[2024 Creative Awards Entry Support Article] I wanted to collect this story
Chapter 1
My Attempt
It was after the Golden Week holidays that I first posted with the tag 'What is this story about?' (Nan no hanashi desu ka).
I felt a freshness in that creative style, and thinking that it would be humorous to share something that doesn't really mean anything, I carelessly went ahead and posted it.
After it was collected, I was surprised to see it in a magazine on Monday. At that point, it was the 7th issue, and all the other contributors to 'What is this story about?' were in high spirits, and everyone seemed to be getting along very well.
It felt like I had wandered into a festival venue and was watching the stage. (In other words, I enjoyed 'What is this story about?' as a spectator at a different level.) I had already followed the magazine, so after that, for the 8th, 9th, and 10th issues, I was purely a reader.
Then, just as Mr. Konishi Kinoko intended, I posted another 'What is this story about?' in the 11th issue. And with an article accompanied by an overly rough illustration.
The bar for 'master painter' set by the person who calls that quality 'master painter' was incredibly low and very light.
In the midst of all this, I came across the above Creative Awards entry: 'Three Years. I was shouting "What is this story about?" in the back alleys of the no+e city.'
It was a shock. I had thought that Mr. Konishi Kinoko, the organizer of the festival, was happily watching everyone gather and dance from the top of the festival tower, but in fact, he was dancing one after another with everyone he had politely welcomed in a folk dance. He would gracefully but easily move on to the next person, saying he would dance with anyone who wanted to dance at any time, so I had never imagined he was putting in that much effort. It is a sincere and passionate feeling of returning the favor to 'What is this story about?'. Perhaps because that feeling was conveyed, 'What is this story about?' continues to expand within no+e.
What on earth is this 'What is this story about?'?
And if things continue like this, what will happen to Mr. Konishi Kinoko? I have to stop Mr. Konishi Kinoko somehow; to tell the truth, that was what I felt most strongly.
If I am to convey my passion, I must show it through writing
I don't know if it will get through, but I want to somehow collect this 'What is this story about?' and show it to him; that was the trigger for me to write my 2024 Creative Awards entry, 'The Story of the Beginning.' I had thought of an ending where I would say, 'Let's leave the saving of everyone to God or Buddha; it's impossible for humans.' I also had a feeling that the snake in his illustration would surely do something about it.
However, during the writing process, I encountered the monk Kuya, who became the model for Chapter 2 'After Kazuha, Abandoning the Name' and Chapter 3 'Issui,' and that shallowness was shattered. People are amazing. How small the 'people' I imagined were. Sometimes there are amazing people who go beyond understanding and create history.
Just knowing that made me glad I wrote this story and glad I was involved in 'What is this story about?'. At the same time, my attempt to somehow stop Mr. Konishi Kinoko naturally faded away.
Chapter 2
Consideration of 'What is this story about?' - Aspects of Prayer and Salvation
Even so, there were discoveries. What exactly is the creation of 'What is this story about?' by Mr. Konishi Kinoko that keeps attracting everyone? The idea that it might have a healing effect like a kind of prayer became the backbone of the story.
Obtained at an old bookstore during a pilgrimage to Kyoto while writing
The book and the excerpts introduced below are intended to examine prayer itself, crossing the boundaries of various religions. Basically, prayer seems to have its effect through a trinity. 'Namu' refers to sentient beings, and chanting the name becomes the trigger. Then, Amida, who is infinite light and infinite life that is neither born nor destroyed, is the Dharma, and by a realized person acting as a mediator, the opportunity (ki) and the Dharma meet. Then, a mechanical phase occurs, as if the finite faces the infinite and is annihilated, or as if it is completely absorbed into the infinite. Through this, various things disappear and are saved; that was the content. The opportunity is always the sentient beings (people of the town), but the Dharma and the realized person differ depending on each religion.
Doesn't this apply to the participants and Mr. Konishi Kinoko in 'What is this story about?'? As for the opportunity, you don't have to choose people; you just have to chant by adding the tag 'What is this story about?'. Then, Mr. Konishi Kinoko, who is the realized person, comes to collect it. In this case, Mr. Konishi Kinoko is the mediator. And it is completely absorbed into the inorganic, yet weightless and infinite no+e magazine. The peace of mind that it has left your own hands and is not just floating alone, but has been firmly connected by a realized person, is healing.
And there is another point in common with the lightness of the monk Kuya.
There is no story of a person who chants 'Namu Amida Butsu' even once not ascending onto the lotus flower
If you chant 'Namu Amida Butsu' even once, there is no one who will not ascend to the Pure Land. This overlaps with Mr. Konishi Kinoko, who has published every article tagged 'What is this story about?' in the magazine, saying he will take care of the rest, even if it is the first time. That heart and those actions have indeed touched people's hearts. Also, in the teachings of the monk Kuya, there is no ritual other than chanting the name, and he began to perform in a circle while beating a gong in a dance house in front of spectators, which influenced the later dance nembutsu and Bon dance.
If you want to jump, jump; if you want to dance, dance. Those who know the path of the Dharma of the 'Harukoma' (Spring Horse) are the ones who know
It leads to events that go beyond mere chanting, where everyone, including the 'Nigiwakashi-obi' (festive sash), enjoys themselves, builds excitement, and reaches a sense of resolution. This points to aspects of living, salvation, and additionally, festivals, the expression of life, and collective release. I have reached the conviction that there was indeed a fundamental reason why it never ceased to attract people.
Chapter 3
The Individual (Public Figure) as a Practitioner
On the other hand, Kuya Shonin upheld and practiced the Six Paramitas—the six virtues that a Bodhisattva must fulfill to reach Nirvana (giving, observing precepts, patience, effort, stabilizing the mind, and realizing the truth)—for himself. Here, the instructions he set for himself overlap with the goal of expanding the world of Konishi Kinoko's 'Nan no hanashi desu ka' (What are you talking about?) as entertainment.
At this time, I make some rules for myself: 'Strive to be calm,' 'Try not to let personal feelings interfere,' 'Do not get too absorbed,' 'Do not force anything,' 'Accept everything,' and 'Do not touch other people's articles except for tags.' Furthermore, to ensure it is clearly understood that 'Nan no hanashi desu ka' belongs to no one, I decided, 'I will not put my own articles in the magazine.'
From Konishi Kinoko's Creative Award entry article
I believe this is the author's own Six Paramitas.
Furthermore, Kuya Shonin cherished the profound teaching of 'Only by letting go.'
Here, I would like to introduce another article by Konishi Kinoko.
I, who had always planned for 40 to be the halfway point of my life, wished to live the next 40 years as a different person. It has been a dream since I was a child. I want to try living for two people in one lifetime. To do that, I am currently moving to change things by trying to do what I thought I couldn't do in 40 years.
As part of that, I quit all other social media where I lived under my real name. I got tired of my real name. Or rather, I had fully lived out my real name within myself.
Since I'm at it, I decided to live the next 40 years with this pen name. Perhaps, at 60 or 80, I might reclaim my real name.
This is an article posted exactly one year ago, last July. They had unexpectedly discarded their name.
And, as I believe is the result of attending Hogwarts School of Witchcraft and Wizardry, they happily speak of having mastered 'simultaneous reading.'
The desire to love literature and enjoy it fully granted them that skill. Perhaps the spell they cast was 'Nan no hanashi desu ka.' However, at that point, using that spell was only for reading they had selected for themselves.
It blossoms all at once when they start using articles written by others for the sake of 'Nan no hanashi desu ka.' One year later, everyone who has read this review article this far has surely witnessed the phase they entered, where they are reading at high speed the massive amount of 'Nan no hanashi desu ka' scattered throughout no+e.
Chapter 4
The Time is Near
I will write about the current situation. Right now, I am at the limit of what I can do alone. The time I have cut out is no longer enough. 'Nan no hanashi desu ka' became popular in the back alleys of note.
I am proud that I have brought it to the limit of what one person can do.
As for the future, I think there are two choices. Either make it bigger or let it disappear. However, since I can laugh at myself for having come this far, I think it's not bad. I will wait for the results.
The space called no+e is close to the heavenly world in that it has no gravity. On the other hand, as a system on the ground, it is subject to the constraints of time. Again, I apologize for using the setting of my own book, 'The Story of the Beginning,' but the snake that appears in the story has a mysterious power. It can travel between the heavenly and earthly worlds—in other words, teleportation. However, even while in the heavens, the earthly world continues to rotate, and by the time you go back to the ground, time has passed, and you cannot meet the one you wanted to see.
Even if one is a heavenly being, surely even the Heavenly Emperor cannot stop the rotation that marks time. A message emerges here: let us live in the present. (That's a lie; I haven't written that much.) On the other hand, when I think about no+e again, a posted article becomes the past from that very moment. Konishi Kinoko connects these and embodies them in the present. What makes this possible is
the existence of the written words. The author loves words. It is an action born of love, but
on the other hand, real time is running out.
The limit of the one-person collection work by Konishi Kinoko (alias: Manager of the 'What Are You Talking About' Department), which no one has spoken of and the author themselves has kept sealed until now, is approaching.
Chapter 5
The Future of 'What Are You Talking About'
Up until now, everyone has watched over his collection work with gratitude.
I wonder if I am even qualified to speak about the future of 'What Are You Talking About,' but from here on, this is not a collection, but my own delusion about the future of 'What Are You Talking About.' Please forgive me with a warm heart.
If you have no idea what I'm talking about, please feel free to stop here.
I believe there are two choices. Either it gets bigger, or it disappears.
He takes the stance of ALL or NOTHING.
And he also speaks of a dream: can't we make it bigger together with everyone as an ALL?
One can read into this his pride in having turned the appeal of 'What Are You Talking About' into a conviction, while simultaneously building entertainment through his interactions with everyone.
Thank you so much for everything up to this point.
I also want to continue 'What Are You Talking About' for a long time to come.
If possible, I want to keep having these interactions; I am filled with that feeling.
If you will listen to this as the ramblings of someone who feels that way,
I have a feeling that the words of 'What Are You Talking About' and their effect as literature will not just stay within the world of note, nor just in the modern day, but will become a cornerstone of Japanese literature that continues into the future.
Regarding the writing of business books and academic papers, one is told to start with the conclusion, to be short, accurate, and concise—that is the refined art of writing, and the bookstores are overflowing with guidebooks for that purpose. That is how language is used to explain logic.
However, 'What Are You Talking About,' which does not convey things directly and does not clearly state a conclusion, does not use subjects, you don't know what it's about until you hear the end, and it uses circumlocution and metaphors to gently convey hidden thoughts. I think it can cultivate the charm of the Japanese language and the power to create a uniquely Japanese literature. Along with nurturing emotions through composition, it has an inclusiveness that leaves things to the reader's imagination.
In the near future, in elementary schools, the assignment will be: 'Let's write a composition using What Are You Talking About.'
I feel that the future created by children who fully exercise their thinking and create stories during summer vacation will surely be a gentle one.
Because 'What Are You Talking About' is a gentle story that doesn't hurt anyone.
And it is inevitable that the 'What Are You Talking About' works that are presented must be accompanied by a teaching method that does not deny them and does not rank them.
For that to happen, I sincerely hope that this 'What Are You Talking About' movement spreads. However, if that happens, the day will eventually come when 'What Are You Talking About' will leave his hands. As for the act of collection, that will happen at an even earlier timing.
That is a very lonely thought. However, there is a limit to how much more can be collected, and there is also the fear that I personally might become too dependent on his collection.
With that said, when I incorporate the essence of 'What Are You Talking About' into the articles I post, would it be alright to include #KonishiKinoko? Just as one decorates a home with a Buddhist altar, or prays while holding a rosary to one's chest, by attaching the #tag myself, I am summoning Konishi Kinoko as a savior.
Articles posted in this way no longer require the act of collection into comments and magazines. I post the article with a feeling somewhat akin to unrequited love, thinking, 'Maybe he read it.' This is an emotional act just to imagine. (Or is it creepy from his perspective?)
My review has started to take on horror-like elements.
A convenient phrase here
What are you talking about
Alternatively, how about Konishi Kinoko-san quits being a section chief and becomes a department manager? He can leave the collection work and hashtags to others. He becomes a department manager and creates a 'What Are You Talking About' literature department. Membership is open to anyone who wants to use 'What Are You Talking About.' But it doesn't come with collection or magazines.
You could group them by genre. And once a year, you hold a festival. The 'What Are You Talking About' Grand Prize. He probably wouldn't like selecting or ranking things here. It's self-nomination. You throw your own gem of a 'What Are You Talking About' piece into the ring. And then it gets turned into a book or magazine, and you get stimulated by others on your own. If it were the season, the deadline would be December. Reading the self-nominated 'What Are You Talking About' pieces during the year-end and New Year holidays—wouldn't that be a blissful time?
And then, building up stamina, everyone from the literature department applies to the July note Creative Awards. Maybe a writer will even be born. Even if it doesn't go that far, wouldn't it be delightful to hear the voices of the editorial department saying, 'Wow, the What Are You Talking About literature department was shining again this year'?
What are you talking about
I would like to hear from all of you at 'What Are You Talking About'
I would like to hear that kind of 'What Are You Talking About' too
Actually, I've wanted to be part of the group all along.
I'm starting to tear up, so I'll stop here.
Konishi Kinoko-san, everyone, thank you very much.
(This isn't a farewell, you know.)
Fleurette
P.S.: I thought about using the pen name Hana Minamino, but there is already a Hanako Minamino. As expected of the 'Nan no Hanashi desu' family. If, by some chance, the story I wrote were to become a book, it would be interesting to list the author as 'Unknown.' If someone asked if I wrote it, I'm sure they would play dumb and say, 'What are you talking about?'
Well then, really, that's all for now. Thank you for sticking with this long post.
I'll add the name tag right away.