Atsushi Fujiwara follows in the footsteps of his grandfather through the south of Japan, guided by the grandfather's book of tanka poems, which is also called Nangokusho. There is a lyrical feeling of loneliness and a quest for lost roots: the photographer's eye translates poetic verses into visual imagery, hunting the invisible and the long gone. A slow wandering through empty streets, railways and backyards, the book is a silent ode to the southern lands of Japan. In the afterword Akira Hasegawa notes that Kagoshima and beautiful Okinawa are dramatically different from the way the grandfather, who wrote under the art name Tohmon, saw them, that Fujiwara set out to pursue sceneries that no longer exist, and that any emptiness the reader senses in the photographs should be understood as the emptiness of post-war Japan.