"Well," said Onogawa. "Clearly they were trying to change their appearance and shape, like foxes or badgers. That seems clear enough."

"That's as much as saying they're magicians," Encho said, shaking his head. "Just because they have long noses, doesn't mean they're mountain goblins. They're men -- they eat, they sleep, they want a woman. Ask the geishas in Yokohama if that's not so." Encho smirked. "Their real power is in the spirits of copper wires and black iron and burning coal. Like our own Tokyo-Yokohama Railway that the hired English built for us. You've ridden it, of course?"

"Of course!" Onogawa said proudly. "I'm a modern sort of fellow."

"That's the sort of power we need today. Civilization and Enlightenment. When you rode the train, did you see how the backward villagers in Omori come out to pour water on the engine? To cool it off, as if the railway engine were a tired horse!" Encho shook his head in contempt.

Onogawa accepted another small cup of bourbon. "So they pour water," he said judiciously. "Well, I can't see that it does any harm."

"It's rank superstition!" said Encho. "Don't you see, we have to learn to deal with those machine-spirits, just as the foreigners do. Treating them as horses can only insult them. Isn't that so, Taiso?"

Yoshitoshi looked up guiltily from his absentminded study of his latest drawing. "I'm sorry, Encho-san, you were saying?"

"What's that you're working on? May I see?" Encho crept nearer.

Yoshitoshi hastily plucked out pins and rolled up his paper. "Oh, no, no, you wouldn't want to see this one just yet. It's not ready. But I can show you another recent one...." He reached to a nearby stack and dexterously plucked a printed sheet from the unsteady pile. "I'm calling this series Beauties of the Seven Nights."

Encho courteously held up the print so that both he and Onogawa could see it. It showed a woman in her underrobe; she had thrown her scarlet-lined outer kimono over a nearby screen. She had both natural and artificial eyebrows, lending a double seductiveness to her high forehead. Her mane of jet black hair had a killing little wispy fringe at the back of the neck; it seemed to cry out to be bitten. She stood at some lucky man's doorway, bending to blow out the light of a lantern in the hall. And her tiny, but piercingly red mouth was clamped down over a roll of paper towels.

"I get it!" Onogawa said. "That beautiful whore is blowing out the light so she can creep into some fellow's bed in the dark! And she's taking those handy paper towels in her teeth to mop up with, after they're through playing mortar-and-pestle."

Encho examined the print more closely. "Wait a minute," he said. "This caption reads 'Her Ladyship Yanagihara Aiko.' This is an Imperial lady-in-waiting!"

"Some of my newspaper friends gave me the idea," Yoshitoshi said, nodding. "Why should prints always be of tiresome, stale old actors and warriors and geishas? This is the modern age!"

"But this print, Taiso... it clearly implies that the Emperor sleeps with his ladies-in-waiting."

"No, just with Lady Yanagihara Aiko," Yoshitoshi said reasonably. "After all, everyone knows she's his special favorite. The rest of the Seven Beauties of the Imperial Court are drawn, oh, putting on their makeup, arranging flowers, and so forth." He smiled. "I expect big sales from this series. It's very topical, don't you think?"

Onogawa was shocked. "But this is rank scandal-mongering! What happened to the good old days, with the nice gouts of blood and so on?"

"No one buys those anymore!" Yoshitoshi protested. "Believe me, I've tried everything! I did A Yoshitoshi Miscellany of Figures from Literature. Very edifying, beautifully drawn classical figures, the best. It died on the stands. Then I did Raving Beauties at Tokyo Restaurants. Really hot girls, but old-fashioned geishas done in the old style. Another total waste of time. We were dead broke, not a copper piece to our names! I had to pull up the floorboards of my house for fuel! I had to work on fabric designs -- two yen for a week's work! My wife left me! My apprentices walked out! And then my health... my brain began to... I had nothing to eat... nothing... But... But that's all over now."

Yoshitoshi shook himself, dabbed sweat from his pasty upper lip, and poured another cup of bourbon with a steady hand. "I changed with the times, that's all. It was a hard lesson, but I learned it. I call myself Taiso now, Taiso, meaning 'Great Rebirth.' Newspapers! That's where the excitement is today! Tokyo Illustrated News pays plenty for political cartoons and murder illustrations. They do ten thousand impressions at a stroke. My work goes everywhere -- not just Edo, the whole nation. The nation, gentlemen!" He raised his cup and drank. "And that's just the beginning. The Lamp of Liberty is knocking them dead! The Liberal Party committee has promised me a raise next year, and my own rickshaw."

"But I like the old pictures," Onogawa said.

"Maybe you do, but you don't buy them," Yoshitoshi insisted. "Modern people want to see what's happening now! Take an old theme picture -- Yorimitsu chopping an ogre's arm off, for instance. Draw a thing like that today and it gets you nowhere. People's tastes are more refined today. They want to see real cannonballs blowing off real arms. Like my eyewitness illustrations of the Battle of Ueno. A sensation! People don't want print peddlers anymore. 'Journalist illustrator' -- that's what they call me now."

"Don't laugh," said Encho, nodding in drunken profundity. "You should hear what they say about me. I mean the modern writer fellows, down from the University. They come in with their French novels under their arms, and their spectacles and slicked-down hair, and all sit in the front row together. So I tell them a vaudeville tale or two. Am I 'spinning a good yarn'? Not anymore. They tell me I'm 'creating naturalistic prose in a vigorous popular vernacular.' They want to publish me in a book." He sighed and had another drink. "This stuff's poison, Taiso. My head's spinning."

"Mine, too," Onogawa said. An autumn wind had sprung up outside. They sat in doped silence for a moment. They were all much drunker than they had realized. The foreign liquor seemed to bubble in their stomachs like tofu fermenting in a tub.

The foreign spirits had crept up on them. The very room itself seemed drunk. Wind sang through the telegraph wires outside Yoshitoshi's shuttered window. A low eerie moan.

The moan built in intensity. It seemed to creep into the room with them. The walls hummed with it. Hair rose on their arms.

"Stop that!" Yoshitoshi said suddenly. Encho stopped his ventriloquial moaning, and giggled. "He's trying to scare us," Yoshitoshi said. "He loves ghost stories."

Onogawa lurched to his feet. "Demon in the wires," he said thickly. "I heard it moaning at us." He blinked, red-faced, and staggered to the shuttered window. He fumbled loudly at the lock, ignoring Yoshitoshi's protests, and flung it open.

Moonlit wire clustered at the top of a wooden pole, in plain sight a few feet away. It was a junction of cables, and leftover coils of wire dangled from the pole's crossarm like thin black guts. Onogawa flung up the casement with a bang. A chilling gust of fresh air entered the stale room, and the prints danced on the walls. "Hey, you foreign demon!" Onogawa shouted. "Leave honest men in peace!"

The artist and entertainer exchanged unhappy glances. "We drank too much," Encho said. He lurched to his knees and onto one unsteady foot. "Leave off, big fellow. What we need now...." He belched. "Women, that's what."

But the air outside the window seemed to have roused Onogawa. "We didn't ask for you!" he shouted. "We don't need you! Things were fine before you came, demon! You and your foreign servants...." He turned half-round, looking red-eyed into the room. "Where's my pipe? I've a mind to give these wires a good thrashing."