times.