MISIA by CHANEL (20I5)

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Misia is surprising. There is a new and optimistic heedlessness to this scent that sets it apart not only from the dignified and beautiful classic perfumes from this house – as well as its big commercial blockbusters – but also from the more preened and ‘luxurious’ stablemates from the house of ‘Les Exclusifs’ – 28 La Pausa, Bel Respiro  – with their glimmering – if sometimes strained and diluted – facades of Parisian and New York chic.

A new perfumer is at work.  Olivier Polge, son of Jacques, in-house perfumer since I978 and soon to become the chief Chanel scent creator himself, has authored his first creation for the house, and judging from this exuberant and outgoing perfume it seems that he may well be about to take the company’s fragrances in a different, more uninhibited direction. I had heard of course that Misia was a ‘retro’-influenced perfume, based on the smell of lipstick and powder, of violets and roses (but then I had also heard that I932 was a ‘jasmine vetiver’ and my expectations couldn’t have possibly been more deflated by a perfume than that pitiable creation), meaning that I was expecting something watered down; ‘just so'; revised; clear, finding instead upon smelling it yesterday at Takashimaya department store in Yokohama that this was a blast: a fun-loving, hedonistic, thickly made-up creation that didn’t strike me as being particularly Chanel-ish but which reminded me immediately instead of the lovely Teint De Neige by Lorenzo Villoresi and also the delectable La Rose De Rosine, a scent I sometimes wear come this time of year because it is just so carefree, full, and sense-fillingly nonchalant that it makes you almost want to get down and can-can.

On further inspection, as you get into the drydown and the heart of Misia, you realize that despite its apparent ardor and simplicity this is in fact a Chanel: the perfume is no way near as poignant or touching as the Villoresi, nor as loose at the seams and louche as the Rosine; there is still that porcelain,Chanel backbone somewhere at the centre – that Rue Cambon throw. Nevertheless, the initial violet-drenched rose (there is a lot of violet in this perfume) is a gorgeously sweet and heady blend of the typical rose de mai with a more voluptuous and throaty Turkish rose essence that took me quite aback for its full-throttle, powdered ambush: less a prim, ladylike portrait of a slim, mirrored compact, this was more pierrot to me: costumed, exuberant, and in fact the perfumer has said that he was influenced by Diaghlev’s Ballets Russes and the clamour backstage as the dancers foist themselves into their costumes before heading for the performance; the feminine scent of skin, bodies and thick pancake commingling in the high octane excitement of the dressing room throng (an idea also interestingly explored in Pierre Guillaume’s Poudre Riz). Misia Sert herself, the perfume’s direct inspiration, was Gabrielle Chanel’s best friend and confidante, muse to many artists of the period – featuring in paintings by Toulouse Lautrec and Renoir – and a decadent bohemian and sensualist who was involved in scandaous ménages a troix and drug use while simultaneously maintaining a successful career as a pianist.

But though certainly a supremely confident scent, I don’t really think that any of the subtleties or complexities of this woman, as I read of her, can be said to be present in her twenty first century perfumed incarnation. The Chanel scent inspired by her name is in some ways rather thick and simplistic (though it is certainly no mean feat to make something that eludes to the past but still smells new and contemporary in this way): Misia is a barrage, almost a cloy, of violets roses and smooth, sexual benzoin resin and tonka beans that I can imagine becoming a little overinsistent were you to be in constant daily contact. But while it might lack that certain Chanel, standoffish finesse, there is also a new brightness here, an uplifting, posey punch of confidence and vitality – unbounded and unfettered, comfortable in its own skin – that suggests that Olivier Polge might be able to give Chanel, whose perfumes in truth I have not been very excited by of late, a much needed new lease of life.

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THE IMPORTANCE OF INCENSE

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THE RAIN SMELLS SO BEAUTIFUL TONIGHT I CAN SENSE THE VETIVER

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MADAME ROCHAS ( 1960 )

A white glove. White coat… tumblr_ndoye5us3s1rpqdi8o1_1280 Madame Rochas, a beautiful scent in pristine vintage extrait, is comparable to other perfumes of similar classical vein: the woods, the flowers, the musks, and the shimmering aldehydes, but refines the formula; gleans it to a superior level of sensual, cold remove. This scent has a marble translucence; a dimension of light not quite seen in any other scent of this genre, lending the perfume a very refined, calm dignity. With genius, Guy Robert, author of the later Calèche (fresher, greener, perhaps more androgynous), fuses a long and complex list of rose-touched ingredients; sweet, tight bound, into a glass-like, scented, impenetrable fuselage. The effect : glinting, as the perfume glacially begins to unfurl on the body, is startling. 20040301_2195 A drop of the the parfum is applied to the skin. Silence. She is wondering where she is. Then, from a cool, imperturbable, smoothness, sing out, gradually, individual flowers: rose, jasmine, muguet, and at the forefront a very prominent dose of ylang ylang; a poised and lady-like accord that then graduates, gently, to a tender, yet very sensual, soft and woody finish left tactfully, discreetly in the air of the closed room behind her. il_570xN.454036823_edea

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ON MARRIAGE, AND GUERLAIN’S new wedding fragrances LE PLUS BEAU JOUR DE MA VIE + LE BOUQUET DE LA MARIEE (20I5)

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At the high school graduation party I attended in March, where many smart, bright young seventeen and eighteen year old male and female students were celebrating getting into some of the top educational institutions in Japan, one moment quite unnerved me. While the majority of the event was just meant to entertain- bingo, comic sketches, musical performances – there were also some more serious speeches – advice to the young for the future – and some personal announcements by the teachers and administration, in particular, the fact that two couples had fallen in love in the teachers’ room – two male teachers, two female secretaries, and that they were going to be soon getting married.

The tumultuous reception that this news received – students whooping, shrieking, clapping in delight, should, in theory perhaps, have been a positive and heartlifting sight – after all, love is a wonderful thing, and the commitment of two people to each other is something to celebrate – but there was just something about it- the sheer level of ecstatic reaction to this news that totally dwarfed everything else on that night – as though marriage itself were the be all and end all of life, the goal of everything no matter what, and, that despite all their great academic achievements, ultimately, all most of the girls in the room wanted to do was to get married, have babies, and stay at home and cook. This view of the students’ attitudes was strengthened after the ceremony, when I saw hordes of animated girls excitedly milling around the staff room eager to talk to the women in question, murmuring ‘I want to get married too’ and ‘congratulations, congratulations‘ and I found myself wondering why it was bothering me so much, why it grated : was I just a cynical old git who should have just gone with the moment, or was I right to feel ill at ease?

Firstly, I must say that I have nothing against marriage. In fact, I think it can be a very beautiful thing when both partners are doing it for the right reasons and they really love each other; when they are allowed to be who they really are, and when the situation affords the husband and wife (for the time being I am only talking here about conventional marriage) that sense of haven; a nest to come back to, a place to raise a family, a nucleus that protects them from the world and gives a sense of security. Both my parents and Duncan’s parents have been happily married for fifty years so I come from good stock in that regard; they may have had their ups and downs at certain points like all couples do, but essentially they like each others’ company, still laugh, have fun, and enjoy being with their family. This is also true of many people in Japan too, obviously: sometimes you see middle aged couples here walking hand in hand, having a good time, and think yes, that is how it should be (from a western perspective, at least: I realize that what I am writing here cannot cover the pros and cons of arranged marriage in other countries); not trapped in some gender divided trap where you each have your role that has been imposed on you by society, and which gradually drains away your natural humanity and turns you into a nag, a drudge, or an exhausted, miserable, husked out bastard.

Any discussion of marriage in Japan must of course be tempered with the caveat that I know this doesn’t apply to everyone, yes I realize that there are plenty of couples who avoid these pitfalls and hang on to their personal freedoms and are happy, and also that I realize that things are very much changing, that younger people are rejecting the strictures of the older generation, and are, to some extent, redesigning what marriage means, yesyesyes I know. I am very much aware of all this, and to me, all this can only be a good thing.

However, having lived here for so long, I also know that the clichés of marriage, the roles that each partner is meant to take on according to the gender they just happened to be born with, are still very much entrenched in the broader swathe of society, and that to willingly enter into this arrangement is, to me at least, nothing less than a form of hell (you must realize that for me, there is nothing more important in this life than maintaining the feeling – possibly the illusion – that I am FREE: that I can, as far as is humanly feasible, resist the pressures of society and its bullshit – and so much of what we are told we should be really IS bullshit, total tripe, and to make it worse, often very wrong as well at the same time – and that really, my whole driving force in this existence is to try and understand what it is all about; to find a way of living that lets me reject what I feel is immoral, stupid, or unnecessary, and embrace a more unfettered, liberated existence where I can be who I am and live naturally. And in many ways, I have largely succeeded).

In Japan, for most people, unless you have the mental strength and arrogance to resist the enormous silent pressures of the society, it is hard to have such a life. Both women and men, in the traditional marriage at least, get a very raw deal. The man, upon entering the vale of matrimony and having provided offspring, essentially becomes a workhorse, working six days a week, all hours of the day, in order to provide for his family, the wife taking control of the finances (he gets pocket money) hardly ever seeing his family. This continues until retirement, when he and his wife have often spent so little time together, probably not having had sex in decades (this is no exaggeration: in an official survey, Japanese women were found to be the least sexually satisfied in the developed world) that they have virtually nothing to say to each other and often end up getting divorced or living entirely separate lives. The wife, having spent her entire existence on raising the children, doing housework, possibly having a part time job but essentially being a housewife no matter how good her education, gets sucked into the torturous ‘mama-san’ existence of having to spend time with other frustrated mothers, where the rivalry, gossip and bullying can rise to such levels that deep depression, and often domestic violence, can result. My best friend here has suffered greatly because of this over the years; the pressure to conform, to be this ‘perfect mother'; to be constantly present at every PTA meeting and social event organized at other mothers’s houses that she ended up in counselling, except that the chauvinist pig of a ‘psychiatrist’ just told her, outrageously, that she was being selfish and that she should, in essence, just ‘get on with it’ and so that was what she has been doing: getting married, basically for the sake of it, because she thought she had to as she approached thirty, ie. over the hill, desperate, and marrying a friend of a friend who seemed acceptable enough but who in truth was completely unsuited to her; they have nothing in common except drinking and hot springs and the fact that they have produced two children – very cute children, so for that reason she doesn’t regret it- but the fact is that they have nothing to say to each other except bicker, and her daytime is filled with these stressful interactions with alpha female mothers; a Lord Of The Flies playground culture that leaves her bone dry and stressed out, and thanking god she still has piano duets with me as an outlet on the occasional weekend or she would go crazy.

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THE INEXORABLE DESEXUALIZATION OF THE JAPANESE FEMALE

 

For women here, this would seem to be the general pattern:

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Be as ‘cute’ and kawaii as you can, all the time, for as long as possible, from childhood until your mid twenties and beyond: cuteness, speaking in a toddler’s voice, being doe-eyed, ‘feminine’, girl-like, the required way to be through school and university and even when you start work (when you are secretly just looking for a husband).

2: Start dating prospective young men, possibly with an eye to ensnaring one.

At this time, you are young, beautiful (anyone coming to Japan can see how gorgeous Japanese women can be: so utterly conforming to the ideal of what heterosexual men want, which is why so many western men can never leave: some of my female friends who have visited said they just felt like ungainly elephants in comparison to these perfected, hyper-pretty creatures – these young women who are petite, svelte, immaculately coiffured and made up; coy, sweet, the absolute straight man’s dream and an unimaginable way of being in the west ). They also have enough disposable income, usually living with their parents post university and not paying rent, to spend the majority of their money on their appearance; on the latest fashions, make up, shoes. Cue: romantic dates at chic new restaurants in Tokyo or Yokohama, holding hands under the cherry blossom, falling in love.

  1. GET MARRIED.

The most extravagantly tightly organized wedding ceremonies, where not even one tiny detail is left to chance, complete with the requisite reading of the letter to your parents, where you, and they, weep as you tell of what a bad little girl you were and how you put them through so much trouble and beg for their forgiveness

  1. STOP WORKING (OBVIOUSLY), CONCEIVE:

It is here that the desexualization of Japanese women becomes most extremely apparent. Although very young, gunshot wedding types who are getting married just because they have already got pregnant often buck this rule, remaining ‘sexy’ and dolled up in high heels while pushing prams, generally speaking, it seems that when you have a baby, you have to, by law, give up all claims to being sexy, chic or dressing for yourself, and must adopt a kind of pure, maternal look, complete with floppy denim hats, flat shoes, lots of white, blue and pastel coloured baggy clothes with little dogs and rabbits sewn on them, much less makeup, an absolute volte face in appearance that I often find astonishing.

At this time, despite your soft and sweet appearance, you also become the absolute master of the house. You control your husband’s finances completely, economizing and saving obsessively for the future and the astronomical cost of your offspring’s education, including the obligatory extra cram school lessons, spend all your time ferrying the kids around, shouting at them to do their homework, producing the stressed out kids I then teach,; and attending mama-san social gatherings, sipping on tea and gossipping, and hardly ever see your exhausted husband, who in general will get home very late in the evening, even around midnight, when you will possibly have prepared his dinner for him, or might already be in bed (usually in separate rooms: this is the norm for most couples; kids also always sleep with their parents, even up to the age of seven or more, meaning that ‘intimacy’ is quite literally almost always out of the question, for months or years at a time).

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Become an ‘Oba-san’.

This is the phase I detest the most, that moment in Japanese culture where each person becomes categorized as either an ‘aunt ‘ or an ‘uncle’ (o-jisan).

I am now one of those, apparently, that is my identity: I am nothing but a ‘middle aged man’. I AM an ojisan. For women, it happens any time between 35 – 40, at which point you inevitably become an obasan – an object of scorn and derision- and can’t really be seen as attractive any more, because, baby, you are an obasan.

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I was at the airport the other day, waiting for my parents to emerge from the arrivals gate, and there was a couple, probably French I would say, in their late sixties, early seventies even, and I marvelled at how self-confident and sexy the wife looked. So elegant, well put together, self-assured, she looked her age but looked fantastic with it, and exuded some kind of sensuality that had not been eroded by society’s expectation that she become a dowdy, sexless old frump whose only desire in life is to natter with other old ladies and push people out of the way on the trains. Of course, I don’t doubt that the pressure to be beautiful and attractive at all ages of life in French culture is also a kind of sexist, societal pressure of a different kind, but in terms of how the couple looked as they waited for their friends to arrive, it didn’t seem as if she had had to let go of her essential identity (though what do I know: I know nothing about them, I am just making suppositions about strangers in airports).

At any rate, though I meander, there is no doubt in my mind that marriage in Japan comes with its hideously inbuilt fortresses of gender segregated behaviours that I personally would not for one moment be able to endure. I had one colleague who was wondering aloud one day whether or not to ask his girlfriend to marry him (‘because then I won’t have any money’); another who had been forced to stop listening to music (‘because my wife doesn’t like it’.) In fact, in the teachers’ conversation classes I do, half the time the men are just complaining about their wives, who, as society expects, have become complaining harridans who watch and criticize their every move and make their lives miserable. I have even heard, through the grapevine, that the husband in one of the the aforementioned couples, the teacher and admin staff lady whose wedding announcement caused such a froth of ecstacy among the gathered young students, is already complaining behind her back that his wife is ‘strict’, that she has ‘changed’.

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‘Le Plus Beau Jour De Ma Vie’, then, ‘the most beautiful day of my life‘, the new perfume by Guerlain, meant to be romantic and personify the time when a woman has never been happier, the symbolic giving herself to be owned by her husband, gives me rather ambiguous feelings. (I would like to know, actually, from female readers if, in fact, your wedding day was the happiest day of your life?)

I can imagine that, in some ways, it might well be. If you are truly in love, and your fiancé has proposed, and you get to be the star, the princess, for a day, and wear a beautiful dress, that it could be a magical and utterly memorable occasion, all eyes on you and your happiness (although isn’t the planning and organizing of it all, not to mention all the family arguments and difficulties, the finances, the logistics, an absolute nightmare? Can the day possibly live up to your expectations?) Est-ce que c’etait vraiment le plus beau jour de ta vie?

I enjoy weddings sometimes: I like the heady, champagne-bubbled gleefulness of it all, the kids running around, the elated feeling in the air; the chance to wear a nice suit and tie; I do, despite what I have said, enjoy seeing how beautiful the bride looks as she walks down the aisle, and I am happy for the couple if I think they will be truly happy (even if, I suppose, the number of marriages that then end in divorce can make one also rather skeptical about it all). After that ceremony, though, does the signing of the papers give a sense of security and fulfillment, or does it really feel like a contract; that you are signing away your liberty?

I am not a woman, so I don’t know what all of this feels like. I know that if I were a woman, I would organize the ceremony differently so that it felt fresh and new and didn’t abide by too many conventions (I personally feel that although observing tradition is an important part of human culture for purposes of bonding and ritual, most traditions are also entirely random and arbitrary and that to jettison them and recreate things from scratch can be beautifully reinvigorating). Would I wear a white wedding dress ? Maybe. Maybe not. Would I wear perfume? Yes, a truckload of it. Which one? One that had been specifically designed for a bride, one that prescribed the experience for me? Doubtful.

Guerlain’s Le Plus Beau Jour De Ma Vie is not the virginal, nuptial fragrance you might imagine from such a name though, where I envisioned lilies of the valley; lilies, something white and sensuous and ‘pure’ (how unbearable it must be for women the world over to be yearned for as ‘pure‘, though – how can you bear it? I swear, I am actually really glad that I am not a woman, because if I were, I think I would be constantly so enraged by the sexism and double standards that exists in societies the world over that I would just spontaneously combust one day in a raging fireball of furious conflagration). No, I expected the perfume to conform to those hideous conventions where the father of the bride ‘hands over’ his daughter to the awaiting groom, where in some places she will be set on fire or splashed with acid if she puts a foot wrong, but where usually this doesn’t occur, and the wedding ceremony leads on to the reception, and then the disco, and then the honeymoon.

In truth, the smell of this perfume – a sexy, sugared almond gourmand orange blossom – is more suited to the idea of the evening party. It is not a very original scent, this one (poor Thierry Wasser is compelled to churn out so many perfumes for Guerlain these days that true originality must be hard to achieve). The smell is much thicker, viscous, sweet and powdery than I would have imagined from a nuptial scent, which I suppose in itself makes it somewhat new in conception. This bride is winking, she is not conforming to the untouched ideal, she is evincing sensuality she wants to dance. Yes, orange blossom is very much the main theme here, touched with angelica, pink pepper and bergamot, the usual deal, and a marshmallowish, vanilla/ white musk/patchouli base, not that different from Mademoiselle Guerlain, which I also reviewed recently, and is also really quite commercial smelling, both of them descendants of Jean Paul Guerlain’s Classique. I don’t mind it at all, actually, and would be quite happy to smell this lingering about the wedding cake in the hotel foyer, even if it might demonstrate a certain lack of originality on the part of the bride: ah, this is a wedding scent by Guerlain….

Le Bouquet De La Mariée, the other scent in today’s title, is not really a separate perfume at all in fact but just the more expensive (by a mile) parfum extrait version of the edp, and to be honest I couldn’t really ascertain many differences in its structure or odour – it just smelled stronger (you could, in other words, just call it a rip-off). Both of these perfumes are perfectly fine, but then again I recently received a very generous decant of Jean Paul Guerlain’s Metallica/ Metalys from 2000, and although I had done a cursory review of this beautiful scent in my carnation piece that I reblogged the other day, I had never really spent any serious time actually wearing the scent properly, something I did when in the mountains of Nikko last week as we walked along the river. This is in fact a beautiful and haunting orange blossom perfume, almost indescribable in its strange, iris-spiced, sun-lit pinks and oranges, its sensual tonka and vanilla base, its ambiguity and mystery (wouldn’t a bride want to be more enigmatic; isn’t that half the point?) and in comparison, I am afraid, Mr Wasser’s wedding bell confections just fade into banality. Pretty and vivacious though it may be, like many of marriage’s formalities and procedures, there is something unthinkingly obvious about it all.

And, to finish, just one more thing.

Why is it only the bride who gets in a flutter about her wedding day scent?

Why is it only she who thinks that this is the ‘best day of her life’?

Can you explain it to me?

I genuinely don’t understand.

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‘American woman’ : RATTAN GARDENIA, IKAT JASMINE, EVENING ROSE, LILAC PATH & AMBER MUSK by AERIN (2013)

ginzaintherain:

Back to work and rule -enforced ‘clean’ perfumes…….

Originally posted on The Black Narcissus:

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I think am unusual among perfume lovers in having a true olfactory double life. The fact of living in Japan, in a culture where strong-smelling scents tend to be frowned upon, as well as working in an educational establishment where perfume is actually not allowed, has produced a schism:  at weekends, and during the long vacations I am fortunate enough to have with this job, the facial hair grows back (also banned in the workplace in case the students find it creepy), and the perfume gets hairier and more intense as well….out comes the Bal A Versailles, Tonka Impériale; the Lorenzo Villoresi Patchouli; Ungaro Pour Homme, the Montale Aouds, the rich vanillas and coconuts; vetivers, all the earthy, sensual scents I tend to favour, naturally, and uncensored, in my native, scent-reeking habitat.

Come the working week though, all that is put behind me. I shower, hard and long with the…

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CHERRY BLOSSOM by FLORIS (20I3)

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Although I mentioned the other day, somewhat facetiously, that I was completely sick of the sight of cherry blossom, having had my fill of it during my parents’ visit (it was everywhere), I must still say that until this year, I had never quite fully appreciated the sheer fragile, overwhelming beauty of hanami: the joyful and animated cherry blossom viewing parties that millions of Japanese people take part in each spring during the two weeks or so when the trees are in full bloom and the air is filled with pink and the scent of sakura. Perhaps it is age: realising that our time on this earth is limited, or perhaps it was just the fact of not ever having been to Ueno Park before at this time, not on the very day that the buds opened in unison, when the sight of oceans of gently fluttering flowers literally made me choke up with emotion.

IMG_3209 Yesterday in Isetan, Shinjuku, by chance I came across Cherry Blossom by Floris, a limited edition in Japan that is only on sale while the flowers are out ( a nice idea, I thought) and I picked it up cynically, waiting for a sharp and chemical maelstrom to assail my nose that would never come close to capturing the delicate fragrance of thousands of flowering cherry trees. Instead, as I raised the bottle to my nose, I did actually have a flashback to all those people sat under the floral canopies drinking their sake and beer when we were there the previous week : messing around, sleeping, talking, laughing, and thought that Floris ( a perfume house I tend to like more than most people), had done a pretty good job of capturing a feeling that can’t really be captured. Much better than L’Occitane’s Fleurs de Cerisier, or Guerlain’s paltry Cherry Blossom and its multiple flankers anyway, as well as several other cherry/plum perfumes such as Creed’s Acqua Fiorentina that take similar ideas but always come out smelling too brash. This Cherry Blossom strikes me as being one of the best cherry/plum florals I have come across. The ‘fruity floral’ has obviously been done to death, but a good red fruit and flower scent can still be enjoyable if it is not too synthetic smelling or jarring, and marries all the notes persuasively. This variation on a familiar theme is a bright, nicely interwoven perfume incorporating a fairly convincing sakura central note with a basket of rose, osmanthus and peony, and sharp, bergamot and orange-laced cherries with an almost tuberose like facet that makes it very uplifting and romantic. I had flashes of Guerlain Champs Elysées for some reason (perhaps there is a similar internal structure, a fresh floral with gently sensuous undertones), and think I could actually wear this one myself, a fragrance that does a pretty good job of approximating the feeling present at a hanami party, when people forget the everyday for a moment, and concentrate on just being.

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In any case, writing this gives me a chance to put up some last pictures I have taken of the sakura before it disappears for another year. These pictures were taken last Friday, on a walk down from my house through the Hansobo temple and down to Kenchoji, where cherry trees complemented the zen austerity of that major temple quite beautifully, and where we spent quite a while just strolling, lazing; contemplating.

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