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meeting in his usual jocular fashion, saying that Enoshi is touring the North American subsidiaries of KFK “to see what we’re up to,” and to ensure that “we’re all being good boys and girls.” Amy lifts a hand to screen the lower half of her face, to hide the tug of a cringing smile, and, she hopes, to distract from the exasperated flush she feels rising into her cheeks. Janasova is a smart man, an excellent science-administrator and a good CEO for an organization like Hurley-Cooper. Amy just wishes he would stop joking around. This is not the time and place for his lighthearted avuncular routine.
    A man like Enoshi Ken isn’t the type to approve of comedy in the boardroom, or any other room. He’s as straight a suit as one might find. With him, it’s all business all the time, right on down the line.
    Enoshi takes the floor. His opening remarks address the concept of daikazoku, the oneness of the corporation and all its subsidiaries, like one big family. Amy’s heard this spiel before. It’s part of Hurley-Cooper’s own orientation program for new employees. And in Amy’s view, the analogy is flawed. Any family she’s ever known could be characterized by diversity both in attitudes and objectives, whereas the point of a corporation is to get everyone pulling in the same direction. Doing that takes a lot more than morning anthems, more than group exercise, more than lectures on the “oneness of being,” or zen and the art of successful corping, and more than cute analogies. Making a corp successful means getting people to feel like they’re an integral part of something bigger than themselves. It means addressing people’s concerns, their frustrations, their complaints, their objections. It means trying to improve their lives, both off and on the job. It also means getting personal, and that’s what people like Enoshi Ken and other Tokyo suits never seem to comprehend.
    Or maybe they do understand it, but simply refuse to practice what they preach when dealing with non-Asians.
    Or maybe they don’t know how.
    Enoshi quotes the American editor and critic H.L. Mencken."Nine times out of ten,” he says, “in the arts as in life, there is actually nothing to be discovered. There is only error to be exposed.”
    Amy considers that in light of the fact that Hurley-Cooper Laboratories specializes in biomedical research.
    Just what is his point?
    “Allow me to now introduce to you Mr. Kurushima Jussai. Mr. Kurushima has been appointed by the board of KFK, North American Division, to assist us with the survey of North American subsidiaries. Mr. Kurushima is a graduate of Tokyo University and he and his staff are very highly qualified.”
    Kurushima, of course, turns out to be the Asian who accompanied Hurley-Cooper’s executive VP into the room. His suit is as black as his hair. He takes the floor and rambles on for nearly an hour, but the point of him being here is soon clear. Kurushima is an auditor. His staff is composed of auditors. They are here to examine the accounts of Hurley-Cooper, everything from income and expenditures to interdepartmental transfers, and no record anywhere will be excluded from examination.
    Janasova merely smiles paternally and nods as if pleased to accommodate the least request Kurushima might make. Amy glances across the table at Chang. The man’s brow is gleaming with perspiration.
    “It is our objective to complete this audit within two weeks,” Kurushima continues."I have assigned the senior members of my staff to coordinate the work with each of your areas of responsibility ..
    “How extensive do you expect this audit will be?”
    Janasova looks down the table."Amy—”
    “This is important, Vernon.” Amy puts up a hand to Janasova to forestall any further objections, then looks to Kurushima. The man does not seem at all perturbed at being interrupted. The emotionless mask of his face is without flaw.
    “I’m primarily concerned,” Amy explains, “with the