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
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Posted on 6月 22nd, 2025 by 三木 奎吾
Filed under: 日本社会・文化研究 | No Comments »