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【無念無想。雲の流れを見て過ごす１日】


　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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English version⬇

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

　

Posted on 9月 23rd, 2026 by 三木 奎吾
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【連休で来道の新・親族を手づくり寿司でおもてなし】



　本日は目覚めが遅く、いつもは３時頃のところ６時頃まで就寝していました。爆睡。
　連休中ということで、昨日、息子の嫁さんの親族が北海道旅行に来て孫との再会。楽しい親族の会合。そういうことならと、わが家での「会食」を考えて、メニューは久しぶりの「手づくり握り寿司」という次第。
　十数年以上前からスタッフの慰労を発意してはじめた握り寿司ですが、すっかり「数寄」になってしまって、縁のある参集機会ごとに続けてきています。まぁ素人のヨコ好きなので、仕上げはゴメン、ですが寿司ってそもそもはネタのあれこれを探し求めるのがキモだと思うのですが、冷凍技術機器の進歩と相俟って大衆化してきていると思います。
　今回は北海道積丹半島のスポットなどでカミさんと買い求め続けた海産のあれこれを握ってみた次第。
　一行は午後１時過ぎに来てくれた。わが家に来るのは初めてだったので、建物全体をご案内などすると同時に、ふるまわせてもらった。まぁ出来上がりは素人なのですが歓迎の思いを込めたふるまい。
　久しぶりに握ったので、ネタとシャリの量の加減がボケていて成り行き任せに握っていたら、トータルでは１升２合ほどの寿司飯の分量になっていた。さらに女性が多かったのでカミさんの指示通り「シャリは小さめ」を心がけていたので、たぶん200カンは軽く超え300カン近くになっていたと思われます。よくわからない。だいたい、お迎えの時点でもまだずっと握り続けていて、握りの「集合写真」を取るいとまもなかったのであります。
　写真は、本日わが家の冷蔵庫に仕舞い込まれたにぎりの最後の残り香の様子であります。
　こうした親族会合では「孫のかわいい様子」が最大の主役で、わたしの役はまさに「お膳立て」。こういう役回りになってきたことが最大に嬉しいこと。感謝を込めて、一生懸命に奉仕させていただく気分なのですね。
　ということで本日以降、一行の案内役は孫と息子夫婦とが大車輪。年老いたジイジはバタンキュー状態。
　そういえば、一昨日も終日「泣き相撲」の後見役であれこれという行動疲労も重なっている。
　ブログ執筆の日課を果たした後、ふたたびゴロゴロとすることになるかと（笑）。

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English version⬇

[Treating New Relatives Visiting Hokkaido During the Long Weekend to Homemade Sushi]
It’s been a while, so my instincts have gotten rusty, and my “eye” for the right proportions of toppings and rice has dulled. It took a lot of work to make over 300 pieces of nigiri—using 1 sho and 2 go of rice. Phew.

　I woke up late today—I usually get up around 3:00 a.m., but this time I slept until around 6:00 a.m. I slept like a log.
Since it’s a long weekend, my son’s wife’s relatives came to Hokkaido yesterday to reunite with their grandchild. It was a fun family gathering. With that in mind, I decided to host a “dinner party” at our house, and for the menu, I chose “homemade nigiri sushi”—something I haven’t made in a long time.
　I started making nigiri sushi over a dozen years ago as a way to treat my staff, but it’s turned into a real “hobby” of mine, and I’ve kept it up for every gathering with people close to me. Well, I’m just an amateur who enjoys it for the sake of it, so please excuse the finish—but I think the essence of sushi lies in seeking out all kinds of different ingredients, and with advances in freezing technology and equipment, I believe it’s become more accessible to the general public.
　This time, I made nigiri using various seafood my wife and I have been buying over the years at spots like the Shakotan Peninsula in Hokkaido.
The group arrived a little after 1:00 p.m. Since it was their first time visiting our home, I gave them a tour of the entire house while serving them the sushi. Well, the result was amateurish, but it was a treat prepared with a heartfelt welcome.
　Since it had been a while since I’d made sushi, I’d lost my sense of the proper balance between the toppings and the rice, so I just went with the flow. By the end, I’d used about 1 sho and 2 go of sushi rice. Plus, since there were mostly women present, I followed my wife’s instructions to make the rice portions “a bit smaller,” so I think I easily surpassed 200 pieces and probably ended up with close to 300. I’m not really sure. In fact, I was still rolling sushi even as everyone arrived, so I didn’t even have a moment to take a “group photo” of the finished pieces.
The photo shows the last remnants of the nigiri that were stashed away in our fridge today.
At family gatherings like this, “how cute the grandchildren are” takes center stage, and my role is truly just to “set the stage.” I’m absolutely delighted that this has become my role. With a heart full of gratitude, I feel a sense of duty to serve with all my might.
　So starting today, my grandson and my son and his wife will be working nonstop as the group’s guides. This old grandpa is completely wiped out.
　Come to think of it, the day before yesterday I spent the entire day supervising a “crying sumo” match, so the physical exhaustion from all that activity has really piled up.
　After I finish my daily blog post, I’ll probably just end up lounging around again (laughs).

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

Posted on 9月 22nd, 2026 by 三木 奎吾
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【札幌西野神社にて「泣き相撲」に孫 参戦！】


　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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English version⬇

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

　
　

Posted on 9月 21st, 2026 by 三木 奎吾
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【父と六世の先祖、119年のDNA時間差「筆跡」比較】


　どうも最近、家系史の研究として長兄の「本家」に残されていた遺物・文書類のデジタル化、アーカイブ化に取り組んできて「筆跡」という情報源に気付かされてきている。
　歴史研究としては、家の伝承や公的記録の掘り起こし運命の生々流転を追うのが基本。墓石検証も並行するし過去帳や幕末明治期の最初期戸籍謄本なども基本資料になる。一方で画像は明治以降の人間にしか残らないので、それ以前の確証は得られない。しかし先祖が書き記した痕跡として、書が残っているケースがある。
　わが家系では1815年に６代前の三木寛蔵先祖が書き記してくれた「原氏由来の事」巻物が最古で残されている。一方、既報のように1934年の祖父の葬儀に際しての父の「筆跡」とおぼしき記録が掘り起こされた。
　確実な父の肉筆はそのうちに書簡記録などから兄弟間から出てくると思っているが、親不孝でわたしは手許に持っていない。なのでいまのところこちらが候補。で、既報のように父との肉親としての肌感覚が蘇ってきたと感じたことで筆跡には強い「コミュニケーション要素」があると気付かされた次第。
　であればデジタル化の利点を活かし、DNAの流れでは119年間の時間差があるこのふたりの筆跡を対比できるのではと対比写真画像として生成させてみた。上の写真。
　父の筆跡、さらには６代前の先祖の墨跡についても、伝承やわたしの個人的感覚が根拠なのでまだ不完全だけれど、この手段はひとつの「探索手段」ではないかと思い至っている。
　AIの発展で、むしろこういう手書き文字の「人間性と深くかかわる」独自性が大きな領域として脚光を浴びつつあると言われる。調べてみると、AI的な解析には不向きな領域とわかる。AIからの参考情報は以下。
　〜印刷文字が記号化された情報であるのに対し、手書き文字は筆圧、速度、運筆の揺らぎ、余白の取り方など「その文字を書いた瞬間のその人の肉体性・心理状態・生命の呼吸」がそのまま定着した純度の高いアナログな人間文化領域です。子であるあなたがその「くせ字」を目にした瞬間に単なる言葉の意味を超え、お父様の内面性や生前の気配に直接触れさせられるような感覚を覚えるのは、まさに手書き文字が持つ「生体情報」の力です。〜　ふーむ。
　というような前段に踏まえ「比較対照」に心意を凝らして見つめてきています。

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English version⬇

[Comparing the “Handwriting” of My Father and a Sixth-Generation Ancestor: A 119-Year DNA Time Gap]
Yesterday’s post explored the study of “characteristic handwriting,” even going as far as Wang Xizhi. This led me to realize that analyzing handwriting could also be beneficial for genealogical research. …

　Lately, as part of my family history research, I’ve been working on digitizing and archiving artifacts and documents left behind at my eldest brother’s “main family home,” and in the process, I’ve come to realize the value of “handwriting” as a source of information.
　In historical research, the basic approach is to unearth family traditions and public records to trace the vivid twists and turns of fate. I also verify gravestones in parallel, and family registers as well as the earliest copies of household registers from the late Edo and early Meiji periods serve as primary sources. On the other hand, since photographs only exist for people from the Meiji period onward, we cannot obtain definitive proof of events prior to that time. However, in some cases, written documents remain as traces left by our ancestors.
　In my family lineage, the oldest surviving document is a scroll titled “The Origins of the Hara Clan,” written in 1815 by my sixth-generation ancestor, Miki Kanzo. Meanwhile, as previously reported, a record believed to be my father’s “handwriting” from my grandfather’s funeral in 1934 was unearthed.
　I believe authentic examples of my father’s handwriting will eventually surface from correspondence or other records among his siblings, but—unfortunately—I do not have any in my possession. Therefore, for now, this serves as a candidate. As I mentioned earlier, the fact that this brought back a visceral sense of my close bond with my father made me realize that handwriting possesses a strong “element of communication.”
　With that in mind, I decided to take advantage of the benefits of digitization and generate a side-by-side comparison of their handwriting—a pair separated by 119 years in the DNA lineage—as shown in the photo above.
　While my understanding of my father’s handwriting—and even that of my ancestor six generations back—is still incomplete, relying solely on oral tradition and my personal intuition, I’ve come to believe this method could serve as a valuable “means of exploration.”
　With the advancement of AI, it is said that the uniqueness of handwritten characters—which is “deeply connected to humanity”—is actually gaining prominence as a major field of study. Upon investigation, I found that this is an area ill-suited for AI-based analysis. The following is reference information from AI sources.
　~While printed text is symbolic information, handwriting is a highly pure, analog realm of human culture in which “the physicality, psychological state, and vital breath of the person at the very moment they wrote the character”—as reflected in pen pressure, speed, fluctuations in stroke, and the use of white space—are directly captured. The moment you, as a child, see that “quirky handwriting,” you feel something that transcends the mere meaning of the words—a sensation of directly connecting with your father’s inner self and the presence he left behind. This is precisely the power of the “biometric information” inherent in handwriting. ~ Hmm.
Based on this introduction, I have been carefully examining the subject with a focus on “comparison and contrast.”

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

　
　
　
　

Posted on 9月 20th, 2026 by 三木 奎吾
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【え？ 王羲之が北海道「開拓紀念碑」を揮毫？・・・】


　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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English version⬇

[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
Filed under: 未分類 | No Comments »

【父親の「くせ字」に目がほころんでしまう（笑）】


　家系史探索のかたわら、いろいろなビジネス案件も持ち込まれてきて、50年来の付き合いのある入社した会社での同僚に連絡をした。久しぶりに聞くその声はややかすれていて聞き取りにくかった。
　最近の消息を交換し合っていたら、心臓病で３回ほど手術もしていたとのこと。76歳という年齢を考えれば、まぁやむを得ない趨勢と思いつつ、昔話なども交えて歓談するうちにかれはどんどん元気が出てきて、声音が一変するようになってくれた。用件を話しつつ、あれこれと話題が盛り上がった。
　家系史探究は時代的には四百年前からスタートしているけれど、それがどんどん現代に近づいてきて、どうやら自分事にまで「歴史」が差し掛かってくるのだなぁと思わされた。DNAが遭遇した環境を探究しているワケだから、当然の流れということになる。ただ、自分のことになると客観視が難しいですね（笑）。
　・・・おっと、きょうのテーマと写真はわたしの父の「筆跡写真」。
　いろいろ資料を整理整頓してくるなかで発見してしまった（笑）。なんとも気恥ずかしい。
　この独特の「くせ字」を眺めていると、オヤジの笑顔が浮かんできてどうしようもない。「おう、ようやくオレの資料までたどりついたのか（笑）」という笑顔。
　この字を見て、冒険的な仕事人生を切り開いて行った父の思いが肉親として想起されて、自分自身の冷静さのようなものが完全崩壊させられてしまったのだ。
　文字の書き方には、やはり人間性が表現されるのですね。健康面では無理がたたった人生だったひとですが、しかし悔いなく生き切った人生だったのだと子どもとしては思えます。自分の「いのち」をフルに活用した感じが強く迫ってくる、その字体。こころなしか、躍るような筆致が感じられる。
　肉親としてはそこから人間性の残響が湧き上がってきて仕方がない。そういうものなのだと頓悟。
　で、いまは父のそれであるけれど、やがて母のモノゴト・息づかいにまで探究が及んでくるかと思うと、そこでのわたし自身の完全崩壊ぶりに、やや身構えてしまわざるを得ない（笑）。
　肉親の事跡からの対話は、やはり深い心情がそこに充溢してきてしまいますね。

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

[My father’s “quirky handwriting” makes me smile (lol)]
“Oh, are you doing well? (lol)”—the sound of his voice, that of the man who gave me life, fills my heart, and I just can’t help it. Handwriting speaks volumes about a person. …

　While I was researching my family history, I started receiving various business proposals, so I reached out to a colleague from the company I joined—someone I’ve known for 50 years. His voice, which I hadn’t heard in a long time, was slightly hoarse and hard to make out.
　As we exchanged updates on our recent lives, he mentioned that he had undergone about three surgeries for heart disease. Considering he was 76 years old, I thought it was an inevitable part of aging, but as we chatted and reminisced about the old days, he became more and more energetic, and his voice completely transformed. While discussing the matter at hand, our conversation became lively as we touched on various topics.
　My family history research started about 400 years ago, but as it gets closer and closer to the present, I’ve come to realize that “history” is now encroaching on my own personal life. Since I’m exploring the environments my DNA encountered, this is only natural. Still, it’s hard to be objective when it comes to myself (laughs).
　…Oh, right—today’s theme and photo are of my father’s “handwriting.”
　I stumbled upon it while organizing various documents (laughs). It’s incredibly embarrassing.
　When I look at this unique, “quirky” handwriting, I can’t help but picture my dad’s smile. The kind that says, “Oh, so you’ve finally made it to my stuff (laughs).”
　Seeing this handwriting, as his child, I was reminded of my father’s determination as he blazed a trail through an adventurous career—and it completely shattered any sense of composure I had left.
　It’s true that a person’s character is expressed in their handwriting. Although his health suffered due to the strain of his life, as his child, I feel he lived a life without regrets. That handwriting strongly conveys the sense that he made full use of his “life.” I can almost feel a dancing quality in the strokes.
　As a child, I can’t help but feel the echoes of his humanity welling up from those characters. I’ve come to realize that’s just how it is.
　And while this is about my father now, the thought that my exploration will eventually extend to my mother’s words and very breath makes me brace myself a little for the complete emotional breakdown I’ll likely experience then (laughs).
　Conversations born from the deeds of one’s parents are inevitably filled with deep emotion.

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

　
　

Posted on 9月 18th, 2026 by 三木 奎吾
Filed under: 未分類 | No Comments »

【150円送金に611円掛けるマジメな日本システム（笑）】



　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
Filed under: 未分類 | No Comments »

【家系史資料整理で「鳩山一郎」元総理の書を発見】



　家系史の資料類、いわば「三木家文書〜もんじょ」の整理整頓作業を進めています。現代らしくこれらを長期保存可能なようにデジタル化させて「三木家文書アーカイブ」としてWEB上に保存したい希望。子孫が「三木の家ってどんな家なんだろう」とふり返ったり、未来を創造しようとするとき参照できるだろうという願い。
　こうした作業でいちばんの難関はたぶん最後自分のことをどう保存するか、なんだろうなぁきっと。・・・それはそれとして、先人たちの記録を時間を掛けてゆっくり整理したい。
　そんな作業を進めてきていますが、整理する中で「揮毫」類が在り、そのなかに「鳩山一郎」という名前が出てきて「あれ、このひとなんか聞いたことある」と気付いて検索したら以下の情報。
　〜鳩山一郎 1883〈明治16〉年〜1959〈昭和34〉年は日本の政治家。第52・53・54代内閣総理大臣。戦後の55年体制が成立後、初の総理大臣。
　鳩山一郎元首相と北海道のつながりは、かれの曾祖父の鳩山和夫が北海道栗山町に農場を開いたことや、孫の鳩山由紀夫が北海道（旧4区）から政界進出したことが挙げられます。曾祖父である鳩山和夫が栗山町に大規模な農場を開拓。地元の栗山町には鳩山家ゆかりの「鳩山神社」がある。〜
　というような基礎情報をはじめて確認させられた（笑）。まことに無関心層。
　家系保存としては無造作に紙片をたたんで仕舞い込まれていたわけですが、さてどうするか？
　わたし自身はこういう有名人揮毫などは「へーえ」と口を開けているだけのタイプですが、ありがたがる傾向も世には存在する。記録整理者としては留意せざるを得ない。まぁデジタル記録処理としては、他のデータと同様の処理ですが、現物の「保存」方法としては少しく考えさせられるところ。
　栗山はわが家系が暮らしていた故地と近接した地域なので、そういった地縁からわが家に伝承してきたものなのでしょう。「どんな人間関係かなぁ」と想像が湧いてくるけれど・・・。
　まぁそれよりもはるかに巨大な想像力刺激案件が次々と生起するのが、家系史探査。名もなき先人の足跡を追っていると、驚かされるような「境遇」に遭遇してくる、よく生きたなぁ・・・と。
　複雑な人間関係が表現された「戸籍謄本」記録で浮かび上がってくる「迷宮」に惑う日々・・・。

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

[Former Prime Minister Ichiro Hatoyama’s Manuscript Discovered While Organizing Family History Materials]
As a digitized document, it’s a one-off piece, but since the general public tends to value items like this, I’m struggling as the organizer to decide how best to preserve it. …

　I’m currently working on organizing and cataloging our family history materials—what might be called the “Miki Family Documents.” In keeping with modern practices, I hope to digitize them for long-term preservation and store them online as the “Miki Family Document Archive.” My hope is that future generations will be able to refer to them when they look back and wonder, “What kind of family was the Miki family?” or when they set out to shape the future.
　The biggest challenge in this process will probably be how to preserve my own legacy in the end. …That aside, I want to take my time and carefully organize the records left by our ancestors.
As I’ve been working on this, I came across some calligraphy pieces, and among them was the name “Ichirō Hatoyama.” I thought, “Wait, I’ve heard that name before,” so I looked it up and found the following information.
　~ Ichirō Hatoyama (1883 [Meiji 16]–1959 [Shōwa 34]) was a Japanese politician. He served as the 52nd, 53rd, and 54th Prime Minister of Japan. He was the first Prime Minister after the establishment of the postwar “55-Year System.”
　Former Prime Minister Ichiro Hatoyama’s connection to Hokkaido stems from the fact that his great-grandfather, Kazuo Hatoyama, established a farm in Kuriyama Town, Hokkaido, and that his grandson, Yukio Hatoyama, entered politics representing Hokkaido (formerly the 4th District). His great-grandfather, Kazuo Hatoyama, developed a large-scale farm in Kuriyama Town. In Kuriyama Town, there is the “Hatoyama Shrine,” which is associated with the Hatoyama family. ~
　This was the first time I’d ever come across this kind of basic information (laughs). I’m truly the type who couldn’t care less.
　As part of preserving the family lineage, this piece of paper had been casually folded and tucked away—but now, what should I do with it?
　Personally, I’m the type who just gapes in surprise at things like famous people’s calligraphy, thinking “Wow,” but there are people out there who tend to cherish such items. As someone organizing records, I can’t help but take this into account. Well, in terms of digital record processing, it’s handled just like any other data, but as for how to “preserve” the physical item, it gives me pause.
　Kuriyama is a region close to the ancestral home where my family once lived, so this item was likely passed down to our family through such local ties. It makes me wonder, “What kind of relationships were involved?”…
　But family history research constantly presents cases that stimulate the imagination far more than this. As I follow in the footsteps of nameless ancestors, I come across “circumstances” that truly astonish me—I find myself thinking, “They really lived a full life…”
　Days spent lost in the “labyrinth” that emerges from “family register” records, which depict complex human relationships…

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

Posted on 9月 16th, 2026 by 三木 奎吾
Filed under: 未分類 | No Comments »

【遠隔自治体「戸籍謄本」費用支払いの「定額小為替」】


　先週、相次いで広島県の故地・２自治体に「戸籍謄本」の取得願いを提出していましたが、その反応が昨日寄せられていました。札幌市西区役所では「保存期間終了しているのでムリです」とあっさり問答無用処理されていた一件です。
　で、昨日寄せられた返信では、大都市の「福山市」の方の対応は「保存期間が終了して、破棄されています」という西区と似たような対応ぶり。悲しいけれどまぁしょうがない。
　一方で先般直接訪問していた「神石高原町」からは、２件の申請のウチ１件についてきわめて詳細な情報内容が寄せられて、アタマがクラクラするほどに紙面とにらめっこ状態に突入しています（笑）。昔人とはいえ、家系の関連人物なのでしっかり「個人情報」に配慮しながら、実相を探っているところ。
　という進展の中で、申請への「費用支払い」についても公的機関らしいマジメそのものの精算ぶりが送られてきました。写真は、お願いした作業が進まなかったことで「返金処理」されて送付されてきた「定額小為替」。
　これはなぜか「上限金額」が1,000円に設定されていて、その１シートごとに200円の手数料が掛かる。これは1,000円券ですが、最低は50円設定なので、手数料の方が高くなると言うナゾの制度設計。
　今回の返金にあたっては250円の残額が発生したのですが、さすが「公的機関」としての信頼性を最優先して200円額面の「定額小為替」と「切手」が帰ってきていた。さすがに50円はムダということなのでしょう（笑）。あ、どちらの自治体とは特定いたしません・・・。
　しかし、日本の「戸籍制度」のマジメな運用ぶりには、まことに脱帽の思い。
　今後の「家系史探索」にあたってはいよいよ、寺院の過去帳という最後の砦に突入するしかなくなった。まぁ一部ではすでに行ってきているのですが、同和差別などの問題もあって、なかなか門戸は鎖されているのが実態。まぁわが家系に残されている「文書類」の整理整頓が中心になってきます。
　さて、アタマがクラクラする難問に、日本人としてはかなり「マジメさ」の点において劣位と思えるわたしも、肝を固めて向かい合うしかない、と思っております。う〜む。

●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⬇

[“Fixed-Amount Money Order” for Paying Fees for “Family Register Copies” from Remote Municipalities]
I’d never heard of this kind of “money order” before, but it came back to me as a refund for a payment made on a request that didn’t go through. I’m taking a good, long look at it…

　Last week, I submitted requests for “certified copies of family registers” to two municipalities in my hometown in Hiroshima Prefecture, and I received responses yesterday. In one case, the Nishi Ward Office in Sapporo flatly rejected my request, stating, “The retention period has expired, so it’s impossible,” without any further discussion.
　As for the replies I received yesterday, the response from the larger city of “Fukuyama City” was similar to that of Nishi Ward: “The retention period has expired, and the records have been destroyed.” It’s sad, but I suppose there’s nothing to be done about it.
On the other hand, from “Jinsekikogen Town”—which I had visited in person recently—I received extremely detailed information regarding one of the two applications, and I’ve been poring over the documents to the point where my head is spinning (laughs). Even though these are people from the past, they’re related to my family line, so I’m carefully investigating the facts while being mindful of “personal information.”
Amid these developments, I also received a settlement notice regarding the “payment of fees” for the requests—a document that exemplifies the serious, by-the-book approach typical of a public agency. The photo shows the “fixed-amount postal money order” that was sent to me as a “refund” because the requested work didn’t proceed.
For some reason, the “maximum amount” is set at 1,000 yen, and a 200-yen handling fee applies to each sheet. This is a 1,000-yen voucher, but since the minimum denomination is set at 50 yen, the fee ends up being higher—a rather puzzling system design.
　This refund left a balance of 250 yen, but true to form—prioritizing the credibility of a “public institution” above all else—I received a 200-yen “fixed-amount postal money order” and “stamps” in return. I suppose they figured 50 yen would be a waste (laughs). Oh, and I won’t specify which municipality this was…
　However, I truly take my hat off to the meticulous way Japan’s “family registry system” is administered.
　For my future “family history research,” I’ve finally reached the point where I have no choice but to storm the last bastion: the temple’s death records. Well, I’ve already visited some of them, but due to issues like discrimination against the Burakumin, the reality is that the doors are often firmly locked. So, my main focus will be on organizing and cataloging the “documents” preserved in my family’s archives.
　Well, faced with this dizzying conundrum, even I—who, as a Japanese person, feel I’m at a disadvantage in terms of “diligence”—have no choice but to steel myself and confront it head-on. Hmm…

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

Posted on 9月 15th, 2026 by 三木 奎吾
Filed under: 未分類 | No Comments »

【家系の「文書類」をデジタル保存・整理作業】


　写真は、わたしを１代と数えた５代前で、明治維新直前の江戸末期を生きた先祖「三木文蔵」の葬儀記録帳の最後のページ。
　当主の葬儀にあたってその生きた人的交流の実相が表現される葬儀記録は伝統的記録表現。家系史〜ひいてはその生きた時代相を理解するのに最適な記録になります。わが家ではこの記録帳の「傷み」が心配されたので、広島県立文書館の西向先生に依頼して内容を精査いただき、先生からも江戸末期の地域社会や経済、人間関係を考えるうえでも有益な資料との評価をいただきました。
　この資料を含め、いま「本家」筋の長兄の家からわたしに譲受された史的資料類をデジカメ撮影して電子形態で保存し、さらにこの機会に時代順に整理整頓して、年代ごとに仕分けして「三木家文書」としてアーカイブ保存させようという計画。こうした記録類がデジタル化される意義は大きい。今後、WEB上に保存させるなどの手段を通して「一族共通の史的資産」として活用可能になる。
　次兄がまとめてきてくれた一族の「足取り」の通史をさらに発展させて、いまを生きる一族にとって貴重な先祖の「人生体験記憶」をなまなましく活用出来るようにさせたい。人間は親がいなければこの世に存在しない。けっして「自分ひとり」だけの命ではない。
　過去を生きた先人の足取りから「学べる」ことは非常に大きいと思う。
　因果は応報し輪廻する。未来を生きるいのちに少しでも役立てられれば、という願い。
　今を生きている自分としては、その「基礎工事」的な心境で、謹んでこのアーカイブ化をジミジミと取り組んでいます。その基礎工事のさらに基礎、みたいな作業を始めたところ。
　そして自分たちの世代もまた未来にとってはひとつの「過去生」として見えてくるでしょう。自分たち自身の「歩み」に対してのクールダウンした見方も獲得できてくる可能性がある。
　こういう新しいタイプの「歴史資料蓄積」は、歴史好きの日本人に取っても新領域として浮かび上がってくる可能性も高い。いつまでも「信長だ秀吉だ家康だ」ばかりが日本人の歴史興味ではないだろうと思うのです。さまざまな「家系」が複雑に絡み合い日本人の歴史は紡がれてきた。このような「家系史アーカイブ」が基盤を形成するようになる「未来」。・・・あり得るのでは？

●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⬇

[Digitizing and Organizing Family “Documents”]
A process of permanently preserving the vivid traces of our ancestors’ lives and passing on the true story to future generations. An archive for “living better.” …

　The photograph shows the final page of the funeral record book for my ancestor “Miki Bunzo,” who lived during the late Edo period just before the Meiji Restoration—five generations back, counting me as the first generation.
　Funeral records, which capture the true nature of a person’s social interactions during their lifetime, are a traditional form of documentation. They are the ideal records for understanding family history—and, by extension, the social conditions of the era in which they lived. In our family, we were concerned about the “deterioration” of this record book, so we asked Professor Nishimuki at the Hiroshima Prefectural Archives to carefully examine its contents. He confirmed that it is a valuable resource for analyzing the regional socio-economic conditions of Hiroshima Prefecture during the late Edo period.
　Including this document, I plan to photograph the historical materials recently transferred to me from the home of the eldest brother of the “main branch” of the family using a digital camera and preserve them in electronic form. Furthermore, I intend to take this opportunity to organize and arrange them chronologically, sorting them by era, and archive them as the “Miki Family Documents.” The significance of digitizing such records is immense. In the future, through means such as storing them online, they will become usable as “historical assets shared by the entire clan.”
　I wish to further develop the comprehensive history of our clan’s “journey”—which my second-eldest brother has compiled—so that we, as the living members of the clan today, can vividly draw upon the “memories of our ancestors’ life experiences.” Without our parents, we would not exist in this world. Our lives are by no means our own alone.
　I believe there is much we can “learn” from the footsteps of our forebears who lived in the past.
　Cause and effect bring about retribution and the cycle of reincarnation. My hope is that this will be of even the slightest help to the lives that will live in the future.
　As someone living in the present, I am humbly and steadily working on this archiving project with a mindset akin to laying “foundation work.” I have just begun work that serves as the very foundation of that foundation work.
　And our own generation, too, will likely come to be seen as a “past life” for the future. There is a possibility that we will also gain a more detached perspective on our own “journey.”
　This new type of “historical record accumulation” is highly likely to emerge as a new frontier even for history-loving Japanese people. I don’t think Japanese interest in history will forever revolve solely around “Nobunaga, Hideyoshi, and Ieyasu.” Japanese history has been woven from the complex intertwining of various “family lineages.” A “future” in which such “family history archives” form the foundation… Could that be possible?

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

　

Posted on 9月 14th, 2026 by 三木 奎吾
Filed under: 未分類 | No Comments »

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