ガソリンスタンドって、ほぼみなさん自宅の近くに決めているだろうと思います。
　わが家では、高校同期の友人がやっていた店舗はやや遠くでしたが「ここに決めてるから」と会社の管理車両のGS（と以降、省略表記）で利用していたものが閉店するに伴い、わが家の近くに変更。
　ところがそのGSも今年の６月くらいから「改修」ということで閉鎖。やむなくそのさらに遠く、わが家から1.5kmくらいの販売店で入れています。散歩道の１コースにもなっているので、ときどき「ガソリンスタンドの建築改修工事って、どうなっているんだ？」という興味から覗き見させてもらっています。どうもいまだに「建築の内臓までの観察」動機が内発してくる（笑）。
　モータリゼーションの普及から半世紀以上経過してきて「装置産業」としてのGSも更新時期を一斉に迎えるのでしょう。一時期は、ひょっとして電気自動車の普及でどうなるのか、という疑問もあった業界でしょうが、全世界的にはEVの進展はあるが日本はそうはなっていない。むしろEV車の問題点が出てきている。アメリカのテスラ創業者は目敏く事業基盤を情報産業にも拡大転換させてきている。こちらも日本ではテスラは売れないのが現実のようだ。
　EVと同時並行して拡大したソーラー発電「畑」は、今次の台風で千葉県・印旛沼では冠水後、電気設備のショートが原因とみられる火災が発生。自然災害時の太陽光設備の安全管理という問題も可視化。
　そういう状況の中で、GS業界でこのような「改装」に踏み切る経営者も出てきた、ということか。
　で、装置産業である様子が端的に示されているのが、この写真かと。この改修には約半年かかるとアナウンスされていますが、いったん既存配管を撤去してそのあとに敷設されたのが写真の配管装置。長期にわたる「安全性」「機能性」を確保する根幹部分なのだろうと推測。
　まさに「世に連れ」がわかりやすく可視化されている光景のようで、ときどき工事状況を見学させていただいております。　ふ〜む。

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[A Look at a Gas Station Renovation Site]
Reports of a fire involving a solar power system at Inbanuma. A gas station undergoing a six-month equipment upgrade amid Japan’s low EV adoption rate. A glimpse into the inner workings of the “equipment industry.” …~

　I imagine most people choose a gas station that’s close to their home.
　In our case, the station run by a friend from high school was a bit far away, but since we’d been using it for our company’s fleet vehicles (GS, as it will be abbreviated hereafter) with the excuse, “We’ve decided to use this one,” we switched to a station closer to home when that one closed.
　However, that GS has also been closed since around June of this year for “renovations.” We’ve had no choice but to fill up at a station even farther away—about 1.5 km from our house. Since it’s also part of one of my walking routes, I occasionally stop by out of curiosity to see how the construction and renovation work on the gas station is coming along. It seems my inner urge to “observe the inner workings of a building” still kicks in (laughs).
　More than half a century has passed since the spread of motorization, and gas stations—as part of the “equipment industry”—are likely reaching their renewal phase all at once. At one point, the industry must have wondered what would happen with the spread of electric vehicles, but while EVs are advancing globally, that hasn’t been the case in Japan. Rather, problems with EVs are beginning to surface. The founder of Tesla in the U.S. has shrewdly expanded and shifted his business base into the information technology industry. Here in Japan, too, the reality seems to be that Teslas don’t sell well.
　Meanwhile, solar power “fields”—which expanded in tandem with EVs—were hit by a recent typhoon in Chiba Prefecture’s Imba Marsh, where flooding led to a fire believed to have been caused by a short circuit in the electrical equipment. This has brought to light the issue of safety management for solar power facilities during natural disasters.
Given this situation, it seems some executives in the GS industry have decided to take the plunge and undertake such “renovations.”
　This photo, I think, clearly illustrates the nature of this equipment-based industry. It has been announced that this renovation will take about half a year; the piping system shown in the photo was installed after the existing piping was first removed. I surmise this is the core component designed to ensure “safety” and “functionality” over the long term.
It’s a scene that clearly visualizes how the industry is “keeping pace with the times,” and I occasionally visit the site to observe the progress of the construction. Hmm.

● Announcement
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Available on Amazon.

Posted on 9月 25th, 2026 by 三木 奎吾
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　一昨日の寿司にぎり１升２合で疲れが溜まっていたので、昨日は念を入れてボーッとしていた（笑）。
　わたし以上に疲れがありありと見えていたカミさんも、終日ボーッと。
　こういう「ボーッ」祈願には、わたしは温泉でまったりがいちばんなので、近郊・余市の海岸沿いのお好み温泉へ。湯の質はわかりませんが極上のドロ湯という触れ込み、疲労回復にいいとのご託宣。すぐ近くには大好きな海鮮のお魚屋さんがあるのですが、握り寿司はしばらくは日を置きたいので、きのうは完全スルー。立ち寄ればまたぞろ「お、よさげな鮮魚じゃないか、ふむふむ」と、数寄こころが沸き立つ確率が高いのです。
　という過ごし方でアタマも、休息日を心がけ（って、毎日かも）。
　そういう時はやはり雲と海の表情を見て過ごすのが、最適であります。加齢とともに、少年期のワクワクこころが俄然、復元してきて仕方がない。北海道札幌の空の造形がさまざまに「想像力」を掻き立てててくれた。遠い石狩川の蛇行に沿った上空の「ゴジラたちの行進」模様の雲のつらなりなどが妄想力を涵養してくれた。
　そういういちばん単純な「心理のゆらぎ」に、高齢期の心理は還ってくるのでしょうか。
　この写真は北海道の西岸、日本海側を見晴らす光景です。近くには「フゴッペ洞窟」があって、古代からの人びとの壁画が描かれている。約2,000〜1,500年前の続縄文時代に刻まれた、国内でも非常に珍しい800点以上の岩面刻画（壁画）が残る国の史跡。
　このような地形位置が、こうした壁画芸術の存立基盤であったように思える。この海の先には北東アジアのアムール川流域地帯が広がり、樺太から北海道の西海岸を伝って、この積丹半島地域と交流があったと思えるのです。そうした交流を可能ならしめたのは、海と空の表情に表れる天候条件だったことでしょう。
　「雲行き」を見ながら、フゴッペ洞窟での語らいの前後、船での人びとの交流が妄想されてくる。
　ボーッとしたいとき、ってわたしの場合は常時なのですが（笑）、こういう自然風景の、絵画を超える天地を見ている時間が、サイコーの過ごし方なのであります。無念無想というのは、すばらしい言語表現。

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[No Regrets, No Thoughts: A Day Spent Watching the Clouds Drift By]
The Fugoppe Cave site evokes images of exchanges between Northeast Asia and this region in ancient times. On that seashore, I let my mind wander and give free rein to my imagination…

　I was still feeling the effects of eating 1 sho and 2 go of sushi nigiri the day before yesterday, so yesterday I made a point of just zoning out (lol).
　My wife, who looked even more exhausted than I did, spent the whole day zoning out too.
　For this kind of “zoning out” session, I think relaxing at a hot spring is best, so we headed to Okimi Onsen along the coast in Yoichi, just outside the city. I don’t know much about the water quality, but it’s advertised as a top-notch mud bath, and the wisdom goes that it’s great for recovering from fatigue. There’s a seafood shop I love right nearby, but since I want to give nigiri sushi a break for a while, I completely skipped it yesterday. If I’d stopped by, there’s a high probability my connoisseur’s instincts would have kicked in, making me think, “Oh, that looks like some fresh fish—hmm, hmm.”
　Spending my time this way, I made a conscious effort to give my mind a rest (though, come to think of it, maybe I do that every day).
　On days like that, there’s nothing better than spending time watching the ever-changing expressions of the clouds and the sea. As I get older, that sense of excitement I felt as a boy is suddenly coming back—I just can’t help it. The ever-changing shapes of the sky over Sapporo, Hokkaido, really sparked my “imagination.” The pattern of clouds in the sky—resembling a “march of Godzillas”—tracing the meandering course of the distant Ishikari River, nourished my imagination.
　Perhaps the mind in old age returns to these simplest “psychological fluctuations.”
　This photo shows the view overlooking the west coast of Hokkaido, facing the Sea of Japan. Nearby is “Fugoppe Cave,” which features wall paintings created by people since ancient times. It is a national historic site where more than 800 rock engravings (wall paintings)—extremely rare even in Japan—carved during the Late Jomon period, approximately 2,000 to 1,500 years ago, remain.
　It seems that this specific geographical location served as the foundation for the existence of such wall painting art. Beyond this sea lies the Amur River basin region of Northeast Asia, and I believe there were exchanges between that area and the Shakotan Peninsula region, traveling along the western coast of Hokkaido from Sakhalin. It was likely the weather conditions reflected in the expressions of the sea and sky that made such exchanges possible.
　As I watch the “clouds gathering,” I find myself imagining the interactions between people on boats, both before and after their conversations at Fugoppe Cave.
　When I want to zone out—which, in my case, is all the time (laughs)—spending time gazing at natural scenery like this, at a world that transcends even a painting, is the absolute best way to spend my time. “No thoughts, no worries” is a truly wonderful way to put it.

● Announcement
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Available on Amazon.

Posted on 9月 23rd, 2026 by 三木 奎吾
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　昨日は朝のうち一時やや細かい雨が見られて心配した天気は、その後持ち直してどんどん晴れ間が広がるような初秋の一日。
　わが家では孫クンが人生初体験の「土俵入り」を果たしました（笑）。
　って、わたしも息子も、兄弟の子どもたちや孫たちの消息でも、土俵に上がったという経験は聞いたことがない。たまたまそういう機会の情報を初めて知って応募したのだそうです。札幌西野神社恒例の「泣き相撲大会」。
　残念ながら息子は東京出張とバッティングしたのでジイジであるわたしに後見役が当てられ、謹んでその任を果たして参りました。事前に下見も済ませて神さまには参拝もさせていただいていた。孫はふだんの様子からして、泣き相撲にはそれほどふさわしくない様子なのですが、しかし「土俵入り」という人生にとっての貴重な機会。しっかり「カタチを整え」て臨戦態勢。そのファッションにおいて、日本古来の相撲伝統文化に敬意を表して、ハダカで参戦させていただきました。
　事前の情報では、北海道のこの時期らしく服装は「ふだん着の上に鉢巻で、会場側でまわしを着ける」でしたが、天候次第で裸になってもよろしいとのことだった。昨日はこの時間では22-23度ほど。キレイさっぱり、ハダカの上に紙おむつ一丁という、神にすべてを真正直にさらしての参戦。
　親族の思いをも超えた、聖なる土俵への礼を込めた凛々しい姿であります。
　戦いの結果としては、土俵に上がる前から泣き続けていた相方に対して、普段どおりの精神安定ぶりのわが孫は敵うべくもなく敗退しましたが、土俵を下りるまで冷静な表情を崩すことがなかったことは、嬉しかった。敗戦後、抱えて下さった力士の方が小さく孫の手を「ガッツポーズ」させてくれていた。
　相撲の神に敬意を込めてハダカで臨んだことは、なによりほかの参加者の親御さんに「響いた」ようで、その後「お宅の様子を見てウチの子も裸になりました（ニコ）」という反応が寄せられた。
　ジジバカとしては望外のよろこびであります（笑）。
　生後８ヶ月の直前。なにより日本文化の伝統に触れられたことが人生の大収穫。土俵・相撲という神事格闘というものを体験できたことは、一族にとっても誇りとなりました。　深く感謝。

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[Grandchild Competes in “Crying Sumo” at Sapporo Nishino Shrine!]
The twisted headband and sacred straw rope give him a dignified look. Plus, he’s “naked” to show respect for this traditional Japanese “shinto ritual.” He may have lost in the crying contest, but he won big in the fashion department (lol) …

　Yesterday started with a brief spell of light rain in the morning that had me worried, but the weather cleared up afterward, and it turned into a typical early autumn day with sunny spells spreading across the sky.
　At our house, my grandson had his very first “dohyo-iri” experience (lol).
　Come to think of it, neither my son nor I have ever heard of any of our siblings’ children or grandchildren stepping onto the sumo ring. Apparently, he just happened to come across information about this opportunity for the first time and decided to apply. It was the annual “Crying Sumo Tournament” at Sapporo Nishino Shrine.
　Unfortunately, my son’s business trip to Tokyo conflicted with the event, so I, as Grandpa, was assigned the role of guardian, and I humbly fulfilled that duty. I had already done a preliminary visit and paid my respects at the shrine beforehand. Based on his usual demeanor, my grandson didn’t seem like the type for crying sumo, but this was a precious once-in-a-lifetime opportunity to “enter the ring.” He “got himself in proper form” and was ready for battle. As for his attire, to pay respect to Japan’s ancient sumo tradition, he competed completely naked.
According to the information we received beforehand, typical attire for this time of year in Hokkaido is “everyday clothes with a headband, and a mawashi provided by the venue,” but we were told it was acceptable to go naked depending on the weather. Yesterday at that time, it was around 22–23 degrees. Completely bare, wearing nothing but a disposable diaper—I entered the ring, laying everything bare before the gods with complete sincerity.
　It was a dignified stance, filled with reverence for the sacred ring that surpassed even the expectations of my relatives.
　As for the outcome of the match, while my grandson—who remained as calm and composed as ever—was no match for his opponent, who had been crying nonstop even before stepping onto the ring, I was delighted that he never lost his composed expression until he stepped off the ring. After the match, the sumo wrestler who carried him gently raised my grandson’s hand in a small “victory pose.”
　The fact that he competed naked as a sign of respect for the god of sumo seemed to “resonate” most of all with the parents of the other participants; afterward, I received reactions like, “After seeing how your child did it, my child went naked too (smile).”
As a doting grandpa, this was a joy beyond my wildest dreams (laughs).
　Just before he turned 8 months old. Above all, being able to experience this tradition of Japanese culture was a major achievement in my life. Being able to experience the dohyo and sumo—a sacred martial art—has become a source of pride for our entire family. I am deeply grateful.

● Announcement
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Available on Amazon.

Posted on 9月 21st, 2026 by 三木 奎吾
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　先日、機会があって札幌市の中心部にある「大通公園」を通りがかっていた。
　わたしは３歳から17歳くらいまで現在の札幌市中央区北３条西11丁目に家があったので、大通公園は独特の血肉感が感じられる公共空間です。その距離スパン感覚や通路と緑地のバランスなど、ほとんど気がつかないような部分で「原初的」な空間認識となっている。
　そんな空間だけれど、仔細にしげしげと全部を記憶しているわけではない。
　で、ふと見上げた「開拓紀念碑」につい目が引き込まれていた。子どもの頃にはたしかこういう石碑はあったよな、という記憶程度。再見した今回も、あ、そうだ、ちょっと見ておくか、という軽い認識。
　そこで気付かされたのが、「記」ではなく「紀」と書かれていることの軽い気付き。こういうのは子ども時代にはあんまり気付くことはないでしょう。しかしよく見ていると、これらの文字の書き下し方というか、個別の文字の「配置バランス」にちょっとした違和感は感じてしまった。
　そこで、台座のヨコに置かれていた説明を読んでいた。「え、なに？王羲之？」

　子ども時代に「王羲之」という名前は気付くわけもない。
　多少は歴史に興味を持つようになって、漢字という文字文化、書聖としてその人名を知った。石碑に彼の生きた時代（303〜361年）の記載があるように、北海道開拓時期とは、1500年以上の時間差がある。
　え、どういうこと？と、時間認識の迷宮に突き落とされてしまったが、説明文でようやくその経緯を知った次第。「題字は、王羲之の書から５文字を＜拾い＞刻まれたもの」。
　なんだ、そういうことかよ、であります。
　そのような「事情」を知った上で再度碑文の文字バランスを再見すると、謎解きの部分は解消されて、その「拾った」行為と全体の整合性という部分に「不整合」を感じさせられてしまう。
　北海道開拓という明治国家としての大プロジェクト、そしてわたしの血脈もそのワンピースではある国家事業へのある種の「祈念碑」的なものを、という気持ちは十分にわかる。しかし・・・。王羲之の書という思いもわかるのだけれど、いかにものバランスの失いぶりに無念感が感じられる。
　この石碑が、今日に至るもあまり札幌市民、北海道民に伝承されていないことが深く理解されてくるに至っていた。現実にはハッキリと向き合う必要がある。

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[Huh? Wang Xizhi wrote the inscription on Hokkaido’s “Pioneer Memorial”?…]
An inscription by the “Sage of Calligraphy,” transcending some 1,500 years of time. No way! As a Hokkaido resident, I felt a bit deflated after learning the truth. What should we do with it for future generations?…

　The other day, I happened to pass by “Odori Park” in downtown Sapporo.
Since I lived at what is now Kita 3-jo Nishi 11-chome in Chuo Ward, Sapporo, from the age of three until I was about 17, Odori Park is a public space that feels uniquely familiar to me. Its sense of spatial scale and the balance between walkways and green spaces—details I hardly even notice—have become part of my “primordial” perception of space.
　Even though it’s a space like that, I don’t remember every single detail in minute detail.
So, when I happened to look up, my eyes were drawn to the “Pioneer Monument.” My memory of it was merely a vague recollection from childhood—something like, “I’m pretty sure a stone monument like this was here back then.” Even upon seeing it again this time, my reaction was a casual, “Oh, right—I guess I’ll take a quick look.”
　That’s when I noticed something: the character was written as “紀” rather than “記.” You probably wouldn’t notice something like this as a child. But looking closely, I felt a slight sense of unease about the way these characters were written—or rather, the “compositional balance” of the individual characters.
So I read the explanation placed next to the pedestal. “Huh? What? Wang Xizhi?”

　As a child, I certainly wouldn’t have recognized the name “Wang Xizhi.”
It wasn’t until I developed a passing interest in history that I learned about the culture of Chinese characters and came to know his name as the “Sage of Calligraphy.” As indicated by the inscriptions on the stone monument detailing the period in which he lived (303–361), there is a time gap of more than 1,500 years between his era and the period of Hokkaido’s settlement.
　“Huh? What does that mean?” I found myself plunged into a labyrinth of temporal confusion, but the explanatory text finally clarified the circumstances: “The inscription was carved by ‘selecting’ five characters from Wang Xizhi’s calligraphy.”
　Oh, so that’s what it was all about.
　Once I learned these “circumstances” and took another look at the balance of the characters in the inscription, the mystery was solved—but I couldn’t help but feel a sense of “inconsistency” between the act of “selecting” those characters and the overall harmony of the piece.
　I fully understand the sentiment behind creating a sort of “commemorative monument” for the Meiji government’s massive project of Hokkaido’s settlement—a national endeavor of which my own lineage is also a part. However… I also understand the desire to incorporate Wang Xizhi’s calligraphy, but the sheer lack of balance leaves me with a sense of regret.
　I’ve come to deeply understand why this monument has not been widely passed down to the citizens of Sapporo or the people of Hokkaido to this day. We must face reality head-on.

● Announcement
My book, *Writers and Living Spaces*, has been published as an e-book by Gentosha.
Available on Amazon.

Posted on 9月 19th, 2026 by 三木 奎吾
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　すっかり日本の戸籍システムの最初期段階での「直系尊属」のありようの証拠集めに取り組み中。
　動かぬ証拠物件を固めてから、その「文脈」から立ち上ってくる「生き様」のリアリティにこころが深く沈殿するような気分を味わっています。祖先の先人が立ち会っていた現実が迫ってきてくれて、自分のDNAの何％かの部分の「由来」を確認させられるような道程であります。
　そういうプロセスを体験可能にしてくれている日本の「公文書」システム〜戸籍システムや図書館ネットワークなどに感謝の念を持たされます。先般成立した皇室典範の改正にも繋がっているこうした日本的なシステムの真価を実感している次第。
　そういうなかで、可能な限りの「周辺資料」を探し求めていたら、故地の広島県の広島市中央図書館にあることが明らかになって、そちらと連絡を取って資料のコピーを請求することになった。資料はゼンリンのその地域特定の住宅地図。「可能な限り、最古のものを」とお願いしたら、昭和56年版というものが存在すると聞かされたのです。いわゆる「貸出可能書籍」ではなく、その地域の情報センターとしての図書館の「備え付け資料」ということで、著作権保護の観点からごく限定されたページだけ、コピーして受領できるという決まり。
　そういった打合せの末に「費用は事前にいただいてから作業し郵送します」という、これも決まり。
　こうした公的資料の管理保全システムは、まことに律儀な「日本的システム」ということですべて「整合的」だと思わされますね。ということで、打ち合わせできた「費用」は150円也。「その金額を現金書留でお支払い下さい」との案内。で、昨日郵便局窓口に行って手続きさせていただいた。で、150円送るのにトータル611円、出費することになった次第。すばらしい（笑）。
　費用対効果という観点からはやや残念なことにはなりますが、こういった日本の公的資料管理システム全体としては、すべて「整合的」なのだとわかります。
　家系史関連資料としては、この特定された住所地の地図から深い「人間情報」が得られる可能性があるのですね。もちろんそれは新たな「疑問・ナゾ」の起点にもなる可能性がありますが、直系尊属の生き様が、空間的にも特定されることに繋がる。
　家系史探究って「長尺な時空間旅行」だなぁと実感。ドラえもん的タイムトラベル。

●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 “serious” Japanese system that charges 611 yen for a 150-yen transfer (lol)]
In terms of value for money, you might ask, “What is this?” (lol), but the public’s “right to know” is protected by a system like this that prioritizes consistency above all else. …

　I am currently fully immersed in gathering evidence regarding the nature of “direct lineal ancestors” during the very earliest stages of Japan’s family registry system.
　As I solidify this irrefutable evidence, I find myself experiencing a profound sense of my heart sinking deeply into the reality of their “way of life” that emerges from that “context.” It is a journey in which the reality my ancestors witnessed comes rushing toward me, allowing me to confirm the “origin” of a certain percentage of my own DNA.
　I am filled with gratitude for Japan’s “public records” system—including the family registry system and library networks—which makes it possible to experience this process. I am truly coming to appreciate the true value of these uniquely Japanese systems, which are also linked to the recent amendments to the Imperial House Law.
　In the course of this work, while searching for as many “related materials” as possible, I discovered that some were held at the Hiroshima City Central Library in my hometown of Hiroshima Prefecture. I contacted them and requested copies of the materials. The materials in question were Zenrin’s residential maps specific to that area. When I requested “the oldest version available,” I was informed that a Showa 56 edition existed. Since these were not “books available for loan” but rather “reference materials” held by the library in its capacity as a regional information center, the rules stipulated that, from a copyright protection standpoint, I could only receive copies of a very limited number of pages.
　Following these discussions, we were also informed of another rule: “We will process and mail the copies only after receiving payment in advance.”
　This system for managing and preserving public records is a truly meticulous “Japanese system,” and it makes one feel that everything is “consistent.” So, the “fee” agreed upon was 150 yen. I was instructed to “pay that amount via cash registered mail.” So, yesterday I went to the post office counter to complete the procedure. As a result, sending 150 yen ended up costing me a total of 611 yen. Wonderful (laughs).
　While it’s a bit disappointing from a cost-effectiveness standpoint, I realize that, taken as a whole, Japan’s public records management system is entirely “consistent.”
　As far as genealogical materials are concerned, there’s potential to glean deep “human insights” from this map of the specified address. Of course, this could also serve as the starting point for new “questions and mysteries,” but it allows us to pinpoint the lives of our direct ancestors in a specific spatial context.
　I’ve really come to realize that exploring family history is like a “long journey through time and space.” It’s like Doraemon-style time travel.

● Announcement
My book, “Writers and Living Spaces,” has been published as an e-book by Gentosha.
Available on Amazon.

Posted on 9月 17th, 2026 by 三木 奎吾
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