I compare the print with the reality. Not bad this time. The horse and the man are absent from the shore, but there is a small boat out on the water. Not the same sort of boat, to be sure, and I cannot tell whether it bears firewood, but it will suffice. I would be surprised to find perfect congruence. The boat is moving away from me. The pink of the dawn sky is reflected upon the water’s farther reaches and from the snowstreaks on Fuji’s dark shoulder. The boatman in the print is poling his way outward. Charon? No, I am more cheerful today than I was at Hodogaya. Too small a vessel for the Narrenschiff, too slow for the Flying Dutchman. “La navicella.” Yes. “La navicella del mio ingegno”—“the little bark of my wit” on which Dante hoisted sail for that second realm, Purgatory. Fuji then . . . Perhaps so. The hells beneath, the heavens above, Fuji between—way station, stopover, terminal. A decent metaphor for a pilgrim who could use a purge. Appropriate. For it contains the fire and the earth as well as the air, as I gaze across the water. Transition, change. I am passing.

The serenity is broken and my reverie ended as a light airplane, yellow in color, swoops out over the water from someplace to my left. Moments later the insectlike buzzing of its single engine reaches me. It loses altitude quickly, skimming low over the water, then turns and traces its way back, this time swinging in above the shoreline. As it nears the point where it will pass closest to me, I detect a flash of reflected light within the cockpit. A lens? If it is, it is too late to cover myself against its questing eye. My hand dips into my breast pocket and withdraws a small gray cylinder of my own. I flick off its endcaps with my thumbnail as I raise it to peer through the eyepiece. A moment to locate the target, another to focus . . .