He watched.

Caress with the index’s paddy flesh paddy, then square off the block of rice. With two fingers, shape it: give it a curl that’d make Goldie Locks blush; an arc so gentle baby’s bottoms gives it a rash. Rotate, and repeat.  21. 22. 23. Rotate, repeat. Rotate, repeat.

It takes 10,000 repetitions to achieve mastery.

26. 27. 28.

“Let me show you something.” From the bar, Joe come-hithers with a wagging digit.

He plucked the Saran wrapped rice finger without a raised eyebrow. The sliver of warm sushi rice, encased in a sheet of plastic would prompt questions from most, but it isn’t Joe’s first time. hardly

“It’s about being fast, right? You got to be quick, doing sushi. So when you first take the rice, don’t start by rolling it up into a ball. Roll it into a cylinder,” he demonstrated, whirling the rice morsel in his excuse for a right hand. It’s more the size and texture of a baseball mitt; dark and leathery, the color of chocolate, capable of fielding blinding hot grounders or crushing the skulls of children and smaller horses. It can get surprisingly surgical, too; his fingertips manipulate the grains more skillfully than a Boardwalk full of rice scribbling scribes trying to make a buck. In seconds, his sliver of rice is the correct proportion to top with sushi.

“Then, when you’re squaring off the fish, do this first.” He squared off the rice; a block with rounded corners, then with deliberate slowness, he slid his hand into First Position, the Caressing Index Finger.

From there, he slipped into the Shaping Position, adding an arc that’d make Greek architects tear out their hair and bring the finest NBA 3-point shooters to their knees.

Joe’s sushi making was a streamlined methodology, one honed with his own 10,000 repetitions. He shaved off every possible millisecond and discarded every wasted motion from his procedure. He once managed Ichiban, a speedy sushi spot that churned out 200 plus checks on nights this restaurant clawed for triple digits. He saw his share of sushi before he quit, to open his café in downtown Albany.

“Owner of Ichiban, no good,” his girlfriend Tracy said a few days ago. “He make Joe do lot of work, and Joe have to make specials, too. But he always say, Joe, you not do enough work.”

“And Joe, he always outside,” she continued, “Talking to customer. So they thinking he owner. But Owner, he has to stay inside and cook, and get mad at Joe. But he not tell them this thing, they just thinking it.”

Joe’s ruddy face was serene as he continued explaining sushi’s finer points. He was either unaware or unmoved by his previous employer’s indiscretions. “The most important part of sushi is the rice,” he said. “The rice has to be right, and it’s got to be right the first time. You don’t get a second chance.” He imitated laying the rice to the fish. “When the rice touches the fish, it sticks because of the vinegar and the sugars. It won’t stick if you try using the same piece of fish twice. And when you roll, you got to roll with your fingers tips.” His mitts became cat claws, and he mimicked raking across the table. “Don’t do it like these sushi chefs; you can’t mash rice on the seaweed, you know? It’s got to be fluffy, or it’ll taste bad.”

He leaned back in the bar chair, and stared up at the television screen through his fashionably square glasses. “Oh my god, my master, he put me through hell like you wouldn’t believe. Eight months, and all he let me touch was the rice – wouldn’t even let me make a California roll. Would you believe that?”

Harder to believe Joe’s decision to give it all up, and turn his back on the time he invested into his training, the 10,000 and 100,000 and 1,000,000 repetitions he underwent to reach his current level. Mastery might lie somewhere in the 10,000 repetition mark, but how many more does it take to know this isn’t what you want? How long after working out the finer points before reaching the point where nothing’s fine?

Joe offered one more tidbit. “Oh, and sushi is supposed to look alive, okay? So don’t make it look like a brick; give it a long tail, so it looks like its swimming. Make it look like a fish.”

No one asked Joe for his advice. No one requested his expertise. But in his café, when he stands behind a deli counter, surrounded by cappuccino machines and milk steamers and triple-shot-espresso-soy-milk-no-foam-latte shenanigans, that mastery will amount to nothing. Offering the fruit from his labors is his one more last chance to make use of his skill set, before embarking on a new 10,000 repetitions.

He returned the sliver of sushi rice in the Saran wrap. It was still warm.

Photo Credit: Cedric Fischer

He wants to build his vocabulary and improve his grammar. So we don’t say much in way of conversation as I stand to his left, his wakiitai, his side-cutting board. Instead, we practice expressions while taking turns scooping rice from the Zujirushi rice warmer, pressing fluffy mound onto nori.

Broke, I say.

“Bloke.”

Broke, I repeat.

“Bloke. Bloke down.”

I nod my head. But broke down, you can only use that when you’re talking about your car. Everything else, you just say broke, I say in Chinese.

“Yeah, car bloke down,” he says. Then he points to an imaginary object on the table between us. “This is bloke.”

I nod again. I look down at our cutting boards, comparing my nori to his. On one, the rice is pulled across unevenly, with miniature mounds and valleys extending across the green plain. That one isn’t Michael’s.

His long, unconditioned hair lies flat against his bowed head as he works. The way he parts it – straight down the middle – makes his oval shaped face appear even rounder. Small, squinty eyes peer at the roll that’s quietly emerging from his gloved-handiwork. He starts piling on thin slices of cucumber.

“‘What do you think?’” he says to himself, slowly. His teeth are jagged, and there is plenty of space in between to work with. “‘How do you like it?’” He has an accent, but the meaning is clear. We focus on phrases he can directly apply while behind the sushi bar. The better he communicates to patrons at the bar, the better tips he’ll make.

Peering through the glass and rows of raw fish filets filed neatly one after another, the whole restaurant looks different. Facing out from behind the cutting board puts you on stage, an actor in his craft. Suddenly, you’re conscientious of your every move.

Everyone’s staring at you, the voice in your head reminds you.

Don’t pick your nose, it says. Don’t scratch your ass.

The attention doesn’t make learning any easier. Fortunately, Michael’s a patient teacher. He watches carefully, correcting the ingredients you’re placing in the roll when necessary, adjusting your form when it’s incorrect. Most importantly, he lets you make mistakes. It might be solely to give himself a good laugh, which he does nothing to hide: it’s open mouthed and barking, and there’s a twinkle in his eyes. It never feels like he’s laughing at you, though, only with you. You smile because he’s smiling. His laughter never makes you want to quit. He never laughs to flaunt his superiority.

“Inside out,” he says when he sees me building the roll with the seaweed oriented in reverse; placing the kani, avocado, and cucumber on the rice, instead of flipping it over and putting it on the seaweed. What the hell? I mutter to myself Fukinese, an expression he taught me. He chuckles.

“No no no,” he’ll scold when he watches me hack at the completed roll, butchering them into eight pieces. He pushes me aside. He shows me how it’s done; back and forth like a saw, but using speed to make the cut clean, crisp. It’s three quick movements: slice forward with knife tilted up, slide back with knife tilted down, then flat and pulled backwards as the knife strikes the cutting board.

After three sessions of practicing rolls, I ask him to show me how to do sushi.

“Qi sing,” he says in Chinese, with an incredulous look. It means “crazy.” When you train to be a sushi chef, he says, you spend weeks just doing side work, and if you’re talented, maybe rolling California rolls. Only when you master California rolls are you allowed to make rolls with fish, then after a few more weeks, the more difficult rolls – seaweed-outside and Chef Special Rolls.

I remember Danny, our previous sushi chef, saying something similar – except his training was underneath a Japanese chef, and more rigorous. For one month, Danny only cut cucumbers. They were the only things he was allowed to take a knife to, but he did it for 2 or 3 hours a day, everyday. He cut around the circumference, opening up the vegetable into one long sheet. Then he piled 5 or 6 of the sheets atop one another, and sliced them paper thin for the head sushi chef to use. That was it for the cutting for the rest of the day – then back to standing on the sidelines, watching, or washing dishes.

Yet here I was, asking Michael to teach me despite barely being able to cut properly; or knowing all the ingredients in all the rolls; or still forgetting, at times, which rolls were seaweed-inside or seaweed-outside.

For whatever reason, though, when the next order for sushi came through the printer, he signals me to follow along with what he’s doing. He cuts two pieces of fish – mackerel – and puts one down on my cutting board. With one hand, he reaches into the warmer and plucks out a small morsel of rice. His fingers deftly roll the morsel into his palm, around and around, until it’s spherical. He hands it to me. “This much,” he says, then tells me to try.

I pick up what I imagine is an equal amount.

“No,” he plucks a chunk of rice from the amount I grabbed. “Too much.”

I try again.

“No,” he repeats. He removes another chunk.

On the third try, he approves, and I start rolling the rice between my fingers. I resist the urge to put the morsel on the cutting board to shape it into a ball, like Play-Doh.

He shows me how to hold the fish gently in the left hand, then press the rice onto the bottom, using two fingers to flatten the base of the rice, nestling it into the fish. “Gentle,” he says in Chinese. “Don’t use too much pressure. Very soft.” I imitate his motions. His left hand cupping the fish gives the sushi its rounded figure.

He flips the product over in his hand, with the rice pressed into it. Using his thumb and index finger, he squares off the fish, ensuring every grain is covered evenly, save a thin white line at the very bottom.

He pulls out a dish and plates it; the mackerel looks pristine on the clean white, perfectly sized and proportioned, a gentle, gleaming curve hugging the rice.

I follow suit, and put my mackerel sushi next to his. He laughs – no attempt to hide it. It’s lopsided, the fish slipping off the rice on one side. There looks to be enough rice to engulf the entire fish. The symmetrical culinary masterpiece next to it magnifies the sloppiness.

“No good-uh,” he says. He picks it up, and starts fixing it, laughing as he does so. “Qi sing.”

Photo Credit: frank_breech