by Amanda Sun
“Yeah.”
I turned and went through the security check. Once I stepped through the metal detector, I turned to look back at Diane, but she was lost in the crowd.
I adjusted my backpack and rolled my carry-on toward the empty benches near my gate. I wished the floor would open and swallow me up so I wouldn’t have to feel anything anymore.
I sat down on one of the hard leather benches by the door. Clusters of gaijin and Japanese tourists sat in the rows around me, while two flight attendants talked in hushed tones. I stared out the giant windows at the planes moving slowly around the concrete plaza.
The whole thing felt surreal. To think that five months ago this was what I had wanted. To go home.
But home wasn’t there anymore, and it wasn’t even Japan, really.
I think it was inside myself
And it was in him.
And that’s why I had to leave. Because I couldn’t stand to break him.
I pulled out the envelope and tapped it against my top lip, staring at the luggage trains and the clumsy maneuvers of the planes. They looked so awkward on the ground, big, flailing machines that tipped from side to side as they stumbled forward.
I looked down at the envelope in my hands.
I was practically on the plane. It was close enough.
I pulled the edge of the envelope up and slid my finger
along the top, the paper ripping into litde puckered edges. I pulled out the note, a plain piece of white paper, and unfolded it carefully.
I’d wondered what he would say to me, agonized over what he would write and what it would mean. And here in red pen was a single word at the top of the page.
いてい てい
Itterasshai.
Go and come back safely.
Like I was leaving on a vacation and returning to him.
A sketch spanned the rest of the paper, a haunting black-and-white rose chained to the page by five thick X marks, the lines scribbled and rescribbled to bind the drawing. Even then it was risky, but it was only pen, and he’d always managed to keep tabs on his school notes and doodles.
The rose barely moved as I looked at it, its petals fluttering softly in the drafty airport. It almost looked normal. In fact it was beautiful, the same beauty I saw in Tomohiro’s eyes when he gazed at the wagtails or the sakura trees, when he gave them life in his notebook. The look in his eyes when he gazed at me.
The tears rolled down my cheeks, curving under my chin and dripping onto the paper. The ink ran where they fell, smearing into blots on the leaves and the petals.
But it was done now. He wanted me to go, to be safe. I wanted to be safe, too. The Yakuza and the Kami scared me.
Tomohiro scared me. And by leaving, I was keeping Tomohiro’s power under control and out of Jun’s hands.
I traced the rose with my fingers, trying to imitate the movements of his pen. I’d never been much of an artist, and I pretended that each stroke was mine, that I could capture the soul of a rose the way he had.
My hand ran down the stem, and a hot pain seared through my fingertip.
I yanked my hand backward, flipping it over to inspect the paper cut. A dark bead of blood pooled on the pad of my index finger. It stung like crazy.
I looked down at the sketch.
A thorn. It wasn’t a paper cut—I’d cut myself on the thorn.
“Okyaku-sama, we apologize for the wait. This is your boarding call for Flight 1093 to Ottawa.…”
The blood trickled down the side of my finger and fell onto the page with a sound like someone flicking the paper.
Tak, tak, tak.
The other guests rose around me, businessmen with leather bags on wheels, mothers with sprawling infants wrapped to their fronts, carry-ons of every color whirling by the glass wall where our bulky, awkward plane waited on the concrete.
Tak.
I couldn’t do anything now. Nan had bought the ticket.
Diane had left for the bullet train back to Shizuoka.
Tak.
I’d promised Tomohiro I would leave.
If I stay, I might die.
I stared at the blood, stark red on the paper—the only color on the page, except for the single word Tomohiro had left me with.
Itterasshai.
Come back safely.
Come back.
But it was last call for the airplane. I couldn’t just run out of the airport. That wasn’t the way real life worked. Maybe in Japanese dramas, or the bad Hollywood flicks we watched in English Club. But I had a ticket in my jeans pocket, a suitcase on the seat beside me. You can’t just pick up and leave in real life.
Tak.
Can you?
I rose to my feet slowly, my whole body shaking. My pulse thumped in my ears, drummed through every vein in my body.
It wasn’t running away. If the decision to leave was wrong…
changing it wouldn’t be running away. Would it?
Please…live.
Come back safely.
I balled my hands into fists, the stickiness of the blood against my palm.
It wasn’t about what Tomohiro said or wanted. It wasn’t ever about him, not really.
It was my life and my choice.
Because running away, giving up the life that mattered to me, wasn’t living.
There’s only one chance. I only get one life. If the ink reacts to me, then maybe I can stop it. And if I don’t, then we’re not the only ones who are going to suffer.
I stepped forward, my legs like stone. I walked away from the row of seats, away from the gate where a few stragglers fumbled with their passports and carry-ons.
I stumbled and then began to run through the mono-chrome pathways of the airport, Tomohiro’s note crumpled around my fingers. I felt alive, the power surging through me stronger than any fear that had pulsed there.
It was my destiny.
I was going to face it.
It was my life.
I was going to live it.
Amerika-jin:
An American
Ano:
“Um,” a filler word telling the speaker you have something to say
A-re:
A word expressing surprise
Bai bai:
“Bye-bye” pronounced just like the English
Baka ja nai no?:
“Are you stupid or something?”
Betsu ni:
“Nothing special” or “nothing in particular”
Bogu:
The set of kendo armor
Chan:
Suffix used for girl friends or those younger than the speaker
Chawan:
The special tea bowl used in a Tea Ceremony
Che:
“Damn it!”
Conbini:
A convenience store
Daiji na hito:
An important person, big shot, etc.
Daijoubu:
“Are you all right?” or “I’m/it’s all right”
Dango:
Dumplings made of rice flour, often sweet and eaten dur-ing flower viewing
Domo:
As used in Ink, “Hi” or “Hey” Dou:
The breastplate of kendo armor
Faito:
An encouraging phrase meaning to fight with one’s might or do one’s best
Furikake:
A seasoning to sprinkle over white rice
Furin:
A traditional Japanese wind chime
Gaijin:
A person from a foreign country
Ganbare:
“Do your best,” said to encourage one in academics, sports or life
Genkan:
The foyer or entrance of a Japanese building. Usually the floor of the genkan is lower than the rest of the building, to keep shoes and outside things separate from the clean raised floor inside
Gomen:
“I’m sorry”
Guzen da:
“What a coincidence!”
&nbs
p; Gyoza:
Dumplings
Gyudon:
Sauced beef on rice
Hai?:
“Yes?” but used as it is in Ink, it expresses surprise, such as “I’m sorry?”
Hakama:
The skirtlike clothing worn by kendouka
Hana yori dango:
“Dumplings over flowers,” meaning substance over appearance
Hanami:
Flower viewing, in particular cherry blossoms
Hanshi:
Special paper used for calligraphy
Hazui:
“Embarrassing,” slang form of hazukashii
Hebi:
Snakes
Hidoi na:
“You’re cruel!” or “That’s mean/harsh!”
Ii ka:
“Okay?”
Ii kara:
“It’s okay (so just do it)”
Ikemen:
A good-looking guy
Ikuzo:
“Let’s go,” said in a tough slang
Itadakimasu:
“I’m going to receive,” said before a meal like “bon appétit”
I-te/Itai:
“Ouch” or “It hurts”
Ittekimasu:
“I’m leaving (and coming back),” said when leaving the home
Itterasshai:
“Go (and come back) safely,” said to the one leaving home
Jaa ne:
“See you later”
Kado:
The tradion of flower arranging, also known as ikebana
Kakigori:
Shaved ice with syrup, much like a snow cone
Kankenai darou:
“It’s none of your business” or “It doesn’t concern you”
Karaage:
Bite-size fried chicken
Kata:
A series of memorized movements in kendo or other mar-tial arts
Keigoki:
The soft top worn under the kendo armor
Keiji-san:
Detective
Keitai:
Cell phone
Kendouka:
A kendo participant
Ki wo tsukete na:
“Take care”
Kiai:
A shout made by kendouka to intimidate opponents and tighten stomach muscles for self-defense
Kiri-kaeshi:
A kendo exercise drill
Koibito:
“Lovers,” dating couple
Kote:
Gloves worn during kendo
Kun:
Suffix generally used for guy friends
Maa:
“Well,” but it can be used as a subtle way of affirming something (“Well, yes”)
Maji de:
“No way”
Manju:
Small Japanese cakes, usually with some sort of filling inside
Matte:
“Wait”
Men:
The helmet warn during kendo
Migi-kote:
The right glove
Mieta:
“I saw it”
Momiji:
Maple tree
Moshi mosh(i):
Said when answering the phone
Mou ii:
“That’s enough”
Naaa:
“Hey” or “You know,” a filler word that indicates the speaker is going to say something
Nasubi:
Eggplant
Ne:
“Isn’t it?” It can also be used as “Hey!” to get someone’s attention (like “Ne, Tanaka”)
Nerikiri:
A sweet white-bean-paste cake eaten during a tea ceremony
Nikujaga:
A Japanese dish of meat and potatoes
Noren:
An awning hung over the doorway of a shop
Ohayo:
“Good morning”
Oi:
“Hey”
Okaeri:
“Welcome home,” said when one arrives home
Okonomiyaki:
A Japanese pancake or pizza-type dish where diners choose the ingredients that go into the dish, such as cabbage or other veggies, noodles, meat or fish
Okyaku-sama:
Guests/customers
Omiyage:
Souvenirs
Onigiri:
Rice balls
Ore sa, kimi no koto ga…(suki):
“I like you” or more literally “About you, I, you know… (like you).” This is a common way for a boy to confess he likes someone
O-Torii:
The giant orange Shinto gate at Itsukushima Shrine
Peko peko:
“I’m starving,” usually said by younger children or girls to be cute
Purikura:
Print Club, little sticker pictures taken and printed by machines at arcades or department stores
Purin:
A popular Japanese pudding
Sado:
The tradition of tea ceremony
Saitei:
“You’re the worst,” something despicable
Sakura:
The cherry blossoms
Sankyu:
“Thank you”
Sasa:
A bamboo tree used for Tanabata festivities
Seifuku:
Japanese school uniform based on the look of old sailor uniforms
Senpai:
A kneeling stance used in kendo
Senpai:
A student older than the speaker
Shinai:
A sword made of bamboo slats tied together, used for kendo
Shinkansen:
The bullet train
Shoudo:
The tradition of calligraphy
Shouji:
A traditional rice-paper door
Sonna wake nai jan:
“It’s not like that!”
Sou da na:
“I guess that’s right.”
Sou ka:
“Is that right?”
Sou mitai:
“Looks that way”
Sou ne:
“You’re right, aren’t you?” or “That’s right, isn’t it?”
Su-ge:
“Wow,” slang form of sugoi Suki:
“I like you”
Sumi:
An ink stick, ground against the suzuri to make ink Sunpu-jou:
Sunpu Castle
Suzuri:
An inkstone, used in making liquid ink
Tadaima:
“I’m home,” said by one arriving home
Taihen da ne:
“That’s tough” or “That’s a difficult situation.”
Tanabata:
A holiday celebrating the stars Altair and Vega reuniting in the sky
Tatami:
Traditional mat flooring made of woven straw
Te m e :
A really foul way to call someone “you.” Usage is not ad-vised!
Tenugui:
A headband tied under the men helmet Tomodachi:
“Friends”
(Ton)katsu:
A breaded, deep-fried (pork) cutlet
Tsuki:
A kendo hit to the throat
Ume:
Plum tree
Unagi:
Eel
Warui:
“Bad,” sometimes used as an apology
Yamero:
“Stop”
Yatta:
“I did it!” or as a general “Yay!”
Yosh(i):
“Good” or “Okay”
Youkai:
A demon
Yuu Tomohiro desu ga…:
“My name is Yuu Tomohiro…”
Zabuton:
A cushion used for sitting on the floor
Zenzen:
“Not at all”
I am so grateful to everyone who put their heart, soul and energy into making Ink a reality. Without all of you, this book would never have become everything I had hoped it to be.
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br /> Mary Sheldon, this book would not exist without you. The passion and conviction with which you live your life and ad-vocate for reading are an inspiration to me. You are a spark of color in this life, a vibrant example of what the world should and can be. I continue to aspire to the faith you place in me, for the world is changed because of you.
Thank you to my family at Harlequin TEEN, to Natashya Wilson for believing in Katie and Tomo from the start, to Adam Wilson for my first fan mail, to Giselle Regus for your hard work behind the scenes, to the digital and sales teams and copy editors, and to those who inspire me—Debbie Soares, Amy Jones, Erin Craig and Lisa Wray. Thank you to Gigi Lau for the gorgeous cover, and for taking so much care in breathing life into the book of my heart.
To my fantastic editor, T.S. Ferguson. TiduS, you have loved my world and characters as your own, and your thoughtful and brilliant advice allowed me to take the story to a level I didn’t know was possible. Your wit and kindness continue to inspire me, and I’m so fortunate to have you as my editor and friend. I look forward to the great things we will accomplish together.
Thank you to my agent, Melissa Jeglinski, for your advice, confidence and support. I am so grateful to you for your hard work and passion, and for saying what I need to hear when I need to hear it. Thank you for believing in me, and in Ink.
Without my family’s support, I could never have reached this point. Thank you, Mum and Dad, for always believing in my writing and in me. Kevin and Emily, thank you for those trips to the park so I could meet my deadlines, and for the long plot discussions you were always willing to have with me. Thank you, Nathan Conquergood, for reading my early novels and doing book reports on them in school, and Bridget Ball, for passing around a petition at school to publish my book. I so appreciate your enthusiasm and faith in my work.
Thank you, Mio Matsui, for making sure Tomohiro speaks like a real Japanese teen. Thank you, Harumi Sugino and the Hasegawa family, Nobuko, Yoko and all my friends in Japan.
Because you opened your arms to me, I can now share that love through Ink. ありがとうございました。
Thank you to Caroline Schmeing and Diana Jardine, who read every piece of fan fiction, every full notebook passed under the table in class. To Terry Lim, Clélie Rich and Wal-ter Davies for cheerleading every step of the way. To Alex Neary for my beautiful author photo, and my fellow Lucky 13s for their support. To Nerdfighteria for being a haven where I am understood.
And finally to my readers. Thank you for sharing this journey with me. Wherever you may go in life— itterasshai.
Q.
Q What inspired you to write Ink and why did you choose to set the story in Japan?
A. I lived on exchange in Osaka during my time in high school. Even after I returned from the exchange, the culture and mythology stayed an integral part of my interests. I wanted to make the experience of living in Japan accessible to anyone. At the same time, I was devouring piles of YA books. While watching Japanese dramas for language practice, the two interests merged in my head.
