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【戦争が奪った片腕とネジ式の腕血管切断 水木しげる館-5】



　きのう、本来シリーズ的に「水木しげる」館探訪記を記していたのに、思わずわたし自身の「こころの原風景」のシンボルに遭遇して、詠嘆的にスピンアウトしてしまった。
　自分自身の「ふり返り」の時間、日々生存活動に没頭して無念無想で走り続けていた自分自身の足許を再探索し始めた２年近い時間経過。そうしたいとなみから「中心軸」を再度見定める時間が巡ってきた感。友人から「つげ義春のネジ式は、深い」というつぶやきにも似た印象があったけれど、あの同時代に青春期を過ごしていた人間としては、強く同意させられていた。「え、もう一回あの空気に身をさらすのか・・・」と。
　それもこれも、山陰鳥取県の西端・境港市の町のにぎわい復興の担い手として多くの日本人に共感を呼び起こしている「水木しげる」記念館の大きな「戦果」なのだと思う。わたし自身「作家と住空間」というテーマ設定でセカンドの行脚を旅し始めてきて、どうも自分自身の内臓探索にも似た気分を感じ続けている。
　やはり自分の決定的な「こころの場所」に帰ってこざるを得ない、という印象だろうか。
　写真は水木しげる記念館のフロントに置かれた「のんのんばあと水木しげる少年」の像。水木しげるはわたしの父母の年代に近い存在だけれど、かれも遭遇し活躍した戦後マンガの大嵐のなかから、わたし自身はその子ども世代として文化的に揺籃されてきたことに再度正対させられている。
　つげ義春は、15歳年上ということで、年代的にはわたしには歳の近い叔父か、年の離れた長兄のような年代層に位置している。なので「こころの時代感」としては父母よりも身近で、近接した同一時代的な存在。
　ネジ式には、水木しげる的などっぷりとした土着民俗性とは離陸した感覚がある。最初のイラスト画面、メメクラゲに攻撃されて血管が破断した腕を押さえながら、海から上陸してくる場面の上空にはB29とおぼしき爆撃機が描かれているような画面から「始まった」人生世代なのかも知れない。
　水木しげるは片手を戦争で失っている。
　夢ドラマとしての「ネジ式」では最後、モーターボートに乗った主人公が、血管をネジ式に改造した様子で海上を疾走するシーンで締めくくられている。このことが、水木とつげの「ミッシングリンク」の表現だったように、いまは強く思えている。さてどうだろうか？

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English version⬇

[One Arm Taken Away by War and Screwed Arm Vasectomy: Shigeru Mizuki – 5]
The war trace of Shigeru Mizuki’s “one arm” overlaps with the difficult “screwed” major story. The traces of the “heart” of postwar Japanese. …

　Yesterday, I had originally intended to write a series of articles on my visit to the “Shigeru Mizuki” museum, but I unexpectedly came across a symbol of my own “original landscape of the heart” and spun out into a poem.
　It has been nearly two years since I began to “reflect” on myself, and to re-explore my own footsteps, which I had been running without thought, immersed in daily survival activities. I feel as if time has come for me to re-focus on the “central axis” of my life. A friend of mine had the impression that “Yoshiharu Tsuge’s screw formula is deep,” and as someone who spent my adolescence in that same period, I was compelled to agree. But as someone who had lived through that period of adolescence, I strongly agreed with him.
　I believe that this is the great “war result” of the Shigeru Mizuki Memorial Museum, which has aroused the sympathy of many Japanese people as a leader in the reconstruction of the bustling town of Sakaiminato, located on the western edge of Tottori Prefecture in the San-in region. As I have begun my second journey on the theme of “the artist and his/her living space,” I continue to feel as if I am searching for my own internal organs.
　I guess I feel that I have to come back to my definitive “place of the heart.
　The photo is a statue of “Nonnonbato Mizuki Shigeru Boy” placed in front of the Shigeru Mizuki Memorial Museum. Although Shigeru Mizuki is close to the age of my parents, I am confronted once again with the fact that I, as a child of Shigeru Mizuki, have been culturally cradled in the midst of the postwar manga storm that he also encountered and was active in.
　Yoshiharu Tsuge is 15 years older than me, which puts him in the same age bracket as my uncle or eldest brother. Therefore, in my “sense of the age of the heart,” he is closer to me than my parents, and he is in the same age group as them.
　In Nejishiki, there is a sense of detachment from the Mizuki Shigeru style of indigenous folklore. Perhaps it is the generation of life that “began” with the first illustration screen, a screen that seems to depict a B-29 and a dim bomber in the sky above a scene of a man coming ashore from the sea while holding his arm with a broken blood vessel after being attacked by a meme jellyfish.
　Shigeru Mizuki lost one hand in the war.
　In “Nejishiki” as a dream drama, the film ends with a scene in which the main character, in a motorboat, is speeding through the sea with his blood vessels seemingly converted to a screw type. I now strongly feel that this was an expression of the “missing link” between Mizuki and Tsuge. What do you think?

●Notice
My book “The Writer and the Living Space” is published by Gentosha as an e-book.
Please visit Amazon for more information.

　
　

Posted on 6月 22nd, 2025 by 三木 奎吾
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【水木しげるからいっとき、スピンアウト・・・つげ義春へ】


　旅をするとそこで出会う情報の「宝庫」に刺激されて、どんどんとその領域が拡大してしまう。いまは、鳥取県境港市が市を挙げて観光活性化の起爆剤にしている水木しげるをめぐっての情報世界に耽溺しているのですが、その探索の過程でふと「つげ義春が、水木しげるの水木プロダクションというマンガ制作集団に一時期所属していた」という事実に突き当たって、あまりの懐かしさに、ついスピンアウトしてしまった・・・。
　まぁわたし自身の「人生まとめ」的なふり返りとしても、これからの自分自身の旅は機能していく予定なので、まったく目的的には合致する流れだなぁとひとりで腑に落ちている。
　そうなのです、1968-70年当時、戦後学生運動高揚期が青春期であったわたしは、やがて司馬遼太郎の日本人的な歴史文学世界に耽溺していく直前期、巨大な「日本マンガ文化大革命」のただ中でこころが燃え上がっていた。その最絶頂期に雑誌「ガロ」に突然掲載された、つげ義春「ネジ式」に強い衝撃を受けていた。
　「え、水木しげるは、つげ義春をスタッフとして使っていたんだ・・・」という驚き。
　これは、あの時代の空気感覚から「おい、オマエ、この世界のことを忘れたままにしておくのかよ？」と、激しい情熱で呼び戻される衝撃を感じさせられた次第。当然「参りました、いさぎよくその内奥からの叫び声に、身を任せることにいたします」と降参してきてしまっている。
　・・・ということで、何年も仕舞い込まれていた写真の記念碑的な「記録本」を眺め始めていた。
　はじめて読んだ「ガロ」は、当然、いま手許にはない。というか、そういったマンガ本の類いはその後の人生流転に付随する住居移転の結果として「もののあはれ」となってしまっている。写真の本は新潮社から2014年に発刊された本。ふと気付いて買い求めていた。ただ、その購入動機はすぐに読みたい、ではなくそのうち「ふりかえる」ときのため、と思って購入していたモノ。
　今回の水木しげるとつげ義春の「線」のつながりの発見は、だんだんラストのライフテーマとも重なってくるように思われてきております。
　
●お知らせ
拙書「作家と住空間」幻冬舎から電子書籍で発刊
お求めはAmazonで。
https://amzn.asia/d/eUiv9yO

English version⬇

[From Shigeru Mizuki to Iki, Spinning Out… to Yoshiharu Tsuge]
conflict between life and the culture of expression. Japan’s world-class “Manga Cultural Revolution” was exploding at the same time. I thought it was time to confront it once again. …

　When I travel, I am stimulated by the “treasure trove” of information I encounter there, and the realm of information expands more and more. In the process of my search, I suddenly came across the fact that “Yoshiharu Tsuge belonged for a time to a manga production group called Mizuki Productions,” which is owned by Shigeru Mizuki, and I was so nostalgic that I spun out. I was so nostalgic that I spun out of the page….
　Well, my own journey will also function as a “summary” of my own life, so I am convinced that this is exactly the right course of action for my purpose.
　I was in my youth from 1968 to 1970, when the postwar student movement was in full swing, and just before I became absorbed in the Japanese historical literature of Ryotaro Shiba, my heart was burning in the midst of the huge “Japanese Manga Cultural Revolution”. At the height of the revolution, Yoshiharu Tsuge’s “Nejishiki,” which suddenly appeared in the magazine “Garo,” had a strong impact on him.
　I was surprised that Shigeru Mizuki was using Yoshiharu Tsuge as a staff member.
　This was a callback from the atmosphere of that era, “Hey, omae, are you going to leave this world behind you?” I felt the shock of being called back to the world with intense passion. Naturally, I have surrendered, saying, “I am here, and I am going to let myself be overcome by the cry from deep within.
　So I began to look at the monumental “record book” of photographs that had been stowed away for years.
　Naturally, I don’t have the “Garo” that I read for the first time. Or, rather, those kinds of manga books have become a thing of the past as a result of my subsequent life changes and residential relocations. The book in the photo was published by Shinchosha in 2014. I suddenly realized that I had to buy it. However, my motive for purchasing the book was not that I wanted to read it right away, but rather that I wanted to have it for when I “look back” on my life in the future.
　The discovery of the connection between Shigeru Mizuki and Yoshiharu Tsuge’s “lines” seems to gradually overlap with the last theme of my life.
　
●Notice
My book “Writers and Residential Space” is published by Gentosha as an e-book.
Please visit Amazon to purchase it.

Posted on 6月 21st, 2025 by 三木 奎吾
Filed under: 日本社会・文化研究 | No Comments »

【北前交易「回船問屋」の血脈 水木しげるに会いに行く-4】



　水木しげるは、1922（大正11）年に生まれている。出生届出地は父の勤務の関係で大阪だったが生後間もなく、実家のある境港に移り住んだ。記念館のパンフに掲載されている写真を見ていて、わたしの父母とも時系列的にほぼ同時代性を感じる写真群で、深く癒されている。私の父母とは十数年〜数年程度のタイムラグがあって水木しげるはやや年少になるけれど、ほぼ同時代と言える。北海道と鳥取という遠隔地だけれど、同じような「時代の空気」に揺籃されていたのだと伝わってくる。それがまた、わたしの父母への思いとも重なって癒される次第。
　人間のなかのある種の人たちは「歴史」に惹かれるものだろうけれど、その心象のコアにはこういった空気感への共感があるのだろうと思う。血脈の説得力から時代環境への温度感のあるあたたかさ。わたしの祖父母たちの年代は、こうした風景の「日本海交易」の船便を利用して瀬戸内海側の鞆か尾道から船出して、遠く北海道の小樽まで移住大移動をしていた。日本民俗史のなかですれ違いするのだけれど、袖擦れ合うも他生の縁、という言葉もあるけれど、そのような残響がこだましてくる。


　こちらの写真は境港の漁港の水揚げ風景と養蚕・まゆの出荷風景。こういう時代風景の中から多くのひとの人生がスタートしていたのだと詠嘆させられる。そして先日掲載したような宍道湖の夕景のような自然の輪廻の中で日々の暮らしがあったことが想像力に沸き立ってくる。
　北前船交易の主役としての「廻船問屋」という存在はまさに地域経済を引っ張る存在だったことだろう。あらゆる地域産品生産者と直接つながり、全国の交易相手に地域産品を売りさばく。まさに経済中核。マンガ文化勃興期から現代に至るまで、水木しげるはその環境で活躍したけれど、血脈はこのような社会背景の中で存続し生き長らえてきた存在であった。

●お知らせ
拙書「作家と住空間」幻冬舎から電子書籍で発刊
お求めはAmazonで。
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English version⬇

[Bloodlines of the Kitamae trading “Kaisen wholesaler” – Going to see Shigeru Mizuki – 4]
When I grasp the social background and time line, I feel “Sleeve rubbing together is another life’s fate”. The intersection of each bloodline. The Sea of Japan, quiet waves. The Sea of Japan, quiet waves.

　Shigeru Mizuki was born in 1922. His birthplace was Osaka due to his father’s work, but soon after his birth, he moved to Sakaiminato, where his parents lived. Looking at the photos in the pamphlet of the museum, I am deeply comforted by the fact that they are almost chronologically the same as those of my parents. Although there is a time lag of about ten to several years between my parents and Mizuki Shigeru, and Mizuki Shigeru is slightly younger than my parents, I can say that they were almost the same age. Although they lived in remote locations in Hokkaido and Tottori, I can feel that they were cradled in the same “atmosphere of the times. This also overlaps with the feelings I have for my parents, and it soothes me.
　I believe that certain people are attracted to “history,” and that at the core of their emotional response is a sense of empathy with this kind of atmosphere. From the persuasive power of the bloodline to the warmth of the temperature of the environment of the times. In my grandparents’ generation, people of their generation used the “Sea of Japan Trade” shipping services to leave Tomo or Onomichi on the Seto Inland Sea side and migrate as far away as Otaru in Hokkaido. Although our paths crossed in the course of Japanese folklore history, there is an echo of the phrase, “Sleeve rubbing against sleeve is another life’s karma,” that echoes through the air.

　The photos here show a scene of a fishing port in Sakaiminato, where fish are landed and silkworms and silkworm cocoons are shipped. It makes me marvel at the fact that many people’s lives began in these scenes of the times. And the evening view of Lake Shinji, as shown in the previous article, brings to the mind’s eye the idea that people lived their daily lives in the cycle of nature.
　The presence of “shipping wholesalers” as the main players in the Kitamae-bune trade must have been a driving force in the local economy. They had direct connections with producers of all kinds of local products and sold them to traders all over the country. They were the very core of the economy. Shigeru Mizuki was active in this environment from the rise of manga culture to the present day, but his bloodline has survived and thrived in this social context.

●Notice
My book “The Artist and the Living Space” is published by Gentosha as an e-book.
Please visit Amazon for more information.
　

Posted on 6月 20th, 2025 by 三木 奎吾
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【のんのんばあと「根の国」民俗 水木しげるに会いに行く-3】


　創作者にはその人生を賭けて追究する大テーマ「始原の感覚」というものが存在するだろうと思う。内面世界においてそここそが出発点だと見えてくる「原風景」。
　この水木しげるの世界観を探訪してみて、その根っこにある妖怪譚への根掛かりの思いの強さを感じ続けていた。まるでスサノオの神話研究で出現する「根の国」とも通ずるような民俗がそこに集中しているように感じさせられるのだ。同じ中国地方出身・兵庫県中西部の福崎で出生した柳田國男は、成長過程で千葉県西部で過ごしていた時期に民俗学の創始に至る印象的な神秘体験をした。一方対比的に、民俗としての妖怪譚に魅入られた水木しげるは、その導師として「のんのんばあ」との出会いが強烈だったのだろう。
　図は「水木しげる記念館」パンフからと、柳田國男の国会図書館・肖像記録。

　この水木の妖怪譚世界を知るほどに、わたし的には柳田國男が発掘した「遠野物語」との深い同質性を感じさせられている。拙書のなかでも触れたけれど柳田が12-3歳の頃、寄留していた小川家旧宅にあったヒスイ玉を盗み見たときに、ある天啓のような目眩・ショックを受けてしまった故事との同質性を感じざるを得なかった。
　水木しげるの場合、地域に残り伝えられてきた「妖怪譚」を強烈に伝授された。のんのん（仏）ばあとは近所の「拝み屋」（霊媒を生業としているものの蔑称。霊媒師、霊能者等。）とされる。武良家という地域の有力者の次男坊としての暮らしの中で、この地域の、神話世界「根の国の世界」とも通底している妖怪譚に根源的な興味を叩き込まれたのだと思う。女性の愛を底に持って包み込むように導かれたことは少年・水木しげるにとって独自の「根の国」観を育てていったのだと想像できる。
　わたし自身は中国地方、それも山陽地域に血の出自を感じている北海道人だけれど、ある部分ではこのような「根の国」観には郷愁にも似たものを感じさせられる。また、スサノオ神話の持つ暴力性・異様さが妖怪譚と通底しているとも感じさせられる。まぁいまはあくまで印象だけれど。・・・

●お知らせ
拙書「作家と住空間」幻冬舎から電子書籍で発刊
お求めはAmazonで。
https://amzn.asia/d/eUiv9yO

English version⬇

Nonnonbhato “Nenokuni” & Folklore: Meeting Shigeru Mizuki – 3]
I feel a ‘connection’ between the mythological world of Susanoo’s “Nenokuni” and yokai tales. And it may be connected to Kunio Yanagida’s “folklore” as well. …

　I believe that there is a great theme, “the sense of origin,” that creators pursue with their whole life. The “primordial landscape” that appears to be the starting point in the inner world.
　In this exploration of Shigeru Mizuki’s worldview, I kept feeling the strength of the rootedness of his desire for yokai tales. It is as if there is a concentration of folk customs there that can be likened to the “root country” that emerges in the study of the myth of Susanoo. Kunio Yanagida, who was born in Fukusaki in midwestern Hyogo Prefecture, also from the Chinese region, had an impressive mystical experience that led to the founding of folklore during the time he spent growing up in western Chiba Prefecture. In contrast, Shigeru Mizuki, who was fascinated by yokai tales as folklore, had a powerful encounter with “Nonnomba” as his guide.
　The figure is from the pamphlet of “Mizuki Shigeru Memorial Museum” and the portrait record of Kunio Yanagida at the National Diet Library.
　The more I learn about Mizuki’s world of yokai tales, the more I feel a deep similarity with the “Tales of Tono” that Kunio Yanagida unearthed. As I mentioned in my book, when Yanagida was 12 or 3 years old, he stole a jade ball from the Ogawa family’s old house where he was staying, and I couldn’t help but feel a similarity with the story of how he received a dizzying shock like a revelation.
　In the case of Shigeru Mizuki, the “yokai tale” that remained in the region and had been handed down to him was passed down to him with great intensity. The “Nonnon (Buddha) Baba” was a “worshipper” (a derogatory term for those who make their living as mediums, such as mediums and psychics. It is said that he is a “medium,” “psychic,” etc.). The name “NONNON (Buddha)” is said to be a derogatory term for those who are engaged in mediumship. I believe that in his life as the second son of a powerful family in the area, the Takura family, he developed a fundamental interest in the tales of yokai, which have a common thread with the mythical “world of the root country” in this area. I can imagine that the boy Shigeru Mizuki developed his own unique view of the “Land of Roots” when he was guided to embrace the love of women at the bottom of his heart.
　Although I myself am a Hokkaido native with blood ties to the Chugoku region, particularly the Sanyo area, this view of the “land of roots” makes me feel a certain amount of nostalgia. I also feel that the violence and strangeness of the myth of Susanoo has something in common with yokai tales. Well, this is just an impression. I am just giving my impression for now.

My book “The Writer and the Living Space” is published by Gentosha as an e-book.
Please visit Amazon for more information.

Posted on 6月 19th, 2025 by 三木 奎吾
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【人間探訪は環境と血の把握から 「水木しげる」に会いに行く-2】



　山陰・島根〜鳥取から岡山・神戸と旅したのですが、やはりカミさんの「足立美術館訪問希望」がきっかけでしたので、今回は松江を拠点にあちこちと日本海側を巡った旅でした。わたし自身の家系的には広島県福山が縁のある地域なので訪れることが多い。山陰海岸側は出雲大社参詣機会は多いけれど、それ以外はほとんど見たこともなかった。そもそも島根県の県庁所在地が松江だと今回初めて知ったし、また鳥取県の県庁所在地としてまんまの「鳥取市」がある事実さえ、あいまいだったのだ。
　一方、小中学生当時に手塚治虫から始まった戦後マンガ文化革命の空気感に包まれて育った人間なので、そういったマンガ作家群のなかでゲゲゲの鬼太郎の作者として水木しげるへの多少の知識を持っていた程度。今回の旅で「そういえば」と人生記憶復元してきたのがホントのところ。
　しかし出雲や白ウサギ伝説、国譲りなどなど神話の豊穣な世界が現代にまで息づいている地域柄から、このマンガ作家のことを再探索してみるとこの地域の「文化的」環境性が大きく迫ってくる。水木の「妖怪譚」のルーツにこの地域全体が色濃く関わっていることが浮かび上がってくる。
　一方でこの地域・境港は日本海交易の重要な拠点地域だとその最終目的地に当たる北海道人として認識している。事実として水木しげる〜本姓「武良」家〜は戦国期以来の武家の有力勢力であり、日本海交易が盛んになった時代には「廻船問屋」を営んでいた家系なのだという。日本の地域の歴史を通してこういった血脈の動態「変遷」は普遍的であり、そういう背景環境から水木しげるという人間は成立したことがわかる。マンガ作家として未曾有の成功を収めたかれは、晩年期、建て替えた生家で日本海と「中海」をつないでいる「境水道」に面してその海の船の往来を眺めて暮らしていたと言われる。その生家は水木しげるのマンガ作品を集団制作する「水木プロダクション」の所有として現在に至っているのだという。
　旅していろいろな体験をするけれど、最後は人間への強い興味が、そこに投影されて記憶が深まっていくものだと思う。しばし、そういう世界に浸ってみたい。

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English version⬇

The human exploration starts from the understanding of the environment and blood. The family lineage that ran a shipping wholesaler in the Sea of Japan trade. The search for “human” from the geopolitical environment and bloodline traditions. The family’s history and history of the people.

　I traveled from San’in/Shimane/Tottori to Okayama/Kobe, and since my wife wanted to visit the Adachi Museum of Art, this trip was based in Matsue, and we toured around the Sea of Japan side. My family has a connection with Fukuyama in Hiroshima Prefecture, so I often visit there. On the San’in Coast side, there are many opportunities to visit Izumo-taisha Shrine, but other than that, I had never seen much of the area. This was the first time I learned that the capital of Shimane Prefecture is Matsue, and even the fact that Tottori City is the capital of Tottori Prefecture was vague to me.
　As someone who grew up surrounded by the atmosphere of the postwar manga cultural revolution that began with Osamu Tezuka when I was in elementary and junior high school, I had some knowledge of Shigeru Mizuki as the author of Gegege no Kitaro among such manga artists. In fact, this trip has restored my life memory of Shigeru Mizuki.
　However, the area is rich in mythology, including Izumo, the legend of the White Rabbit, and the handing over of the country to the Japanese, and when I re-explored this manga artist, the “cultural” environment of the region came to the fore. The roots of Mizuki’s “yokai tales” are strongly connected to the region as a whole.
　On the other hand, as a Hokkaido resident, I recognize Sakaiminato as an important hub for trade on the Sea of Japan, the final destination of which is the port of Sakaiminato. As a matter of fact, Shigeru Mizuki, whose family name is Takara, has been a powerful warrior family since the Warring States period, and his family was a “shipping agent” when trade on the Sea of Japan was flourishing. This dynamic “transition” of the bloodline is universal throughout the history of Japan’s regions, and it is clear that Shigeru Mizuki was established in such a background environment. In his later years, Mizuki, who achieved unprecedented success as a manga artist, is said to have lived in his newly rebuilt house facing the Sakai Waterway, which connects the Sea of Japan and the Naka Sea, and watched the ships come and go. The house is now owned by Mizuki Productions, the company that produces Shigeru Mizuki’s manga works.
　When you travel, you experience many things, but in the end, your strong interest in people is projected onto them and deepens your memories. I would like to immerse myself in such a world for a while.

●Notice
My book “Writers and Living Space” is published as an e-book by Gentosha.
Please visit Amazon for more information.

Posted on 6月 18th, 2025 by 三木 奎吾
Filed under: 日本社会・文化研究 | No Comments »

【島根県境港の記念館へ 「水木しげる」に会いに行く-1】



　今回の山陰を中心にしたツアーは、カミさんの「足立美術館に行きたい」という強いリクエストから動機がスタートした計画。わたしとしては婦唱夫随的に、喜ばしく従わせていただいた経緯。ということだったのですが、いろいろな訪問スケジュールを計画していって大きな候補地になっていったのが、島根県の松江市街からクルマで１時間ほど離れた境港市にある「水木しげる記念館」。
　下の「お知らせ」にあるようにまとめた「作家と住空間」というライフテーマをジミジミとたどっていると、次第に「作家」のなかで自分自身にとっては「マンガ家」の存在が非常に大きく、石ノ森章太郎以降に知った描き手たちに強いシンパシーを感じていることが浮き彫りになってきていました。
　水木しげるは、そういうマンガ家たちのひとりではあるのですが、わたしがマンガにのめり込むようになったのは石ノ森章太郎、藤子不二雄、赤塚不二夫の年代・漫画少年という雑誌が掘り起こした作家たちであって、東京豊島区の「トキワ荘」を聖地とする年代層が中心だった。自分もヘタなマンガを描いて投稿したりしたのは、こうしたマンガ作家年代に後続したい、という気分を持っていた。
　一方で戦前から戦後すぐの頃には「貸本屋」マンガ文化という存在があって、白土三平やこの水木しげるなどの作家たちの流れもあった。年代的には戦中期を生きてきた親世代に近い存在だった。そうした年代のマンガ家たちもやがて少年週刊誌の世界で作品を発表するようになっていった。
　水木しげるは出征経験がありその結果、片手を喪失しつつマンガ作品を書き続ける作家として独特の存在感を占めていた。そのかれの「記念館」が生地の堺港にあると知ったのだ。
　わたし自身はそういった年代で、またマンガ家夢見から挫折した少年期以降はマンガとは縁遠い人生を歩き続けていたので、水木しげるのさまざまな活動については深く知る機会はなかった。しかし、猛烈に「なつかしい」気分で少年期にフィードバックさせられるメルクマールとして浮かび上がってきていた。・・・
＜この項、あした以降に続く＞

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English version⬇

To the memorial museum in Sakai Port, Shimane Prefecture, to meet “Shigeru Mizuki” -1]
Manga culture has thrived since my boyhood. A rare presence who also shared his war experiences. A manga artist with a glow like the setting sun on Lake Shinji. I was a young boy when I was a child.

　This tour around the San-in region was motivated by my wife’s strong request to visit the Adachi Museum of Art. I, for my part, was happy to comply with her request. However, as we planned our visit schedule, one of the major candidates was the Shigeru Mizuki Memorial Museum in Sakaiminato City, about an hour’s drive from Matsue City in Shimane Prefecture.
　As I was deeply exploring my life theme of “Artists and Living Space,” which I have summarized in the ‘Notice’ below, it gradually became clear that among “artists,” “manga artists” were very important to me, and that I felt strong sympathy for the artists I had come to know after Shotaro Ishinomori. Mizuki Shigeru is one such manga artist.
　Shigeru Mizuki is one of these manga artists, but it was around the time of Shotaro Ishinomori, Fujiko Fujio, and Fujio Akatsuka that I became absorbed in manga. These were the artists that Manga Shonen magazine had uncovered, and the pioneering “Tokiwaso” in Toshima-ku, Tokyo, was a major part of that generation. They were in the mood to draw and submit bad manga, following in the footsteps of these manga artists’ generation.
　On the other hand, there was a “rental bookstore” manga culture from the prewar period to the immediate postwar period, which included such trends as Sanpei Shirado and this Shigeru Mizuki. In terms of age, they were close to the generation of their parents who lived through the middle of the war. Manga artists of that generation eventually began to publish their works in weekly boys’ magazines.
　Shigeru Mizuki, who had been in the war and lost one hand as a result, occupied a unique presence as an artist who continued to write manga works. I learned that there is a “memorial museum” for him in Sakai Port, where he was born.
　I myself was of that age, and since I had been living my life far away from manga since I was a young boy who had failed in his dream of becoming a manga artist, I had no opportunity to learn much about Shigeru Mizuki’s various activities. However, I had never had a chance to know about Mizuki Shigeru’s various activities in depth, but they emerged as a merkmal that made me feel intensely “nostalgic” and fed back to my boyhood. .

My book “Writers and Living Space” is published by Gentosha as an e-book.
Please visit Amazon for more information.

Posted on 6月 17th, 2025 by 三木 奎吾
Filed under: 出張＆旅先にて | No Comments »

【白ウサギ神話世界から現代世界に帰還・・・】



　昨日、１週間の旅程から自宅に帰還いたしました。
　そういえば、ということで夫婦で話していたのですが、ずっと職住一体の環境で過ごしてきていたので、これくらいの時間、夫婦とも家を空けていたというのははじめての経験でした。感謝。
　写真は今回のツアーでひときわ心に残った「因幡の白ウサギ」神社に置かれていた白ウサギ像。出雲大社にはなんども訪れていたのですが、因幡国〜鳥取県はまったくはじめての旅。砂丘は有名だけれど実際に来て見たら「白兎神社」というお社も実際にあることを確認できた（笑）。なんでもこの神社は古事記・日本書紀にもその名が記されている由緒のあきらかな神社とのこと。おお、であります。
　因幡の白ウサギというお話しは童話の類いのことと思い続けていた人生。それがこういう神話には、象徴的に古代の政争の痕跡、地域間の関係性・地政学が反映されているという「学び」実体験であります。たいへん奥行きの深い世界なので、じっくりと楽しみながら想像の世界にリアリティをもって探ってみたいと思わされた。
　山陰地域にはそういった世界観が眠っているように感じられた次第。
　一方、神戸〜関西圏に「帰って」くると、まさに躍動的な現代世界の象徴性が復元してくる。さまざまな時空を巡り歩いたような感覚でしょうか。一期一会の興味深い旅でした。で、関西から北海道札幌まで復帰。さすがに道中の旅の疲れが積層して、飛行機ではただただ爆睡。こんな「あっという間」フライトは初体験（笑）。
　ブログでは徐々にこの旅での訪問先などの深掘り型の探究をしてみたいと思っています。そういった中から、また新たな気付きが掘り起こされていくことに期待していきたいです。まぁ、浦島太郎の心境で、また現実世界に復帰していきたいと思っている次第。よろしく。

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English version⬇

The White Rabbit Shrine is mentioned in the Kojiki (Records of Ancient Matters). A trip to a world where one can actually feel the myths is truly stimulating for the imagination. I would like to imagine and explore various things from now on. I am looking forward to exploring them in the future.

　Yesterday, I returned home from a week-long trip.
　As we were talking about it, it was the first time for us to be away from home for such a long time, since we have been living in an environment where we work and live together all the time. I am grateful for that.
　The photo is of the white rabbit statue at the “White Rabbit of Inaba” shrine, which left a particularly strong impression on me during this tour. I had visited Izumo-taisha Shrine many times, but this was my first trip to Inaba and Tottori Prefectures. The dunes are famous, but when I actually came here, I was able to confirm that there is in fact a shrine called “White Rabbit Shrine” (laugh). The name of this shrine is mentioned in the Kojiki (Records of Ancient Matters) and Nihonshoki (Chronicles of Japan), and is said to have a clear history. Oh, yes.
　I had always thought that the story of the White Hare of Inaba was a fairy tale. However, I have “learned” that such myths symbolically reflect traces of ancient political conflicts, relationships among regions, and geopolitics. It is a world of great depth, and it made me want to take the time to enjoy and explore the world of imagination with reality.
　I felt that such a world view is sleeping in the San’in region.
　On the other hand, when I “returned” to Kobe and the Kansai region, the symbolism of the dynamic modern world was restored. It was an interesting trip of a lifetime. It was an interesting trip of a lifetime. So, I returned from Kansai to Sapporo, Hokkaido. As expected, the fatigue of the road trip had built up, and I simply fell asleep on the plane. It was my first experience of such a “fleeting” flight (laugh).
　I would like to gradually start writing an in-depth exploration of the places I visited on this trip in my blog. I hope that new insights will be unearthed from such explorations. Well, I would like to return to the real world with the mind of Urashima Taro. Best regards.

●Notice
My book “The Writer and the Living Space” is published in e-book form by Gentosha
For more information, please visit Amazon.

　

Posted on 6月 16th, 2025 by 三木 奎吾
Filed under: 出張＆旅先にて | No Comments »

【関西〜中国地方旅路を楽しませてくれるツバメたち】



　１週間の旅程での関西〜中国路の旅、昨日は神戸に入りました。本日は関西を発って札幌に帰還予定。
　全国あちこち飛び回る人生行脚ですが、そのなかでも最近は神戸の訪問回数は多い。たぶん東京での滞在に次いで多いかも。親しくしている知人が神戸出身で縁が深いこともあるけれど、札幌人には「明治以降に急速に世界に開かれた」都市としての親近感があるかもしれない。少し「帰ってきた」感がある。ただ最近神戸は人口減少が進んでいて、全国規模の「投資」活動では高層ビルなど、現在は関西では大阪一極集中なのだそう。ややさみしい話題。
　さて一方、旅の間、写真のようなツバメたちの群舞に各地で遭遇していた。初夏のツバメさんたちの「子育て」時期に遭遇していたということでしょうが、札幌ではほとんど見かけない光景に癒され続け。山陰〜中国路の観光地の木造建築などでかれらの巣作りに出くわし、巣のなかの子ツバメに親鳥が活発に餌やりする乱舞を観察。わたしが遭遇した範囲では人間との衝突は起こらず、ただ微笑ましく観察させていただいていた。２枚目の写真では決定的に「餌やり」の一瞬の光景もウォッチさせていただけた。
　そんな様子が読売新聞のWEB版で報道されていた。〜解体工事中の富山県砺波市内の家屋で、ヒナがかえったばかりのツバメの巣が見つかった。業者は工事を延期、その成長ぶりを温かく見守っている。＜6/14(土) 17:37配信＞〜という記事。親ツバメの餌やりの決定的瞬間の写真がありましたが、わたしの上の写真とほぼ同様。わたしのiPhone写真でも負けていないと勝手に自己満足（笑）。
　この時期、札幌市のLINE広報などもっぱら「ヒグマ情報」ばかり流れてくる昨今ですが、こちらではおだやかな人間側の対応といい、平和な地域性を実感させられますね。

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English version⬇

Swallows entertain us on our journey from Kansai to the Chugoku region.
In the Honshu region, we encountered the gentle scene of swallows raising their young. The cute swallows kept us entertained. On the other hand, brown bear warnings were frequently issued in Sapporo. Now, let’s go home. ……..

　I entered Kobe yesterday on my one-week itinerary Kansai-Chugoku route trip. Today I will leave Kansai and return to Sapporo.
　I have been traveling all over the country, but recently I have been visiting Kobe more often than anywhere else. Perhaps second only to my stay in Tokyo. This is partly because one of my close acquaintances is from Kobe and I have a close relationship with the city, but it may also be because Sapporo people feel a sense of familiarity with the city that was “rapidly opened to the world after the Meiji period. There is a sense of “coming home. However, Kobe’s population has been declining recently, and nationwide “investment” activities, such as high-rise buildings, are now concentrated in Osaka in the Kansai region. A somewhat sad topic.
　On the other hand, during my trip, I encountered swallows dancing in groups, as shown in the photo, in various places. I guessed that I was encountering swallows in early summer when they were raising their young, but I was continually soothed by the sight that I rarely see in Sapporo. I came across them nesting in wooden buildings in sightseeing spots along the San’in and Chugoku routes, and observed their wild dance as the parents actively fed their young in the nests. In the second photo, I was able to watch a decisive moment of “feeding.
　The Yomiuri Shimbun reported the scene in its web edition. 〜A swallow nest with newly hatched chicks was found in a house in Tonami City, Toyama Prefecture, which was under demolition. The contractor has postponed the construction and is warmly watching its growth. ＜The article was published on Saturday, June 14 at 17:37. There was a photo of the decisive moment of the feeding of the parent swallows, which is almost the same as my photo above. I was pleased with myself that my iPhone photo was not inferior to it (laugh).
　I am very proud of myself that my iPhone photos are as good as the ones above (laugh).

Notice
My book “Writers and Living Space” is published by Gentosha as an e-book.
You can buy it on Amazon.
　
　
　

Posted on 6月 15th, 2025 by 三木 奎吾
Filed under: 出張＆旅先にて | No Comments »

【最後の訪問県「鳥取」で全県踏破達成！】



　写真は鳥取の大スター「石破」さんを顕彰（笑）する地元のお菓子と、ご存知「鳥取砂丘」。
　政治家で総理大臣になると地元ではそのお祝いの菓子が売り出されるのが日本地方文化のひとつの「定番」。ついに鳥取県からも総理が輩出したという歓喜が伝わってくるかのようでした。・・・残念ながらこういうのを見かけたのはごく一部の観光スポットでだけでしたが。
　さて、わたしの人生は北海道から始まって、この鳥取まででついに「全国踏破」を達成できました。お隣の島根県までは出雲大社があるので5-6回は来ているけれど鳥取県はまったく、ようやくはじめての訪問。元気なウチに達成できたことがなんとなくしみじみとうれしく感じられていた。
　わたしの人生行脚はほぼ同時並行でクルマ「移動革命」と同時進行してきたことが島根・松江からの移動中、アタマのなかで想起されていた。4-5歳の頃に自転車の練習中、当時のわが家は札幌市内有数の交通要衝地だったことで、あやうくクルマに轢かれそうになった。なので怖れた父親から自転車の練習を禁じられた。幼心にそのことがトラウマで以来、18歳になったらすぐに自動車の運転免許を取りたいと念願してきた。
　そういう「移動の自由」のありがたさを感じ続けてきた人生行脚だった。それが一応、今回の鳥取訪問で無事「全県踏破」が完了した次第。自分でハンドルを握って走行路を体感しながら移動する歓び、実感。
　なんですが、鳥取県は現在でも「高速道路」網が未成熟のようですね。またいつか来られたら、もっと便利に移動できるように願っております。いろいろ批判はあるでしょうが石破さんの総理就任がそういう契機になることも、わたしとしては許して上げたい（笑）。
　鳥取砂丘ではなんとか、裸足で踏破も完了しました。石破の地元には「砂場」もあるとのこと。

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English version⬇

[The last prefecture I visited, “Tottori,” I completed the entire prefecture!
The survival of the human race in the 20th and 21st centuries began and ended with almost being hit by a car while practicing bicycle riding. I achieved payback by traveling by car and crossing all prefectures in Tottori (laugh). …….

　The photo shows local sweets honoring (lol) Tottori’s great star “Ishiba” and the well-known “Tottori Sand Dunes.
　It is one of the “staples” of Japanese regional culture that when a politician becomes prime minister, local people sell sweets in celebration. It was as if one could feel the joy of finally producing a prime minister from Tottori Prefecture. Unfortunately, I only saw this kind of thing in a few tourist spots.
　Well, my life started in Hokkaido, and now I have finally completed my “journey across the whole country” to Tottori. I have been to the neighboring Shimane Prefecture 5-6 times since Izumo-taisha Shrine is located there, but this was my first visit to Tottori Prefecture. I was feeling happy that I could accomplish this while I was still in good health.
　When I was 4 or 5 years old, I was almost run over by a car while practicing bicycle riding, as our house was located in one of the most important transportation hubs in Sapporo. My father, who was afraid of me, forbade me to practice riding my bicycle. I was so traumatized by this incident in my childhood that I have longed to obtain a driver’s license for a car as soon as I turned 18 years old.
　I have always felt grateful for such “freedom of movement” in my life journey. This visit to Tottori, then, was the first time for me to have successfully “completed the entire prefecture” of Japan. I felt the joy of traveling by myself, holding the steering wheel and experiencing the road.
　However, it seems that the “expressway” network in Tottori Prefecture is still in its infancy. I hope that when I visit Tottori again, I will be able to move around more conveniently. I know there will be a lot of criticism, but I would like to allow Mr. Ishiba’s inauguration as prime minister to be an opportunity for this kind of thing (laugh).
　I managed to complete a barefoot tramping tour of the Tottori Sand Dunes. I heard that there is also a “sandbox” in Ishiba’s hometown.

Notice
My book “The Writer and the Living Space” is published in e-book form by Gentosha
Please visit Amazon for more information.
　

Posted on 6月 14th, 2025 by 三木 奎吾
Filed under: 出張＆旅先にて | No Comments »

【旅路でめぐり会う「友」との対話】


　どうも最近、目に触れる動物たちにこころが「惹かれ」やすい。
　写真は昨日ふとめぐり会ったワンちゃん。ある古民家街区の家の窓外に「ひなたぼっこ」するように敷物に端座。その上方に飼い主の「紹介文」が張られて「このイヌはふだんは大人しい性格ですが、不意にアタマに刺激が加わると怒り出します」みたいな「警告文」が添えられていた。
　飼い主の一種の愛情表現で「そっとして上げてね。この子はこの日光浴が無上の楽しみなんです。その自由を束縛しないでください」という意味だろうと受け取りながら、道を歩いていてふと立ち止まらされたわたしは、そういう「ふたり」の愛情生活にもこころが吸い寄せられた。そうしたら女性の飼い主さんが、この挙動不審な男はワンちゃんにひょっとして危害を加えるのではと不安になったか、笑顔で声を掛けてきていただいた。これもまた、愛情の深さからなのか。
　飼い主の方は「お向かいにはステキな眺めの見える店舗の建物がありますよ、ぜひご覧ください」と積極的に推奨されていた。ことここに至って体よく「立ち去れ」と言われていると理解し、感謝を申し述べてからオススメに従った。お店ではなぜか呼吸を合わせたように入ってすぐに非常に細やかにご案内いただいていた。なんでも、古い布きれの味わいを活かして再生利用したファッション製品のお店らしく、店舗自体も古民家としての味わいへの深い「愛」を感じられるような佇まい。そのディテールから伝わってくる店舗建築だった。
　親切な案内をしていただいた方は、お向かいのイヌの飼い主さんのお孫さんの女性であるとあとでお知らせいただいた。たいへん「呼吸」が合っていて素晴らしかった。店舗はここが発祥で全国30箇所以上にに広がっていて札幌にも店舗展開されているのだと伺った。あとで確認したいと思った次第。
　わたしには、この写真のワンちゃんがすべてを「仕切っている」ように感じられた。

　帰り道、ある木造公共建築にて、今度はツバメたちの大歓迎。
　どうも、動物たちによわくなってきている。メロメロ高齢者の放浪日記（笑）。

●お知らせ
拙書「作家と住空間」幻冬舎から電子書籍で発刊
お求めはAmazonで。
https://amzn.asia/d/eUiv9yO

English version⬇

A Dialogue with a “Friend” You Meet on a Journey]
The canine you meet has an annoyed look on his face. The dog I met looked annoyed, and I wanted to talk to him, but his owner gently told me to go away. Haikai” A journey for the elderly. The journey of an elderly person.

　Lately, I have been easily “attracted” to animals that I come in contact with.
　The photo is of a dog I came across yesterday. It was sitting on a rug outside the window of a house in an old neighborhood, as if it was “basking” in the sun. Above it, the owner’s “introduction” was posted, along with a warning message saying something like, “This dog is usually quiet, but if its head is suddenly stimulated, it will become angry.
　It was an expression of affection by the owner, saying, “Please leave him alone. This child enjoys sunbathing. I was drawn to the affectionate life of the “two” as I walked along the street and stopped to take in the message. Then, the female owner approached me with a smile, as if she was worried that this suspicious man might harm her dog. Was this also out of love?
　The owner actively recommended, “There is a store building across the street with a lovely view, please take a look. I understood that I was being asked to “leave” in a very physical manner at this point, and after expressing my gratitude, I followed the recommendation. Somehow, as if breathing in unison, we were given a very detailed tour of the store as soon as we entered. It seems to be a store of fashion products made from recycled old fabrics, and the store itself is designed in such a way that one can feel a deep “love” for the taste of the old house. The store itself was designed in such a way that one could feel the deep “love” for the taste of the old house from the details of the architecture.
　We were later informed that the person who kindly guided us around was the granddaughter of the owner of the dog across the street. It was wonderful to see how well they “breathed” together. I was told that the store originated here and has spread to more than 30 locations throughout Japan, including a store in Sapporo. I wanted to check it out later.
　To me, the dog in the photo seems to be “in charge” of everything.

　On my way home, I was welcomed by swallows at a wooden public building.
　I’m getting more and more scared of animals. A wandering diary of a melodramatic elderly person (laugh).

Notice
My book “Writers and Residential Space” is published by Gentosha as an e-book.
You can buy it on Amazon.

Posted on 6月 13th, 2025 by 三木 奎吾
Filed under: 出張＆旅先にて | No Comments »

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