The Death of a Master T. J. Stiles (bio) The swelling bulged out of the back of my hand in a symmetrical hemisphere, like a golf ball under the skin. I recognized it as a hematoma. It was a late summer day in 1986. I was twenty-two. I had practiced traditional Japanese karate for six years—time enough for an education in how the body bruises, balloons, and breaks. But it was my first day in this dojo, the Japan Karate Association of New York, on the fourth floor above the Fairway Supermarket on Seventy-Fourth Street and Broadway. After class I went to the instructor and asked if he had any chemical cold packs. His name was Masataka Mori—Mori Sensei to his students, then a hachidan, or eighth-degree black belt. A little shorter than my own 5′8″, he was a Japanese native with a square jaw, brief nose with flaring nostrils, and close-cut black hair. His limbs seemed disproportionately short for his torso, and he rolled up the cuffs of his do gi (or keiko gi), his crisp white cotton uniform. In the dojo his glare alternated between two states best described as partially unsheathed and dismembering. In contemporary photos he looks [End Page 34] remarkably young to me, though he was two months short of fifty-four, my age as I write this. He ignored my request and snatched up my fist in his left palm. He studied it briefly, raised his other hand, and smashed down the swelling with the knuckles of his bent fingers. It was so unexpected that I just stood in shock as pain shrieked up my arm. A doctor later characterized his novel treatment as “further traumatizing the damaged blood vessels.” Mori Sensei dismissed me without explanation. I wandered away, baffled. Thirty-two years later, on September 2, 2018, I received an e-mail from a friend in New York. Mori Sensei was “in grave condition,” he wrote. Old students were going to see him one last time. From my house in Berkeley, California, I reached out to his two daughters, Mayumi and Sayuri. They told me he was in home hospice. I feared I might be too late, that my visit would be a burden. I closed the door on my wife and two children, sat on my bed, and wept. I wept because he was a master—because he was my master. That’s difficult for me to write. I’m not naturally a follower. I was the kid who argued with the teacher. I was fired more than once because I was a difficult employee. It shocked my wife to hear me answer a call from Mori Sensei, to adopt a deferential tone I took with no one else. I couldn’t explain it to her then. I have trouble explaining it to myself now. ________ What is a master? I’m sure many karateka, practitioners of karate, have an opinion. As with all esoterica, the martial arts produce know-it-alls. Many genuinely know more about karate than I and are better at it. Making the answer more difficult: it’s diverse, too, less a single art than a cluster, all descended from secretive [End Page 35] Okinawan practices. Mine is Shotokan style, overseen by the Japan Karate Association, or JKA, a long-established institution headquartered in Tokyo. I have a godan, or fifth-degree black belt, as well as licenses as an instructor, rank examiner, and tournament judge. But I never studied in Japan, don’t speak the language, and have never given my full time to karate. I am not a master as surely as Mori Sensei was. Our intuitive answer begins with mastery itself—that is, with superlative skill. When I first saw him, though, his abilities did not seem apparent to me. He did not move with the particular feline grace or shocking speed that distinguishes later graduates of the instructor course in Tokyo—though, of course, I never saw him when he was young. I thought his techniques looked old-fashioned, heavy and deep; after all, he began training at Takushoku University in 1950, a year after the...
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