I was most taken with fragments 89, 108, and 127. These three sections varied greatly. 89 is a short story about a man mistaking his dog for a monster, 108 prompts readers to contemplate how one should live life, and 127 is a short piece of wisdom. When taken together, these three sections encapsulate much of what I enjoyed about the Zuihitsu form. These small works vary in length, tone, and themes, but they feel cohesive in the context of “Essays in Idleness.” Together, they feel like a series of messages guiding audiences on how to live an excellent life. I appreciated how the juxtaposition between sections made the work feel perpetually fresh. Across the work, there were certainly repeating themes and motifs, but these more similar works were interspersed among the pieces. This choice also had the effect of making the work feel unified. Reading one section would make you recall a section many pages prior.

Zuihitsu feels like a natural method of capturing the study abroad experience. Being here, we are facing a massive number of unfamiliar elements including people, destinations, classes, and customs. This form is well suited to record this stage of life because it allows the author to focus on many stories and lessons simultaneously. Unlike many forms that incorporate competing trains of thought within a single work, which would create a disjointed and confused feeling, Zuihitsu is designed for this very task. Furthermore, a Zuihitsu can be built up over many days, so the final work is a holistic reflection rather than a moment.