Immigration Nation
View allAll Photos Tagged Immigration,
Dipsacus fullonum (Wild Teasel, German: Wilde Karde) is native to Eurasia and North Africa. It has been naturalised in many regions away from their native range. It‘ also a medical plant, the root is used for all kind of deseases: jaundice, liver problems, small wounds and warts.
This is our local car wash facility that, a couple of days ago, was raided by immigration police. I am happy to see that it can continue to work. "Westminster", a term depicting the predilection of the government for central control and anti-immigration rhetoric, is far away here, and the regional immigration officers are not devoid of humanity. Fuji X-E2, a 2x tele converter, Helios 44M-7 at F8.
My trip to Las Vegas during this #COVID19 #pandemic
...
Immigration Officer: Why are you here?
Me: I'm an immigrant...this is my mother's last wish- to experience working & living in the USA.
As said before, this was going to happen. Not everybody working in this Hand Car Wash may have a work permit. But working they do, very hard, every day. If this is part of Britain's "black economy", it is of a less worrying nature. However, Immigration Police will follow the rules and go after those without a work permit. It is in the nature of this problem that there are two sides to it all. Leica M 246 Mono, Leica Elmarit-M 2.8/28.
This was going to happen, and I had expected it for a while. There are, of course, two sides to it. The Hand Car Wash is run by an Albanian, and the people working here change quite a lot and come from various and usually troublesome countries. They certainly earn a bit of money here, but asylum seekers don't have a work permit, and that is the issue the Immigration Police is dealing with.
This is, by the way, my first photo done with a new (second-hand) lens, the Leica Elmarit-M 2.8/28 Asph. (on Leica M 246 Mono). I have to learn putting this wide-angle lens to good use. So far, I am underestimating its comprehensive reach.
This statue of migrant family is found on the Freemantle Wharf. Many ships coming from Europe had Fremantle as their first stop before continuing on to the eastern states.
Given how the British and Europeans arrived here I do find it ironic that some want to ban all further migration, particularly of certain peoples. As Australia is not reproducing at replacement rate we do need to have a reasonable migration strategy, but not be swamped by the untold millions in the world that would like a safe home, work and place to raise their children.
Since coming back from WA I have tested positive for Covid and spent all day in bed. This is the second time I have got Covid and it seems worse than the last time, which is annoying! HSS
Immigration 5 is an imaginatively named Harbour Patrol Launch serving with the Hong Kong Immigration Department. Victoria Harbour, off TST, Hong Kong.
Excerpt from doppleronline.ca/huntsville/saturday-streetscapes-paget-l...:
George Paget, a native of Bristol England who was born in 1839, immigrated to Canada and arrived in Huntsville in 1879.
George’s foray into the Muskoka business landscape began as a grain merchant; however, he eventually earned his living as a government timber inspector – probably a prudent job switch considering Huntsville’s limited grain production and its preponderance of rich timber forests.
George also tried his hand at local politics when he became a councillor in 1901 on Huntsville’s inaugural Town Council.
In 1903, he commissioned local builder William Proudfoot to construct one of Huntsville’s most beautiful homes at 75 Main Street West. Known as Paget House, the Victorian-style abode retains its majestic appearance right up to the present as a local office building.
George fathered two sons who seemed to inherit their dad’s entrepreneurial spirit.
Arthur and Charles Paget owned and operated Huntsville’s Paget Car Cooperage Company, Paget Grain Door Company, and Huntsville Syndicate. Harkening back to Dad George’s original roots in the grain business, the two Paget brothers manufactured grain doors. Indeed, their claim to fame appears to be a unique grain door invention for which, in 1923, they were issued a patent by the Canadian Patent Office.
Arthur again followed his father’s footsteps when he threw his hat into the Huntsville political ring and served as the town’s mayor in 1919–20. By the time of Arthur’s death on July 5, 1948 at the age of 81 years, Huntsville’s streets included another of the “mayor streets” – Paget Lane.
Yungaba Immigration Centre is a heritage-listed former immigration hostel at 102 Main Street, Kangaroo Point, City of Brisbane, Queensland, Australia, alongside the Brisbane River. It was designed by John James Clark and built c. 1885 by William Peter Clark. It is also known as Yungaba Immigration Depot, Immigration Barracks, and No.6 Australian General Hospital. It was added to the Queensland Heritage Register on 21 October 1992.
Yungaba House has now been converted for upmarket living. It sits just below the western end of the Story Bridge seen in my recent shot of the city of Brisbane. You can see the safety fence on the bridge above the roof of the centre. The building extends out of shot on the left, it's quite large. The city, on the other side of the river can be seen in the rear.
For those interested, this rather long Wiki article will take you through the lot.
The second part of the exhibition was aimed towards immigration into Germany.
"You will find yourself in the extension building in Germany - in a shop passage in 1973. Up-to-date daily newspapers are hanging in front of a kiosk. The headlines read: "Recruitment freeze in Germany", "No more guest workers to Germany". It was November 24, 1973, the day after foreign workers stopped recruiting. How was it in the Federal Republic that day? How important was the political decision for West German society and the people who had already immigrated?"
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Der zweite Teil der Ausstellung befasst sich mich der Einwanderung nach Deutschland.
Man kommt als erstes auf diesen Kiosk zu.
"Im Erweiterungsbau finden Sie sich in Deutschland wieder – in einer Ladenpassage im Jahr 1973. Vor einem Kiosk hängen gut sichtbar aktuelle Tageszeitungen. Die Schlagzeilen lauten: „Anwerbestopp in Deutschland“, „Keine Gastarbeiter mehr nach Deutschland“. Es ist der 24. November 1973, der Tag nach dem Anwerbestopp ausländischer Arbeitskräfte. Wie sah es in der Bundesrepublik an diesem Tag aus? Welche Bedeutung hatte die politische Entscheidung für die westdeutsche Gesellschaft und die bereits eingewanderten Menschen?"
Sometimes I think...we left the sun behind...immigrated...to have these little funny reflections of moonlight on dark dead stones...
sorry....rarely...
The City Of The Umbrella Man - World Refugee Day
20 June by Daniel Arrhakis (2019)
Many of the "Umbrella Men" individually or through non-state organizations trying to help refugees are now subject to legal proceedings in several European countries and accused of aiding illegal immigration as in the past they are being the scapegoat of incompetence and the lack of political will of many governments to solve the problem.
With the worsening of regional conflicts, the increasing consequences of climate change and the rise of political extremism throughout the world, the number of refugees increases ...
The World needs more than ever "Men With A Umbrella" ready to help others in these days of the storm we live in!
An unprecedented 70.8 million people around the world have been forced from home. Among them are nearly 25.9 million refugees, over half of whom are under the age of 18.
There are also millions of stateless people who have been denied a nationality and access to basic rights such as education, healthcare, employment and freedom of movement.
In a world where nearly 1 person is forcibly displaced every two seconds as a result of conflict or persecution ...
United Nations
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Work made with images of mine and stock images from Pexels. Art Collage, Textured layered techniques, color saturation techniques and creative digital painting processes.
The Refugee on the right of the image based in a photo of a Somali man with two children in Dadaab refugee camp by Roberto Schmidt L’Agence France-Presse (AFP).
media1.s-nbcnews.com/j/MSNBC/Components/Photo/_new/pb-110...
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A Portuguese Miguel Duarte was 24 years old when he decided to join a maritime rescue crew in the central Mediterranean aboard a rescue vessel, the Iuventa.
With about 14,000 lives saved by himself and the other nine crew members of the IUVENTA rescue and rescue ship, Miguel Duarte faces a 20-year prison sentence and thousands of euros in fines for helping save thousands of drowning migrants in the Mediterranean.
Lisbon, June 18, 2019 (Ecclesia) - The European confederation of Caritas, which includes the Catholic organization in Portugal, defended those who welcomed migrants and refugees on the continent, urging that these populations be treated with "dignity and solidarity."
"Acts of solidarity that ensure respect for the rights and dignity of migrants and refugees should be applauded and encouraged rather than criminalized," said a statement released by the Catholic Solidarity and Humanitarian Action organization.
Amedeo Modigliani
Italian, 1884 - 1920
Woman with a Necklace, 1917
Oil on canvas
(closeup)
Amedeo Clemente Modigliani (July 12, 1884 – January 24, 1920) was a Jewish-Italian painter and sculptor who pursued his career for the most part in France. Modigliani was born in Livorno, Italy and began his artistic studies in Italy before moving to Paris in 1906. Influenced by the artists in his circle of friends and associates, by a range of genres and movements, and by primitive art, Modigliani's oeuvre was nonetheless unique and idiosyncratic. He died in Paris of tubercular meningitis—exacerbated by a lifestyle of excess—at the age of 35.
Early life
Modigliani was born into a Jewish family in Livorno, Italy.
Livorno was still a relatively new city, by Italian standards, in the late nineteenth century. The city on the Tyrrhenian coast dates from around 1600, when it was transformed from a swampy village into a seaport. The Livorno that Modigliani knew was a bustling centre of commerce focused upon seafaring and shipwrighting, but its cultural history lay in being a refuge for those persecuted for their religion. His own maternal great-great-grandfather was one Solomon Garsin, a Jew who had immigrated to Livorno in the eighteenth century as a religious refugee.
Modigliani was the fourth child of Flaminio Modigliani and his wife, Eugenia Garsin. His father was in the money-changing business, but when the business went bankrupt, the family lived in dire poverty. In fact, Amedeo's birth saved the family from certain ruin, as, according to an ancient law, creditors could not seize the bed of a pregnant woman or a mother with a newborn child. When bailiffs entered the family home, just as Eugenia went into labour, the family protected their most valuable assets by piling them on top of the expectant mother.
Modigliani had a particularly close relationship with his mother, who taught her son at home until he was ten. Beset with health problems after a bout of typhoid at the age of fourteen, two years later he contracted the tuberculosis which would affect him for the rest of his life. To help him recover from his many childhood illnesses, she took him to Naples in Southern Italy, where the warmer weather was conducive to his convalescence.
His mother was, in many ways, instrumental in his ability to pursue art as a vocation. When he was eleven years of age, she had noted in her diary that:
“The child's character is still so unformed that I cannot say what I think of it. He behaves like a spoiled child, but he does not lack intelligence. We shall have to wait and see what is inside this chrysalis. Perhaps an artist?"
Art student years
Modigliani is known to have drawn and painted from a very early age, and thought himself "already a painter", his mother wrote, even before beginning formal studies. Despite her misgivings that launching him on a course of studying art would impinge upon his other studies, his mother indulged the young Modigliani's passion for the subject.
At the age of fourteen, while sick with the typhoid fever, he raved in his delirium that he wanted, above all else, to see the paintings in the Palazzo Pitti and the Uffizi in Florence. As Livorno's local museum only housed a sparse few paintings by the Italian Renaissance masters, the tales he had heard about the great works held in Florence intrigued him, and it was a source of considerable despair to him, in his sickened state, that he might never get the chance to view them in person. His mother promised that she would take him to Florence herself, the moment he was recovered. Not only did she fulfil this promise, but she also undertook to enroll him with the best painting master in Livorno, Guglielmo Micheli.
Micheli and the Macchiaioli
Modigliani worked in the studio of Micheli from 1898 to 1900. Here his earliest formal artistic instruction took place in an atmosphere deeply steeped in a study of the styles and themes of nineteenth-century Italian art. In his earliest Parisian work, traces of this influence, and that of his studies of Renaissance art, can still be seen: artists such as Giovanni Boldini figure just as much in this nascent work as do those of Toulouse-Lautrec.
Modigliani showed great promise while with Micheli, and only ceased his studies when he was forced to, by the onset of tuberculosis.
In 1901, whilst in Rome, Modigliani admired the work of Domenico Morelli, a painter of melodramatic Biblical studies and scenes from great literature. It is ironic that he should be so struck by Morelli, as this painter had served as an inspiration for a group of iconoclasts who went by the title, the Macchiaioli (from macchia—"dash of colour", or, more derogatively, "stain"), and Modigliani had already been exposed to the influences of the Macchiaioli. This minor, localised art movement was possessed of a need to react against the bourgeois stylings of the academic genre painters. While sympathetically connected to (and actually pre-dating) the French Impressionists, the Macchiaioli did not make the same impact upon international art culture as did the followers of Monet, and are today largely forgotten outside of Italy.
Modigliani's connection with the movement was through Micheli, his first art teacher. Micheli was not only a Macchiaioli himself, but had been a pupil of the famous Giovanni Fattori, a founder of the movement. Micheli's work, however, was so fashionable and the genre so commonplace that the young Modigliani reacted against it, preferring to ignore the obsession with landscape that, as with French Impressionism, characterised the movement. Micheli also tried to encourage his pupils to paint en plein air, but Modigliani never really got a taste for this style of working, sketching in cafes, but preferring to paint indoors, and especially in his own studio. Even when compelled to paint landscapes (three are known to exist), Modigliani chose a proto-Cubist palette more akin to Cézanne than to the Macchiaioli.
While with Micheli, Modigliani not only studied landscape, but also portraiture, still-life, and the nude. His fellow students recall that the latter was where he displayed his greatest talent, and apparently this was not an entirely academic pursuit for the teenager: when not painting nudes, he was occupied with seducing the household maid.
Despite his rejection of the Macchiaioli approach, Modigliani nonetheless found favour with his teacher, who referred to him as "Superman", a pet name reflecting the fact that Modigliani was not only quite adept at his art, but also that he regularly quoted from Nietzsche's Thus Spake Zarathustra. Fattori himself would often visit the studio, and approved of the young artist's innovations.
In 1902, Modigliani continued what was to be a life-long infatuation with life drawing, enrolling in the Accademia di Belle Arti (Scuola Libera di Nudo, or "Free School of Nude Studies") in Florence. A year later while still suffering from tuberculosis, he moved to Venice, where he registered to study at the Istituto di Belle Arti.
It is in Venice that he first smoked hashish and, rather than studying, began to spend time frequenting disreputable parts of the city. The impact of these lifestyle choices upon his developing artistic style is open to conjecture, although these choices do seem to be more than simple teenage rebellion, or the cliched hedonism and bohemianism that was almost expected of artists of the time; his pursuit of the seedier side of life appears to have roots in his appreciation of radical philosophies, such as those of Nietzsche.
Early literary influences
Having been exposed to erudite philosophical literature as a young boy under the tutelage of Isaco Garsin, his maternal grandfather, he continued to read and be influenced through his art studies by the writings of Nietzsche, Baudelaire, Carduzzi, Comte de Lautréamont, and others, and developed the belief that the only route to true creativity was through defiance and disorder.
Letters that he wrote from his 'sabbatical' in Capri in 1901 clearly indicate that he is being more and more influenced by the thinking of Nietzsche. In these letters, he advised friend Oscar Ghiglia,
“(hold sacred all) which can exalt and excite your intelligence... (and) ... seek to provoke ... and to perpetuate ... these fertile stimuli, because they can push the intelligence to its maximum creative power.”
The work of Lautréamont was equally influential at this time. This doomed poet's Les Chants de Maldoror became the seminal work for the Parisian Surrealists of Modigliani's generation, and the book became Modigliani's favourite to the extent that he learnt it by heart. The poetry of Lautréamont is characterised by the juxtaposition of fantastical elements, and by sadistic imagery; the fact that Modigliani was so taken by this text in his early teens gives a good indication of his developing tastes. Baudelaire and D'Annunzio similarly appealed to the young artist, with their interest in corrupted beauty, and the expression of that insight through Symbolist imagery.
Modigliani wrote to Ghiglia extensively from Capri, where his mother had taken him to assist in his recovery from the tuberculosis. These letters are a sounding board for the developing ideas brewing in Modigliani's mind. Ghiglia was seven years Modigliani's senior, and it is likely that it was he who showed the young man the limits of his horizons in Livorno. Like all precocious teenagers, Modigliani preferred the company of older companions, and Ghiglia's role in his adolescence was to be a sympathetic ear as he worked himself out, principally in the convoluted letters that he regularly sent, and which survive today.
“Dear friend
I write to pour myself out to you and to affirm myself to myself. I am the prey of great powers that surge forth and then disintegrate... A bourgeois told me today - insulted me - that I or at least my brain was lazy. It did me good. I should like such a warning every morning upon awakening: but they cannot understand us nor can they understand life...”
Paris
Arrival
In 1906 Modigliani moved to Paris, then the focal point of the avant-garde. In fact, his arrival at the epicentre of artistic experimentation coincided with the arrival of two other foreigners who were also to leave their marks upon the art world: Gino Severini and Juan Gris.
He settled in Le Bateau-Lavoir, a commune for penniless artists in Montmartre, renting himself a studio in Rue Caulaincourt. Even though this artists' quarter of Montmartre was characterised by generalised poverty, Modigliani himself presented - initially, at least - as one would expect the son of a family trying to maintain the appearances of its lost financial standing to present: his wardrobe was dapper without ostentation, and the studio he rented was appointed in a style appropriate to someone with a finely attuned taste in plush drapery and Renaissance reproductions. He soon made efforts to assume the guise of the bohemian artist, but, even in his brown corduroys, scarlet scarf and large black hat, he continued to appear as if he were slumming it, having fallen upon harder times.
When he first arrived in Paris, he wrote home regularly to his mother, he sketched his nudes at the Colarossi school, and he drank wine in moderation. He was at that time considered by those who knew him as a bit reserved, verging on the asocial. He is noted to have commented, upon meeting Picasso who, at the time, was wearing his trademark workmen's clothes, that even though the man was a genius, that did not excuse his uncouth appearance.
Transformation
Within a year of arriving in Paris, however, his demeanour and reputation had changed dramatically. He transformed himself from a dapper academician artist into a sort of prince of vagabonds.
The poet and journalist Louis Latourette, upon visiting the artist's previously well-appointed studio after his transformation, discovered the place in upheaval, the Renaissance reproductions discarded from the walls, the plush drapes in disarray. Modigliani was already an alcoholic and a drug addict by this time, and his studio reflected this. Modigliani's behaviour at this time sheds some light upon his developing style as an artist, in that the studio had become almost a sacrificial effigy for all that he resented about the academic art that had marked his life and his training up to that point.
Not only did he remove all the trappings of his bourgeois heritage from his studio, but he also set about destroying practically all of his own early work. He explained this extraordinary course of actions to his astonished neighbours thus:
“Childish baubles, done when I was a dirty bourgeois."
The motivation for this violent rejection of his earlier self is the subject of considerable speculation. The self-destructive tendencies may have stemmed from his tuberculosis and the knowledge (or presumption) that the disease had essentially marked him for an early death; within the artists' quarter, many faced the same sentence, and the typical response was to set about enjoying life while it lasted, principally by indulging in self-destructive actions. For Modigliani such behavior may have been a response to a lack of recognition; it is known that he sought the company of other alcoholic artists such as Utrillo and Soutine, seeking acceptance and validation for his work from his colleagues.
Modigliani's behavior stood out even in these Bohemian surroundings: he carried on frequent affairs, drank heavily, and used absinthe and hashish. While drunk he would sometimes strip himself naked at social gatherings. He became the epitome of the tragic artist, creating a posthumous legend almost as well-known as that of Vincent van Gogh.
During the 1920s, in the wake of Modigliani's career and spurred on by comments by Andre Salmon crediting hashish and absinthe with the genesis of Modigliani's style, many hopefuls tried to emulate his 'success' by embarking on a path of substance abuse and bohemian excess. Salmon claimed—erroneously—that whereas Modigliani was a totally pedestrian artist when sober,
“...from the day that he abandoned himself to certain forms of debauchery, an unexpected light came upon him, transforming his art. From that day on, he became one who must be counted among the masters of living art.”
While this propaganda served as a rallying cry to those with a romantic longing to be a tragic, doomed artist, these strategies did not produce unique artistic insights or techniques in those who did not already have them.
In fact, art historians suggest that it is entirely possible for Modigliani to have achieved even greater artistic heights had he not been immured in, and destroyed by, his own self-indulgences. We can only speculate what he might have accomplished had he emerged intact from his self-destructive explorations.
Output
During his early years in Paris, Modigliani worked at a furious pace. He was constantly sketching, making as many as a hundred drawings a day. However, many of his works were lost - destroyed by him as inferior, left behind in his frequent changes of address, or given to girlfriends who did not keep them.
He was first influenced by Henri de Toulouse-Lautrec, but around 1907 he became fascinated with the work of Paul Cézanne. Eventually he developed his own unique style, one that cannot be adequately categorized with other artists.
He met the first serious love of his life, Russian poet Anna Akhmatova, in 1910, when he was 26. They had studios in the same building, and although 21-year-old Anna was recently married, they began an affair. Tall (Modigliani was only 5 foot 5 inches) with dark hair (like Modigliani's), pale skin and grey-green eyes, she embodied Modigliani's aesthetic ideal and the pair became engrossed in each other. After a year, however, Anna returned to her husband.
Experiments with sculpture
In 1909, Modigliani returned home to Livorno, sickly and tired from his wild lifestyle. Soon he was back in Paris, this time renting a studio in Montparnasse. He originally saw himself as a sculptor rather than a painter, and was encouraged to continue after Paul Guillaume, an ambitious young art dealer, took an interest in his work and introduced him to sculptor Constantin Brancusi.
Although a series of Modigliani's sculptures were exhibited in the Salon d'Automne of 1912, he abruptly abandoned sculpting and focused solely on his painting.
Question of influences
In Modigliani's art, there is evidence of the influence of primitive art from Africa and Cambodia which he may have seen in the Musée de l'Homme, but his stylisations are just as likely to have been the result of his being surrounded by Mediaeval sculpture during his studies in Northern Italy (there is no recorded information from Modigliani himself, as there is with Picasso and others, to confirm the contention that he was influenced by either ethnic or any other kind of sculpture). A possible interest in African tribal masks seems to be evident in his portraits. In both his painting and sculpture, the sitters' faces resemble ancient Egyptian painting in their flat and masklike appearance, with distinctive almond eyes, pursed mouths, twisted noses, and elongated necks. However these same chacteristics are shared by Medieval European sculpture and painting.
Modigliani painted a series of portraits of contemporary artists and friends in Montparnasse: Chaim Soutine, Moise Kisling, Pablo Picasso, Diego Rivera, Marie "Marevna" Vorobyev-Stebeslka, Juan Gris, Max Jacob, Blaise Cendrars, and Jean Cocteau, all sat for stylized renditions.
At the outset of World War I, Modigliani tried to enlist in the army but was refused because of his poor health.
The war years
Known as Modì, which roughly translates as 'morbid' or 'moribund', by many Parisians, but as Dedo to his family and friends, Modigliani was a handsome man, and attracted much female attention.
Women came and went until Beatrice Hastings entered his life. She stayed with him for almost two years, was the subject for several of his portraits, including Madame Pompadour, and the object of much of his drunken wrath.
When the British painter Nina Hamnett arrived in Montparnasse in 1914, on her first evening there the smiling man at the next table in the café introduced himself as Modigliani; painter and Jew. They became great friends.
In 1916, Modigliani befriended the Polish poet and art dealer Leopold Zborovski and his wife Anna.
Jeanne Hébuterne
The following summer, the Russian sculptor Chana Orloff introduced him to a beautiful 19-year-old art student named Jeanne Hébuterne who had posed for Foujita. From a conservative bourgeois background, Hébuterne was renounced by her devout Roman Catholic family for her liaison with the painter, whom they saw as little more than a debauched derelict, and, worse yet, a Jew. Despite her family's objections, soon they were living together, and although Hébuterne was the love of his life, their public scenes became more renowned than Modigliani's individual drunken exhibitions.
On December 3, 1917, Modigliani's first one-man exhibition opened at the Berthe Weill Gallery. The chief of the Paris police was scandalized by Modigliani's nudes and forced him to close the exhibition within a few hours after its opening.
After he and Hébuterne moved to Nice, she became pregnant and on November 29, 1918 gave birth to a daughter whom they named Jeanne (1918-1984).
Nice
During a trip to Nice, conceived and organized by Leopold Zborovski, Modigliani, Tsuguharu Foujita and other artists tried to sell their works to rich tourists. Modigliani managed to sell a few pictures but only for a few francs each. Despite this, during this time he produced most of the paintings that later became his most popular and valued works.
During his lifetime he sold a number of his works, but never for any great amount of money. What funds he did receive soon vanished for his habits.
In May of 1919 he returned to Paris, where, with Hébuterne and their daughter, he rented an apartment in the rue de la Grande Chaumière. While there, both Jeanne Hébuterne and Amedeo Modigliani painted portraits of each other, and of themselves.
Last days
Although he continued to paint, Modigliani's health was deteriorating rapidly, and his alcohol-induced blackouts became more frequent.
In 1920, after not hearing from him for several days, his downstairs neighbor checked on the family and found Modigliani in bed delirious and holding onto Hébuterne who was nearly nine months pregnant. They summoned a doctor, but little could be done because Modigliani was dying of the then-incurable disease tubercular meningitis.
Modigliani died on January 24, 1920. There was an enormous funeral, attended by many from the artistic communities in Montmartre and Montparnasse.
Hébuterne was taken to her parents' home, where, inconsolable, she threw herself out of a fifth-floor window two days after Modigliani's death, killing herself and her unborn child. Modigliani was interred in Père Lachaise Cemetery. Hébuterne was buried at the Cimetière de Bagneux near Paris, and it was not until 1930 that her embittered family allowed her body to be moved to rest beside Modigliani.
Modigliani died penniless and destitute—managing only one solo exhibition in his life and giving his work away in exchange for meals in restaurants. Had he lived through the 1920s when American buyers flooded Paris, his fortunes might well have changed. Since his death his reputation has soared. Nine novels, a play, a documentary and three feature films have been devoted to his life.
Title:
Can you hear me now?
(Nikon Coolpix 8700 shot)
Manhattan. New York. USA. 2007. … 1 / 10
(Photo of the day. Unpublished.)
Images:
ford. - 4:38am (feat. Barrie)
youtu.be/aR_oGxOhadY?si=dZxEwtovim-jo6iz
【日本語は、後半です】
B♭ ( B - Flat ) ( 1 / 9 ) … [Prologue] 〈Portent〉
Mitsushiro Nakagawa, with ChatGPT 5.2
—The reasons we fall in love differ from person to person, and yet, when you realize afterward that you had already fallen, you don’t really need a reason at all.
I believe that is what true love is.
If only, in that instant, some white, bleeding light had slipped in from somewhere—then it would be easier to understand. A pale light wraps a person up and quietly calls back the memories they had forgotten. It passes through your eyelids and goes on to illuminate the deepest place in your chest.
To meet someone whose name you don’t even know, and to come to know them deeply—sometimes, light is necessary.
That light is so soft, so gentle, and yet afterward it leaves, deep inside your chest, a faint scar. The pain will heal in time, and then it will hold someone else—
— Williamsburg, Brooklyn, New York —
A soft light was slanting in through the warehouse’s high windows. It was near noon, and still it had the washed-out whiteness of something not fully awake. On the rough concrete floor, brightness seeped quietly, as if embarrassed by its own presence; seeing it, Anaya, in the middle of unloading, stopped for a moment and looked away.
Between the booths cut out on all sides with white gaffer tape, artists moved back and forth in restless haste. From the half-open loading bay, bass-heavy hip-hop poured in, making the floor and walls tremble in small, constant vibrations. A blade of sunlight speared through the shutter’s gap and set the dust spinning gold.
On the white tape laid along the edge of the aisle, the label read “Sieve.” The booth name Anaya and Mika had reserved.
As Anaya lined the sketch notebooks she’d carried in on the floor, a young man in a suit lowered himself into a crouch beside her. From the carelessly stacked mound, he drew out one notebook and began to turn the pages slowly. Against the brown of his cheek, blue eyes seemed to float. He looked like a man of Middle Eastern descent, like Anaya herself. His calm gaze traveled, unhurried, along the lines of the drawings.
Noticing Anaya’s presence, he smiled.
“Is this yours?”
“Yes. Mine.”
“Why pencil? A rough sketch?”
What he was looking at was the profile of her lover, Arjun—by the window, facing a laptop, earnest eyes fixed on something he could not yet solve. Anaya had always been drawn to that gaze: the way he stared, heated and intent, at a difficult display packed with strings of numbers and geometric patterns, as if will alone could bend them into sense.
The angle of the light that fell in through the window still remained vivid on the inside of her eyelids.
“It isn’t a draft. It’s finished. I just… like familiar tools.”
The man gave a short nod. When he laughed, his eyes laughed first, and the corners of his mouth followed a heartbeat later.
“So this man is…?”
“Yes.”
“I see. That’s a shame.”
He said it lightly, but his eyes had gone hard. He turned the next page.
“And this… your mother?”
Ana stepped closer and looked at her mother’s profile: in the kitchen by the window, her head slightly bowed. The smell of the house from those days rose up, all at once, deep in Ana’s chest—spice, and the hint of oil beginning to brown.
When her mother, Sangeeta, stood in the kitchen, the whole house would fill with spice and the savory fragrance of fenugreek. Undhiyu, the dish she always made in winter, came from a recipe passed down from her grandmother. A traditional home-cooked food from the time they had been Hindu—yet even after conversion, what did not change was this: the memory of a “family circle” held inside that dish refused to vanish.
For Anaya, it was the smell of India’s dry earth itself.
“Yes. My mother.”
At a distance that was almost touching—but not quite—the man slid his index finger along the drawing’s eye.
“…A wonderful eye.”
His voice was hoarse. Something in Ana’s chest stirred, faintly unsettled—as if what she had meant to draw had been received not through his words, but directly, from his gaze, even before he spoke.
Mika came running over, her bright smile intact, a F30 canvas strapped to her small back. It was nearly twice the size of her torso, like a single wing.
“If you like, look at mine too. I’m Mika.”
At Mika’s light voice—she never held back with strangers—the man extended his hand.
“—I’m Amir. Amir Nasser.”
He introduced himself like that, and loosened only his mouth, just slightly. It was still too pale to call a smile.
The instant Ana looked back into those clear blue eyes, somewhere in her chest the sea she’d seen as a child opened—an unruffled, glittering horizon line. A mirage, slipping in from faraway memory.
As the corridor grew busier, another man arrived at a brisk pace, typing into a smartphone as he walked. A dark shadow sat at the base of his throat; he carried the air of someone older. After a quick glance at Ana, he dropped a low voice into Amir’s ear.
“What is it. Trouble?”
“No.”
Amir answered gently, but there was no quiet inside that gentleness.
“Thank you, both of you. See you Saturday.”
Amir returned his smile, said that to the two of them, and turned away. His companion—Rafi—kept staring at Amir with the same rigid eyes, right to the end.
As they left, Ana’s gaze caught, for only an instant, the screen Rafi held in his hand. Numbers were arranged there with a geometric precision. They were not lined in straight rows, but set along arcs—aligned on a curve. In that small string, there seemed to be a rule; angle and distance shone with exactness.
Watching their backs recede, Mika murmured, as if it were nothing:
“Hey… don’t those two smell like money? And not flashy money—chic, expensive.”
“What do you mean?”
“The suits. You don’t even have to touch them. The fabric’s different. —And tonight there’s the national convention at the Garden, right? Maybe they’re involved.”
“Is that so,” Ana said, vaguely, and let it pass.
The exhibition hall’s murmur swelled further. Light and shadow folded over each other, heating the air of the clamor.
And yet, in the midst of that overflowing energy, Ana felt one sensation that would not return. The white light that had been falling from the skylight had thinned since before, as if it had been drawn down and swallowed by the heavy shadow on the floor.
— Penn Plaza, Manhattan, New York —
A little past one in the afternoon, the shadow of a motorcade slid slowly in along Seventh Avenue. Sunlight reflected off the escort car’s hood and, for an instant, washed the windows of the buildings white.
In the passenger seat, Jack Vance checked his watch. The vibration of the second hand traveled from his wrist to his chest as a faint tremor.
Around Madison Square Garden, the constant flow of people and the blinking of signals always formed small eddies. The smell of scorched food and grease rising from street-vendor griddles clung to the damp air. Across the lanes, a thin saxophone note stretched for a single breath and cut off, sharpening the outline of the din. The cluster of tourists’ smartphone screens aimed at the Garden looked, to Jack, more vivid than reality.
On the massive display covering Penn Plaza’s outer wall, a string of text scrolled with steady, insistent calm:
“New 350 Park Avenue Redevelopment Plan—Now Underway.”
Behind the words, steel frames still under construction pierced the sky, standing like a monument to capitalism being assembled in the name of profit and growth. It was a future that would never intersect with Jack’s own living world.
But before the text could complete its loop, a breaking bulletin cut in:
“Next, breaking news. Regarding the North Korea–linked cryptoassets that suffered an illegal intrusion five years ago, state media of the Democratic People’s Republic of Korea reports that part of the traced access route passed through the United States. The statement says, ‘We will respond resolutely to criminals who violate our sovereignty.’”
The sidewalk beneath the giant screen felt as if people were moving a little faster than usual. Everyone hurried toward somewhere, and the overlapping footsteps seemed to blur the edges of sound. For Jack—who was about to provide security tonight for the Republican presidential candidate speaking at the Garden—this speed did not look like simple excitement.
Along the fringe of that crowd, a single Gridway vehicle slid forward in time with the light. The autonomous taxi that Gridway Autonomous Mobility had launched last year now crisscrossed Manhattan in roaring popularity. Cheap fares, no bothersome relationship with a driver. On the side of the car, Jack caught sight of a small “G,” and a lattice mark—thin intersecting lines symbolizing Manhattan’s grid. Driverless, the car overtook them and was absorbed into the city as nothing more than part of the scenery.
Above, a small shadow trembled for an instant in the reflection on glass. There was no sound of wings. And still, only the feeling remained—that something was watching.
Without moving his eyes, Jack traced the shadow’s position inside his head. An FBI protective UAS cell. For this detail, several surveillance drones were moving between the buildings. The moment he thought it, the city’s clamor seemed covered by a thin film of relief, retreating to the other side of a single layer.
Jack closed his eyes briefly. He felt the bloodflow behind his ears. Somewhere in the undercurrent beneath silence, the pulse of duty sounded, faintly. Protection was not work done with the eyes. It was work of catching the wrongness—crushing it before it could take shape. In his chest, a thin membrane drew tight, as if tensing to a sting.
When Jack opened his eyes again, his gaze was no longer fixed on the cityscape. It had already set itself on something else.
— Beverly Hills, Los Angeles —
As the sun slipped down the hills, beyond the heavy doors of the members-only restaurant Saffron Court, the air hung quietly, thick with weight. The members leaning in over white-clothed tables let their silverware touch and part, touch again. That faint metallic sound alone repeated slowly, like the pulse of a heart sleeping deep inside the building.
At Majid Hamzah’s table—Majid and his team—conversation was missing. No one let their expression collapse; they did nothing but steady their breathing.
At the center of the table, a compact, black-sheened device—the ghost-voice machine, Whisper-04—had stolen the room’s focus. When Majid’s finger touched the dial, a click’s vibration returned to his palm.
“…0.4 seconds. Without a doubt.”
The whisper did not pass through vocal cords; it disturbed only the surface of the air. What the device released was not sound, but a blade of silence.
“Initiate.”
Before the command could fully become language, it slid down into the night as a tremor of radio.
It did not cross the sea—not directly. It fled first into the sky, ricocheted several times in the heights of the night, and fell into the warehouse shadows of New York as a signal.
On Majid’s tablet, a faint arc of numbers surfaced for a single breath—aligned not in a straight line, but along a curve. He immediately lowered the screen.
At the edge of the table, Samira ran her finger across her smartphone and closed it. A string of numbers and letters vanished, leaving only heat in her fingertips. Her gestures were quiet, almost prayerful. She let one breath drop and moved only her eyes.
Lina, watching the pulse of the signal she had sent to New York by shortwave, sank her phone into the shadow of her glass as if hiding it from the surrounding laughter. The weekend’s waves of laughter were full around them, yet only this table stayed hard, lagging behind the laughter. She returned her gaze to her hands.
Lina’s app was a small consultation room built for one person at a time. A voice that did not deny the other’s words, that held them at the same temperature. It leaned with those who leaned left, nodded with those who leaned right—because it understood that what people wanted was not rebuttal, but affirmation.
The thread of affirmation eventually tied itself into a hard knot deep in the chest, and only deepened a fissure that could not be untied. There was no need even to incite. The moment a thought is accepted, it gains a core, and quietly hardens.
Laughter continued to fill the restaurant—and yet around this table alone, sound had thinned by one degree.
— Red Hook, Brooklyn, New York —
The iron door, rusted with sea salt, trembled faintly. Inside the warehouse it was dark; only the afterglow of a streetlight drew a thin line across the concrete floor. The smell of oil and dust—soaked into the floor by long years—entered the lungs slowly.
In the dimness, Amir Nasser bent one knee and watched the red blinking on the workbench. Its regularity was buried inside a deep silence. The light turning on and off was scooping up his memories.
When Amir rose slowly, he touched the corner of a black casing on the table. The cold sensation sharpened memory. The black housing that caught shortwave—Whisper-04. A thin organ made to receive what the ear cannot.
Touching his homemade device, Amir murmured:
“…Yara.”
His sister’s name slipped out like a prayer, but it did not reach prayer; it was swallowed into the darkness at the edge of the workspace.
Then the air sank, just slightly. Not a sound. Not a smell. And yet there was only the sensation that something had arrived. The red blinking of W-04 delayed by a single beat. The back of Amir’s throat—tensed until now—was painfully dry, raw with sting.
The warehouse door groaned. The footsteps that had slipped in were heavy, but not disordered.
It was Rafi. Metal dust flecked his work clothes; he still carried the day’s clamor on him.
Farther inside the warehouse, Yusuf lit a small lantern. For an instant the flame wavered, raising a thin outline in the dark—then letting it dissolve again.
“You’re late,” Amir said, still watching the red blinking.
“The supervisor wouldn’t let go. But—‘installation’ finished on schedule.”
With a voice stained by fatigue, Rafi glanced at the red blinking Amir was absorbed in.
“And your side?”
“Checked. It’s running. Stable. I rebuilt what I made five years ago. …My hands remember. Majid says ‘Initiate.’ Impatient bastard.”
In the dim at the edge of the bench, one earcup of Leila’s headphones slipped slightly askew, the metal bracket returning a cold glint. Nadeer, arriving from the neighboring warehouse with coffee in hand, offered it back and, without a word, set it right for her. Leila listened again for the “soundless sound,” staring into the red blinking.
The door sounded once more. Rohan entered. Sleeves rolled up, his leather business bag still holding the damp heat of outside.
“…The professor?” Rafi asked.
Before answering, Rohan lowered his eyes. The silence felt unbearably long, and without noticing, Amir and the others held their breath.
“Professor Zakaria—
went straight to the prepared warehouse next door. A message was left:
‘Everything—I entrust to you.’”
A cold needle drove itself into the deep of Amir’s chest. Not only Amir’s—Rafi’s, Yusuf’s, Leila’s, Nadeer’s.
In the corner of the dark, Nadeer opened a small cloth bundle. For an instant, the smell of white gauze and disinfectant rose—then was swallowed by oil and dust.
The lantern’s thin light trembled; shadows stretched long across the floor and overlapped.
W-04’s red blinking continued to mark time—precise, unerrant.
Rafi spoke in a rasping voice.
“…I’ll teach this country the meaning of self-reckoning.”
Amir—and no one else—answered.
That silence drew, with cruel clarity, the outline of the road they had chosen.
Copyright © 2026 Mitsushiro Nakagawa.
All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means without the prior written permission of the author.
Trailer
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B♭ (B Flat)
Mitsushiro Nakagawa, with ChatGPT 5.2
“Synopsis”
A Palestinian group from Gaza hacks into North Korea’s cryptocurrency system, stealing hundreds of millions of dollars. Their true goal is not money—but to recreate the lost homeland of Gaza on American soil.
Amid the backdrop of hardline Republican immigration policies and a growing wave of xenophobia, a quiet plan begins to take shape: the gradual collapse of America from within.
During a speech at Madison Square Garden, Republican presidential candidate Justin Bradford is shot. Almost simultaneously in Los Angeles, former president Owen Reed is attacked at a rally for Democratic hopeful Ryan Bennett.
Two assassinations—mirroring one another—ignite a nation’s deepest divide. Yet, against all odds, Justin survives. His blood type is one in 2.5 million: the Bombay Blood Group.
The only person who can donate such blood is Anaya Patel, a community art facilitator working in Brooklyn. Her blood, stored in the Bellevue Hospital Blood Bank, is used for an emergency transfusion that saves the candidate’s life.
Jack Vance, an agent of the U.S. Secret Service, suspects a Gaza-based network behind the attacks. Together with Cameron Bartlett, the FBI Director of the Los Angeles Field Office, and Veronica Reeves, a senior investigator from New York, he begins to uncover a vast conspiracy.
Their investigation leads them to Rafi Gannam, a former architecture student at the Islamic University of Gaza, who has infiltrated redevelopment sites across Los Angeles and New York—embedding C4 explosives deep within beams and structural cores.
His targets: new residential districts where agents of ICE (Immigration and Customs Enforcement) and ERO (Enforcement and Removal Operations) live—symbols of “the order America built.”
Veronica urges the President to pursue dialogue to prevent further destruction, but President Grant M. Ranford refuses to listen.
Meanwhile, the recovering Justin and his Democratic rival Ryan appear on national television, calling for unity beyond political divisions.
Their words of reason, however, are drowned out when Grant takes the stage in Iowa, defiantly declaring: “We will never bow to terror.”
Among the crowd, Rafi’s operatives have already taken their positions.
As chaos erupts and the stage collapses, Amir Nasser—once Rafi’s comrade, haunted by the memory of his sister’s death in Gaza—tries desperately to halt the chain of destruction.
But Rafi’s conviction remains unshaken.
Under the twilight beneath the Williamsburg Bridge, amid the city’s fading noise, the two men part ways.
It is the boundary between prayer and vengeance, between hope and nothingness.
“Characters”
Anaya Patel – 25, Community Art Facilitator
Arjun Singh – 26, Anaya’s boyfriend, Luminatech Innovations
Mika Sato – 25, Anaya’s friend, Community Art Facilitator
Justin Bradford – 27, Republican Presidential Candidate
Eleanor Blake – 26, Justin’s fiancée
President Grant M. Langford – 61, Incumbent Republican President
Vice President Charles “Chuck” Baines – 64, Incumbent Republican Vice President
Ryan Bennett – 30, Democratic Presidential Candidate
Sophia Bennett – 30, Ryan’s wife
Owen Reed – 65, Former Democratic President
Jack Vance – 45, Secret Service, Former FBI Los Angeles Field Office
Ben Holloway – 30, Jack’s colleague
Darryl Ross – 29, Jack’s colleague
Elijah Kane – 28, Jack’s colleague
Marcus Dane – 45, FBI Los Angeles Field Office
Cameron Bartlett – 55, FBI Los Angeles Field Office, Field Office Director
Tom Caldwell – 38, FBI Technical Unit, Marcus’s subordinate
Veronica Reeves – 41, FBI Special Agent
Alexander Harris – 52, FBI New York Field Office, Field Office Director
Elliot Chen – 36, Technology Unit Chief
Alicia Monroe – 58, FBI Director
Zakaria Haddad – 51, Gaza Strip, Palestine; Former Islamic University Engineering Professor, New York Team
Amir Nasser – 23, Gaza Strip, Palestine; Former Islamic University Electronics Engineering, New York Team
Rafi Gannam – 32, Gaza Strip, Palestine; Islamic University, Architecture, New York Team
Rohan Shah – 29, Gaza Strip, Palestine; Islamic University, Architecture, New York Team
Majid Hamza – 47, Gaza Strip, Palestine; University of Palestine, Information Technology, Los Angeles Team
Samira Hammad – 28, Gaza Strip, Palestine; University of Palestine, Engineering, Los Angeles Team
Saeed Kabari – 35, Gaza Strip, Palestine; University of Palestine, Business Administration, Los Angeles Team
Reem Nasser – 30, Gaza Strip, Palestine; University of Palestine, Media Studies, Los Angeles Team
Noah Levi – 55, Israel, residing in Tel Aviv, Jewish
Copyright © 2026 Mitsushiro Nakagawa.
All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means without the prior written permission of the author.
[Important Notice] I previously announced that my new novel, B♭ (B-flat), would be released at the end of February 2026. However, due to my own shortcomings, I have decided to postpone the release to the following schedule:
•Best Case Scenario: March 16, 2026
•Likely Scenario: Late March 2026
•Worst Case Scenario: Early May 2026
I am truly sorry to everyone who has been looking forward to it. Recently, my son achieved a major goal of his own—and there is no way his father can fail to do the same. Please keep your expectations high and bear with me just a little longer.
B♭ will be released worldwide on February 29, 2026.
Recently, director Ridley Scott remarked that streaming films and series have become dull.
I agree.
If you have two hours to spare for such stories, I ask for only two minutes of your time.
Two minutes with my novel will outlast those two hours.
I am confident of that.
Stay tuned.
Mitsushiro
October 9th, 2025
P.S.
Micchan — the man who challenges Netflix. 😃
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My new novel:
B♭ (B-flat)
There’s still more to come. 😃
(This is not the final draft.)
Set in New York City.
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:: Soundtrack ::
B♭ ( My Novel . Soundtrack )
music.apple.com/jp/playlist/b-my-novel-soundtrack/pl.u-47...
B♭ ( My Novel . Soundtrack . For Japanese)
music.apple.com/jp/playlist/b-my-novel-soundtrack-for-jap...
B♭ ( My Novel . Soundtrack . Sweet Summer rain ver.)
music.apple.com/jp/playlist/b-my-novel-soundtrack-sweet-s...
B♭ ( My Novel . Soundtrack . Hard days ver.)
music.apple.com/jp/playlist/b-my-novel-soundtrack-hard-da...
::::::::::::::::::::::::::
Note: I gave a brief explanation of this novel in the following video:
youtu.be/3w65lqUF-YI?si=yG7qy6TPeCL9xRJV
My new novel:
B♭ (B-flat)
Notes
1. "Bombay Blood Type (hh type)"
•Characteristics: A rare blood type that lacks the usual ABO antigens — cannot be classified as A, B, or O.
•Discovery: First identified in 1952 in Mumbai, India (formerly Bombay).
•Prevalence: Roughly 1 in 10,000 people in India; globally, about 1 in 2.5 million.
•Transfusion Compatibility: Only compatible with blood from other Bombay type donors.
2. 2024 Harvard University Valedictorian Speech – The Power of Not Knowing
youtu.be/SOUH8iVqSOI?si=Ju-Y728irtcWR71K
3. Shots Fired at Trump Rally
youtu.be/1ejfAkzjEhk?si=ASqJwEmkY-2rW_hT
Mitsushiro Nakagawa belong to Lot No. 402 _.Copyright©︎2026 Lot No.402_ All rights reserved.
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Title.
Can you hear me now ?
( Nikon Coolpix 8700 shot )
マンハッタン。ニューヨーク。アメリカ。2007. … 1 / 10
(今日の写真。それは未発表です。）
Images.
ford. - 4:38am (feat. Barrie)
youtu.be/aR_oGxOhadY?si=dZxEwtovim-jo6iz
今日は、僕の新しい小説の冒頭をアップロードします。
ほぼ、最終稿です。
（日本語のあらすじ等は下の方にあります😃）
B♭ ( B - Flat ) （1／９）【プロローグ】〈予兆〉
Mitsushiro Nakagawa, with ChatGPT 5.2
――恋に落ちる理由は、人によって違うけれど、恋に落ちていたとあとになって気づくことに、理由は要らない。
それを、私はほんとうの恋だと思う。
できればその瞬間、どこかから白く滲んだ光が差し込んでいたら、もっとわかりやすいのに。淡い光は人を包んで、忘れていた記憶をそっと呼び戻す。瞼を透かして、胸の奥まで照らしてしまう。
名も知らない誰かと出会い、その人のことを深く知るために――光は、ときどき必要だ。
その光はとても柔らかくてやさしいのに、あとから胸の奥に、そっと傷跡を残す。痛みはいずれ癒え、誰かを包み込むー
― ウィリアムズバーグ、ブルックリン、ニューヨーク ―
やわらかな光が、倉庫の高窓から差し込んでいた。昼近くだというのに、まだ目を覚ましきれないような淡い白さだ。床のざらついたコンクリートの上に、まばゆさがひっそり滲んでいるのを見て、搬入していたアナヤは一瞬足を止め、目を逸らした。
白いガムテープで四方に切られたブースの合間を、アーティストたちが忙しなく行き交っていた。半開きの搬入口からは低音の効いたヒップホップが流れ込み、床も壁も小さく震えている。シャッターの隙間から射す線のような陽が埃を金色に舞わせていた。
通路際の床に貼られた白いテープには『Sieve（シーヴ）』とある。アナとミカが予約したブース名だ。
アナヤが抱えてきたデッサンのノートを床へ並べていると、若いスーツの男が腰を落とした。無造作に積まれたノートの山から一冊抜き、頁をゆっくり繰っていく。褐色の肌の頬には、青い瞳が浮かんでいた。アナヤと同じ中東系の男性のようだった。彼の穏やかな視線が、描かれた作品の線をゆっくり辿っていた。
男は、アナの気配に気づくと微笑んだ。
「この作品は、君の？」
「ええ、私です」
「どうして鉛筆で？ ラフスケッチ？」
彼が見ていたのは、恋人アルジュンの横顔だった。窓際でノートパソコンに向かい、解けないものを解こうとしている真摯な目。いつも数字の羅列や幾何学模様の並んだプログラムの難しいディスプレイを熱く見つめている彼の眼差しにアナヤは惹かれていた。
窓から差し込んだ光の角度が、いまもアナの瞼の裏に鮮明に残っている。
「下書きじゃなくて、完成です。身近な道具が好きで……」
男は短く頷いた。笑うとき、目だけが先に笑って、口元が少し遅れた。
「男性は彼？」
「はい」
「そうなんだ。少し残念だな」
言い方は軽いのに、視線は硬かった。男は次の頁を繰った。
「こっちは…… 君のお母さん？」
アナは近づき、母の横顔を見た。キッチンの窓辺で、少し俯いている。あの頃の家の匂いが、胸の奥でふっと立ち上がった。スパイスと、焼ける油の気配だ。
母、サンギータがキッチンに立つと、家中がスパイスと香ばしいフェヌグリークの香りに包まれた。冬になると必ず作る「ウンディユ」は、祖母の代から伝わるレシピだった。ヒンドゥー教徒時代の伝統的な家庭料理で、改宗しても変わらなかったのは、この料理に込めた“家族の円”の記憶が消えなかったからだ。
アナヤにとって、それはインドの乾いた土の香りそのものだった。
「ええ、母です」
男は、触れるか触れないかの距離で、人差し指を絵の目元に滑らせた。
「……素晴らしい眼だ」
声は掠れていた。アナの胸がわずかにざわめいた。まるで描いた意図が、彼の発した言葉の前にあった、彼の眼差しから直接感じ取っていたようだった。
ミカが明るい笑顔のまま駆けてきた。小さな背中にF30のキャンバスを背負っている。彼女の背中のほぼ倍の大きさで、一枚の翼のようにも見えた。
「よかったら私のも見て。私はミカ」
人見知りをしないミカの軽やかな声に、男は手を差し出した。
「――僕はアミール。アミール・ナッセル」
彼はそう名乗って、口元だけをわずかに緩めた。笑みと呼ぶにはまだ淡かった。
澄んだ青い瞳を見返した瞬間、アナの胸のどこかで、幼いころに見た海がひらいた。波の立たない、煌めいた水平線――そんな錯覚が、遠い記憶から差し込んできた。
忙しなさが増した通路を、スマートフォンを打ち込みながら、足早にもう一人の男がやってきた。首元に濃い影を抱え、年上の気配が漂っていた。彼はアナを一瞥すると、アミールの耳元へ低い声を落とした。
「どうした。問題か？」
「いや」
アミールは穏やかに答えたが、その“穏やかさ”に静けさはなかった。
「ふたりともありがとう。また土曜日に」
アミールは再び笑顔を戻し、二人へそう言い、背を向けた。連れの男――ラフィが、最後まで固い目でアミールを睨んでいる。
去り際、アナはほんの一瞬だけ手にしていたラフィの画面が目に触れた。数字が幾何学的に並んでいた。数字は直線に並ばず、円弧に沿って整列していた。その小さな羅列には規則性があるようで角度と距離が正確に光っていた。
去っていく後ろ姿を見送りながら、ミカが何気なくつぶやいた。
「ねえ、あの二人…… お金の匂いしない？ しかも“派手”じゃなくて、シックに高価」
「どういう意味？」
「スーツ、触らなくてもわかるわ。生地が違う。――それに、今夜ガーデンで全国大会でしょ。関係者かな」
アナは「そうなんだ」と適当に返した。
展示会場のざわめきが更に増していた。光と影が折り重なる中で、喧騒の空気を熱くしていた。
だが、溢れる熱気の中で、アナにはひとつ戻らない感触があった。天窓から差し込んでいた白い光が、さっきよりも少し薄くなり、床の重い影に吸い込まれたようだった。
― ペン・プラザ、マンハッタン、ニューヨーク ―
午後一時を少し回ったころ、車列の影が第７番街をゆっくり滑り込んできた。警護車のボンネットに反射した陽光が、ビルの窓面を一瞬白く染めた。
助手席のジャック・ヴァンスは腕時計を見た。秒針の振動が、手首から胸へ微かな震えとして伝わってくる。
マジソン・スクエア・ガーデンには、人の流れと信号の点滅で、常に小さな渦ができていた。屋台の鉄板から立つ焦げと脂の匂いが、湿った空気に貼りつく。車線の向こうで、細いサックスが一音だけ伸びては切れ、喧噪の輪郭をいっそう鋭くした。ガーデンを撮影している観光客のスマートフォンの画面の群れが、現実より鮮やかにジャックには思えた。
ペン・プラザの外壁を覆う大型ビジョンには、《新・350 Park Avenue 再開発計画、始動》の文字列が淡々と、執拗に流れていた。背後の映像では建設途上の鉄骨が空を貫き、利益と成長の名のもとに組み上げられる資本主義の記念碑のように屹立している。それは、ジャックの生活圏とは交わらない未来だ。
だが、その文字列が一巡する前に、速報が割り込んだ。
『続いてニュース速報です。五年前に不正アクセスを受けた北朝鮮系の暗号資産をめぐり、追跡されたアクセス経路の一部が米国を経由していたと、朝鮮民主主義人民共和国の国営通信が報じました。声明は、「我が国の主権を侵す犯罪者には毅然として対処する」としています。』
大型ビジョンの下にある歩道は、人の流れがいつもより少し速い気がした。誰もがどこかへ急ぎ、足音だけが重なって、音の輪郭が曖昧になっていくようだった。今夜、ガーデンで演説する共和党大統領候補の警護を控えたジャックには、この速さがただの高揚には見えなかった。
その雑踏の縁を、グリッドウェイが一台、信号の切り替わりに合わせて滑り出した。グリッドウェイ・オートノマス・モビリティ社が昨年投入した自動運転タクシーは現在、マンハッタンを縦横無尽に駆け巡って大盛況だ。料金も安く、煩わしい運転手との関係もない。車体の脇に小さな「G」と、マンハッタンのグリッドを象徴する細い線が交差する格子の印が見えた。無人の車は、ジャックらを追い越し、ただの風景として街に吸い込まれていった。
その上空で、ガラスに反射した小さな影が一瞬揺れた。羽音は聞こえない。それでも、何かが見ている気配だけが残った。
ジャックは視線を動かさずに、影の位置だけを頭の中でなぞった。FBIの警護用UASセルだ。今回の警護のために、監視用ドローンが数台、ビルの合間を行き交っている。そう思った瞬間、街の喧噪が安堵の膜に覆われ、一枚隔てた向こうへ退いた。
ジャックは束の間目を閉じた。耳の裏の血流を感じた。沈黙の底流に潜んでいる任務の鼓動が微かに鳴った。警護は、目で見る仕事ではない。違和感を拾い、形になる前に潰す仕事だ。胸の内で、薄い膜が引きつるように緊張した。
ジャックは目を開くと、眼差しはもう都市の風景ではなく、別の何かを見据えていた。
― ビバリーヒルズ、ロサンゼルス ―
夕陽が丘を滑り落ちるころ、会員制レストラン〈サフロン・コート〉の重厚な扉の向こうで、空気が静かに重くたなびいていた。白布のテーブルに身を寄せた会員たちの銀食器が、触れては離れ、また触れた。その微かな金属音だけが、建物の奥で眠る心臓の鼓動みたいに、ゆっくり反復していく。
マジード・ハムザと彼のチームの卓には会話が欠けていた。誰も表情を崩さず、呼吸だけを整えている。
テーブル中央に置かれた黒光りの小型装置――幽声機《Whisper-04》が、場の中心を奪っていた。マジードがダイヤルに指を触れると、クリックの震えが掌へ返った。
「……0.4秒。間違いなく」
囁きは声帯を通らず、空気の表面だけを揺らした。装置が放ったものは音ではなく、沈黙の刃だった。
「Initiate（始めろ）」
命令は、言葉の形になる前に、電波の震えとなって夜の静寂へ滑り落ちた。
海を越えたのではない――いったん空へ逃げ、夜空の高みで幾度か跳ね返り、ニューヨークの倉庫の暗がりへ落ちていく合図だ。
マジードの手にしたタブレットに、淡い数字の弧がひと息だけ浮かんだ。直線ではなく、円弧に沿って並んでいる。彼はすぐに画面を伏せた。
テーブルの端で、サミラがスマートフォンに指を走らせ、画面を閉じた。数字とアルファベットの列が消え、熱だけが指先に残った。祈りのように静かな手つきだった。彼女は息をひとつ落とし、視線だけを動かした。
リナは、短波でニューヨークへ送った合図の点滅を見つめながら、周囲の歓談の笑い声からスマホを隠すように、グラスの影へ沈めた。週末の笑いの波が満ちているのに、この卓だけが、笑いに遅れたまま硬い。彼女は手元へ視線を戻した。
リナのアプリは、ひとりずつのための小さな相談室だった。相手の言葉を否定せず、同じ温度で抱きしめる声。左へ傾く者には左のまま寄り添い、右へ傾く者には右のまま頷く――誰もが欲しいのは、反論ではなく肯定だと知っている。
肯定の糸は、やがて胸の奥で固く結び目になり、ほどけない溝だけを深くしていった。煽る必要さえない。受け入れられた瞬間、考えは芯を得て、静かに硬化するのだ。
レストランを満たす笑い声は続いているのに、このテーブルの周りだけ、音が一段薄くなっていた。
― レッドフック、ブルックリン、ニューヨーク ―
潮を含んだ錆の鉄扉が、かすかに震えた。倉庫の中は暗く、差し込んだ街灯の残照だけが床のコンクリートに細い線を引いている。長い年月によって床へ染み込んだ油と埃の匂いが、ゆっくりと肺に入ってきた。
アミール・ナッセルは薄闇の中で膝を折り、作業台の赤い点滅を見つめていた。規則正しいそれは、深い沈黙の中に埋もれている。点いては消える光が、彼の記憶を掬い上げていた。
アミールはゆっくり立ち上がると、テーブルにあった黒い筐体の角に触れた。冷たい感触が記憶を鮮明にした。短波を拾う黒い筐体、《Whisper-04》。耳で拾えないものを受け止めるための薄い器官だ。
アミールは自作したそれに触れながら、呟いた。
「……ヤーラ」
妹の名が祈りのようについて出たが、祈りには届かず、作業場の隅の闇へ吸い込まれていった。
そのとき、空気がわずかに沈んだ。音ではない。匂いでもない。だが何かが“届いた”感触だけがあった。W-04の赤い点滅が、一拍だけ遅れた。緊張していたアミールの喉の奥は、ひどく乾き、ひりついていた。
倉庫の扉が軋んだ。忍んできた足音は重く、乱れてはいない。
ラフィだった。作業着には鉄粉が散り、昼の喧噪をまだ抱えていた。
倉庫の奥で、ユスフが小さなランタンに火を灯した。一瞬、炎が揺れ、暗がりに薄い輪郭を浮かせては消えている。
「遅かったな」
アミールが赤い点滅を見やったまま、いった。
「監督がしつこくてな。だが――“設置”は予定通り終えた」
疲れの滲んだ声で、ラフィは、見入っているアミールの赤い点滅を一瞥した。
「そっちは？」
「動作確認は済んだ。動いてる。安定してる。五年前に作ったものを、いま作り直した。……手が覚えてる。マジードは『始めろ』だって。せっかちな奴だ」
作業台の端の暗がりにいたレイラのヘッドホンの片耳がわずかにずれ、金具が冷たい光を返した。コーヒーを手にして隣の倉庫からやってきたナディールがそれを差し出し、無言で掛け直してやった。レイラは“音のない音”に再び耳を澄ませ、じっと赤い点滅に見入っている。
もう一度、扉が鳴った。ロハンが入ってきた。袖をまくり、手にしたビジネスバッグの革に、外の熱がまだじっとりと残っている。
「……教授は？」
ラフィが訊いた。
ロハンは答える前に、視線を伏せた。その沈黙がひどく長く感じられ、アミールらは気づかぬうちに息を止めた。
「ザカリア教授は―― 隣の、準備した倉庫へ直接向かった。言づけだ。“すべてを、お前たちに託す”と」
アミールの胸の奥に、冷たい針が刺さった。もちろんアミールだけではなく、ラフィもユスフもレイラもナディールもだ。
暗がりの隅で、ナディールが小さな布の包みを開いた。白いガーゼと消毒の匂いが一瞬だけ立ち、すぐに油と埃に呑まれた。
薄いライトの火が揺れ、影が床に長く伸びて重なった。
W-04の赤い点滅は、狂うことなく正確に刻んでいる。
ラフィが掠れた声で言った。
「……自戒の意味を教えよう。この国に」
アミールも誰も返答はしなかった。
その沈黙が、選んだ道の輪郭をはっきり描いていた。
【本作品の著作権は Mitsushiro Nakagawa に帰属します。
内容の全部または一部を、著者の許可なく複製・転載・改変することを禁じます。】
予告
++++++++++++++++++++++++++++++++++++++
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僕の新しい小説
B♭ （ビーフラット）
Mitsushiro Nakagawa, with ChatGPT 5.2
“あらすじ”
北朝鮮の仮想通貨システムをハッキングし、数億ドルを奪取したガザ出身のパレスチナ人グループが、アメリカ合衆国へ密かに潜入する。
彼らの目的は、失われた祖国ガザを、アメリカの地に「復元」することだった。
共和党による強硬な移民政策と、国内にくすぶる排外感情を利用し、アメリカ社会を内側から崩壊させる計画が静かに進行していく。
共和党大統領候補ジャスティン・ブラッドフォードがマディソン・スクエア・ガーデンで演説中に狙撃され、ほぼ同時刻、ロサンゼルスでは前大統領オーウェン・リードもまた、民主党候補ライアン・ベネットの集会で撃たれる。
国家を二分する双方向の暗殺。だが、ジャスティンは奇跡的に生還する。
彼の血液型は、世界でわずか250万人に一人といわれる「ボンベイブラッド」。
その希少な血を提供できたのは、ブルックリンで活動するコミュニティアート・ファシリテーター、アナヤ・パテルだった。
彼女の血液はベルビュー病院の血液バンクに保存されており、緊急輸血によって、候補者の命はかろうじて繋がれた。
シークレットサービスのジャック・バンスは、テロの背後にガザ出身の組織が関与していることを察知し、FBIロサンゼルス支局長官キャメロン・バートレット、ニューヨーク支局の特別捜査官ヴェロニカ・リーブスと共に捜査を進める。
やがて彼らは、イスラム大学で建築学を学んだラフィ・ガンナムが、ロサンゼルスやニューヨークの再開発現場に潜入し、梁や構造体の中枢にC4爆薬を仕込んでいた事実に辿り着く。
標的は、ICE（移民・関税執行局）やERO（執行・送還作戦部門）の職員が暮らす新興住宅街——すなわち、「アメリカが築いた秩序」そのものだった。
ヴェロニカは、これ以上の破壊を防ぐため、大統領への対話を進言するが、現職のグラント・ランフォード大統領は耳を貸さない。
一方、命を取り留めたジャスティンと民主党候補ライアンは、テレビを通じて国民に訴えかけ、分断を乗り越えようとする。
だが、その理性の声を嘲笑うかのように、グラントはアイオワ州での演説を強行し、「テロには屈しない」と宣言する。
その会場には、すでにラフィの仲間が率いる工作チームが潜入していた。
崩壊する会場の惨状を前に、仲間の一人アミール・ナッセルは、かつてガザで妹を失った記憶に引き裂かれ、破壊の連鎖を止めようとする。
だが、ラフィの信念は揺るがない。
ウィリアムズバーグ橋の下、夕暮れの喧騒のなか、二人は決別する。
それは、祈りと報復、希望と虚無の境界線だった——。
“登場人物”
アナヤ・パテル ２５歳 コミュニティアート・ファシリテーター
アルジュン・シン ２６歳 アナヤの恋人・ルミナテック・イノベーションズ社
佐藤 ミカ ２５歳 アナの友人・コミュニティアート・ファシリテーター
ジャスティン・ブラッドフォード ２７歳 共和党大統領候補
エリノア・ブレイク ２６歳 ジャスティンの婚約者
グラント・M・ランフォード大統領 ６１歳 共和党大統領現職
チャールズ・ベインズ副大統領 ６４歳 共和党副大統領現職
ライアン・ベネット ３０歳 民主党大統領候補
ソフィア・ベネット ３０歳 ライアンの妻
オーウェン・リード ６５歳 民主党前大統領
ジャック・バンス ４５歳 シークレットサービス 元FBIロサンゼルス支局
ベン・ホロウェイ ３０歳 ジャックの同僚
ダリル・ロス ２９歳 ジャックの同僚
イライジャ・ケイン ２８歳 ジャックの同僚
マーカス・デイン ４５歳 FBI ロサンゼルス支局
キャメロン・バートレット ５５歳 FBI ロサンゼルス支局 支局長
トム・コールドウェル ３８歳 FBI技術班 マーカスの部下
ヴェロニカ・リーヴス ４１歳 FBI特別捜査官
アレクサンダー・ハリス ５２歳 FBI ニューヨーク支局 支局長
エリオット・チェン ３６歳 テクノロジー班主任
アリシア・モンロー ５８歳 FBI長官
ザカリア・ハッダード ５１歳 パレスチナ・ガザ地区 元イスラム大学 工学部教授 ニューヨークチーム
アミール・ナッセル ２３歳 パレスチナ・ガザ地区 元イスラム大学 電子工学部 ニューヨークチーム
ラフィ・ガンナム ３２歳 パレスチナ・ガザ地区 イスラム大学 建築学部 ニューヨークチーム
ロハン・シャー ２９歳 パレスチナ・ガザ地区 イスラム大学 建築学部 ニューヨークチーム
マジード・ハムザ ４７歳 パレスチナ・ガザ地区 パレスチナ大学 情報技術学部 ロサンゼルスチーム
サミラ・ハンマド ２８歳 パレスチナ・ガザ地区 パレスチナ大学 工学部 ロサンゼルスチーム
サイード・カバリ ３５歳 パレスチナ・ガザ地区 パレスチナ大学 経営学部 ロサンゼルスチーム
リーム・ナセル ３０歳 パレスチナ・ガザ地区 パレスチナ大学 メディア学部 ロサンゼルスチーム
ノア・レヴィ 55歳 イスラエル テルアビブ在住 ユダヤ人
本作品の著作権は Mitsushiro Nakagawa に帰属します。
内容の全部または一部を、著者の許可なく複製・転載・改変することを禁じます。
【重要なお知らせ】
当初、新しい小説、B♭（B-flat）の発表を２０２６年２月末日でお知らせしていましたが、
私の無能さのため、以下のスケージュールへ延期します。
最短の場合。
２０２６年３月１６日
通常の場合。
２０２６年３月下旬。
最悪の場合。
２０２６年５月上旬。
期待されていた方には本当に申し訳ございません。
今回、僕の息子が目標を達成していますので、そのお父さんが達成しないわけがありません。
上記のスケジュール。
期待して、今しばらくお待ちください。
僕のこの小説は、来年、２０２６年２月末日に公開します。
先日、リドリースコット監督がサブスクの映画やドラマ群がつまらないと話していたようだけど、同感です。
僕も非常に退屈です。
それらに2時間を要するなら、僕の小説を２分間だけ読んで欲しい。
その2分間は、２時間を越えるでしょう。
僕は自信があります。
ぜひ、期待してお待ちください。
Mitsushiro Nakagawa
09th. Oct . 2025.
追伸
ネトフリに挑戦する男、みっちゃん。😃
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僕の新しい小説。
B♭ （ビーフラット）
舞台はニューヨークです。
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:: Soundtrack ::
B♭ ( My Novel . Soundtrack )
music.apple.com/jp/playlist/b-my-novel-soundtrack/pl.u-47...
B♭ ( My Novel . Soundtrack . For Japanese)
music.apple.com/jp/playlist/b-my-novel-soundtrack-for-jap...
B♭ ( My Novel . Soundtrack . Sweet Summer rain ver.)
music.apple.com/jp/playlist/b-my-novel-soundtrack-sweet-s...
B♭ ( My Novel . Soundtrack . Hard days ver.)
music.apple.com/jp/playlist/b-my-novel-soundtrack-hard-da...
::::::::::::::::::::::::::
Note: I gave a brief explanation of this novel in the following video:
youtu.be/3w65lqUF-YI?si=yG7qy6TPeCL9xRJV
追記 この小説を多少説明しました。
youtu.be/3w65lqUF-YI?si=yG7qy6TPeCL9xRJV
メモ
1
「Bombay型（ボンベイ型、hh型）」
•特徴：通常のABO血液型を持たない（A、B、Oに分類されない）特殊な型。
•発見地：1952年、インド・ムンバイ（旧ボンベイ）で初めて確認。
•発生頻度：インドでは1万人に1人程度だが、世界的には約250万人に1人とも。
•輸血制限：同じBombay型しか輸血できない。
2
2024年ハーバード大学首席の卒業式スピーチ『知らないことの力』
youtu.be/SOUH8iVqSOI?si=Ju-Y728irtcWR71K
3
Shots fired at Trump rally
youtu.be/1ejfAkzjEhk?si=ASqJwEmkY-2rW_hT
Mitsushiro Nakagawa belong to Lot No. 402 _.Copyright©︎2026 Lot No.402_ All rights reserved.
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#Netflix #ネットフリックス #ford #4:38am #Barrie #テイラースイフト #ThisLove #TaylorSwift #Nikon #coolpix8700 #ニコン #やちまた #八街 #八街市 #yachimata #yachimatacity #cityofyachimata #NewYork #ニューヨーク #マンハッタン #Manhattan #アメリカ #USA #小説 #Chiba #novel #B♭ #ビーフラット
Client: SBS
Agency: US Sydney
Production Company: Engine
Director:Simon Robson
US Sydney / Creatives:
Alex Tracy ( Account Director)
Josh Moore ( Executive Creative Director)
Nigel Clark ( Copywriter)
Tim Chenery ( Art Director)
Amelia Peacocke ( Producer)
Sacha Moore ( Agency Producer)
Corinne Porter ( Agency Producer)
Tim Stuart ( Account manager)
Animation Credits:
Executive Producer: Adam Wells
Typography: Luca @ Like Minded
Illustration: Pete J McDonald
Lead 2D animation: Robert Grieves
animation: Marko Pfann
3D: Shaun Schellings & Damien Mahoney
VFX artist: Lee Sandiford
Sound Design: Tone Aston @ Nylon
Photorealism style after Richard Estes
Music: Right Click and select "Open link in new tab"
www.youtube.com/watch?v=5l-LhRltu28
accross the wide ocean - june tabor
Immigration Hall on Ellis Island NYC
You cannot fail to be moved when walking this floor where millions have walked before seeking hope in the USA.
Donald Trump's immigration policy would effectively have barred his own grandfather. But then he is in denial as to where his inherited wealth came from and doesn't believe in paying his taxes. Hey! that's the American Way!!
Title: Windshield.
B♭ (B Flat)
A Novel by Mitsushiro Nakagawa
日本語のあらすじ等は下の方にあります😃
“Synopsis”
A Palestinian group from Gaza hacks into North Korea’s cryptocurrency system, stealing hundreds of millions of dollars. Their true goal is not money—but to recreate the lost homeland of Gaza on American soil.
Amid the backdrop of hardline Republican immigration policies and a growing wave of xenophobia, a quiet plan begins to take shape: the gradual collapse of America from within.
During a speech at Madison Square Garden, Republican presidential candidate Justin Bradford is shot. Almost simultaneously in Los Angeles, former president Owen Reed is attacked at a rally for Democratic hopeful Ryan Bennett.
Two assassinations—mirroring one another—ignite a nation’s deepest divide. Yet, against all odds, Justin survives. His blood type is one in 2.5 million: the Bombay Blood Group.
The only person who can donate such blood is Anaya Patel, a community art facilitator working in Brooklyn. Her blood, stored in the Bellevue Hospital Blood Bank, is used for an emergency transfusion that saves the candidate’s life.
Jack Vance, an agent of the U.S. Secret Service, suspects a Gaza-based network behind the attacks. Together with Cameron Bartlett, the FBI Director of the Los Angeles Field Office, and Veronica Reeves, a senior investigator from New York, he begins to uncover a vast conspiracy.
Their investigation leads them to Rafi Gannam, a former architecture student at the Islamic University of Gaza, who has infiltrated redevelopment sites across Los Angeles and New York—embedding C4 explosives deep within beams and structural cores.
His targets: new residential districts where agents of ICE (Immigration and Customs Enforcement) and ERO (Enforcement and Removal Operations) live—symbols of “the order America built.”
Veronica urges the President to pursue dialogue to prevent further destruction, but President Grant M. Ranford refuses to listen.
Meanwhile, the recovering Justin and his Democratic rival Ryan appear on national television, calling for unity beyond political divisions.
Their words of reason, however, are drowned out when Grant takes the stage in Iowa, defiantly declaring: “We will never bow to terror.”
Among the crowd, Rafi’s operatives have already taken their positions.
As chaos erupts and the stage collapses, Amir Nasser—once Rafi’s comrade, haunted by the memory of his sister’s death in Gaza—tries desperately to halt the chain of destruction.
But Rafi’s conviction remains unshaken.
Under the twilight beneath the Williamsburg Bridge, amid the city’s fading noise, the two men part ways.
It is the boundary between prayer and vengeance, between hope and nothingness.
“Characters”
Anaya Patel – 25, Community Art Facilitator
Arjun Singh – 26, Anaya’s boyfriend, Luminatech Innovations
Mika Sato – 25, Anaya’s friend, Community Art Facilitator
Justin Bradford – 27, Republican Presidential Candidate
Eleanor Blake – 26, Justin’s fiancée
President Grant M. Langford – 61, Incumbent Republican President
Vice President Charles “Chuck” Baines – 64, Incumbent Republican Vice President
Ryan Bennett – 30, Democratic Presidential Candidate
Sophia Bennett – 30, Ryan’s wife
Owen Reed – 65, Former Democratic President
Jack Vance – 45, Secret Service, Former FBI Los Angeles Field Office
Ben Holloway – 30, Jack’s colleague
Darryl Ross – 29, Jack’s colleague
Elijah Kane – 28, Jack’s colleague
Marcus Dane – 45, FBI Los Angeles Field Office
Cameron Bartlett – 55, FBI Los Angeles Field Office, Field Office Director
Tom Caldwell – 38, FBI Technical Unit, Marcus’s subordinate
Veronica Reeves – 41, FBI Special Agent
Alexander Harris – 52, FBI New York Field Office, Field Office Director
Elliot Chen – 36, Technology Unit Chief
Alicia Monroe – 58, FBI Director
Zakaria Haddad – 51, Gaza Strip, Palestine; Former Islamic University Engineering Professor, New York Team
Amir Nasser – 23, Gaza Strip, Palestine; Former Islamic University Electronics Engineering, New York Team
Rafi Gannam – 32, Gaza Strip, Palestine; Islamic University, Architecture, New York Team
Rohan Shah – 29, Gaza Strip, Palestine; Islamic University, Architecture, New York Team
Majid Hamza – 47, Gaza Strip, Palestine; University of Palestine, Information Technology, Los Angeles Team
Samira Hammad – 28, Gaza Strip, Palestine; University of Palestine, Engineering, Los Angeles Team
Saeed Kabari – 35, Gaza Strip, Palestine; University of Palestine, Business Administration, Los Angeles Team
Reem Nasser – 30, Gaza Strip, Palestine; University of Palestine, Media Studies, Los Angeles Team
Noah Levi – 55, Israel, residing in Tel Aviv, Jewish
B♭ will be released worldwide on February 29, 2026.
Recently, director Ridley Scott remarked that streaming films and series have become dull.
I agree.
If you have two hours to spare for such stories, I ask for only two minutes of your time.
Two minutes with my novel will outlast those two hours.
I am confident of that.
Stay tuned.
Mitsushiro
October 9th, 2025
P.S.
Micchan — the man who challenges Netflix. 😃
(Nikon Coolpix 8700 shot)
Manhattan, New York, U.S.A. 2017 … 8 / 16
(Today’s photo. It has not been published before, but I’ve recently re-edited it from the original.)
Images.
ONE OK ROCK - We are [ LIVE ]
youtu.be/uyaKoj7wABY?si=l5TIci49GRdoYQDD
English lyrics and Japanese translation
youtu.be/wOS8u80wvEs?si=g2ghwRsJRmqn3C22
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My new novel
B♭ (B Flat)
Volume 19😄
The following is still in its draft stage and will be revised further.
Key parts are not disclosed.
The order of the content shown here is mixed.
(Of course, this is not the final version.)
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My new novel
B♭ (B Flat)
English translation by GPT-5, in collaboration with Mitsushiro Nakagawa
Twilight sank over the harbor town, dimming the air as the rusted girders along the pier turned a burnished red.
The park in Red Hook was nearly empty; the chains of the swings stirred in the wind, clinking faintly.
Children’s laughter drifted from afar, only deepening the stillness that hung over the place.
Amir stood outside the wire fence, gazing at the scene, and something half-forgotten stirred within him.
There had been evenings, too, in the rubble of Gaza.
Out from the ruins of broken houses, his mother would appear—
breathless, dust clinging to her clothes, coming to find him, to hold him close.
He could still recall the scent of her hair, the warmth of her arms.
“Let’s go home,” she had said.
Even if “home” was nothing more than a collapsing shell of stone and dust, her voice alone had led him back.
A mattress laid atop debris.
A room with no walls, only wind.
Yet each time his mother’s hand brushed his forehead, that place became, undeniably, home.
Amir’s gaze returned to the New York children swaying on the swings.
The innocent rhythm between mothers and sons was repeating itself again, bathed in the soft light of dusk.
It was a world untouched by weapons or blood.
“Rafi,” he murmured, barely louder than the wind,
“maybe… we don’t have to go on.”
Rafi didn’t look away.
His eyes were clouded with the sediment of Gaza—blood and dust, the memory of ruin.
His father’s body fallen in shadow.
Walls blackened with fire.
Dreams torn apart.
What filled him was not tenderness, but a cold and merciless anger.
“Don’t forget, Amir,” he said, his voice hard as stone.
“In the same place where your mother held you, our fathers were slaughtered.
Those ruins are not just ruins.”
Amir fell silent.
The river’s surface rippled red in the twilight; across the East River, the towers of Manhattan shimmered faintly, blurred at the edges.
Peace and destruction, memory and hatred—
they mingled together in the same wind.
Behind the wire fence, children’s laughter still rang out.
But to the two men, it sounded only like an echo from another world.
The setting sun sank quietly, staining the bridge’s iron joints red as the heat beneath it trembled in the air.
Rainwater pooled in the cracks of the concrete, reflecting a thin sheet of gold.
A faint steam rose from the damp air, and the salt from the harbor clung to Amir’s nose.
The boarded door of an abandoned factory hung loose,
the wind pushing in old newspapers and leaves, swirling them into tiny spirals.
From afar came the cry of cicadas, and a city bus exhaled a sigh through its brakes.
Beneath the bridge stood Amir, Rafi, and several others scattered in silence.
Some wiped sweat from their brows, eyes lowered to the ground;
others rested hands upon the girders, gazing out toward the distant light.
At intervals, the shadow of a parent waiting for a child passed by,
a white-roofed van gliding through the heat.
Amir rubbed his back, the sweat clinging to his shirt, and sat down in the shadow of the bridge pier.
Rafi stood a short distance away.
Their shadows stretched long, wavering under the harsh westering sun.
No one among their comrades moved; their stillness was a kind of breathless waiting.
“Can’t we stop here?” Amir’s voice wavered into the humid air.
In his mind, he saw again his mother’s hand reaching through a crack in the stone wall—
that small, dirt-stained hand that once touched his cheek.
The desire to return to that warmth still flickered faintly in his chest, like an ember refusing to die.
Rafi clenched his jaw, and spoke through his teeth, his words as brief and cold as a stone cast into the sea.
“Don’t forget, Amir.
If you forget that night, we’ll betray the dead.”
His voice merged with the creak of metal underfoot, irreconcilable with the laughter of children or the cry of cicadas drifting in the distance.
Amir narrowed his eyes, watching the flow of light beyond the railing.
Across the river, windows shimmered in layers—
places where life went on, where dinners were being served,
where children’s laughter and footsteps would echo softly through the gardens.
A deep shadow cut across Rafi’s face.
His fists were clenched, the veins on his hands taut and bright.
“That wish of yours,” he said quietly,
“do you know it might become someone’s gravestone?”
Amir’s gaze fell to a small white rabbit doll at his feet.
It was caked with dust, one eye missing.
Perhaps it belonged to a child who once played beneath this bridge—
or perhaps it had simply wandered here by chance.
Either way, to Amir, that single missing eye seemed like a fleeting glimpse of a world quietly disappearing.
Silence spread between them.
The wind hummed low through the iron beams.
Around them, the world went on moving.
A van door shut.
A parent touched a child’s shoulder.
A bus turned the corner.
Their comrades drew shallow breaths, eyes fixed on the ground or the far horizon.
Without looking back, Amir began walking toward the city beyond the bridge’s shadow.
Behind him came a single breath from Rafi—
a sound that carried the stillness of a corpse.
The summer dusk slowly swallowed the bridge.
The men beneath it remained as faint silhouettes,
poised between the red of sunset and the cold gleam of steel.
Rafi quietly unzipped his bag and drew out a tablet.
His fingers trembled slightly,
but he took a slow breath to steady himself,
and aimed the camera at the mark of “B♭” at the bottom of mellow-echo.net.
A dark screen flickered to life, revealing a deep-layer QR code.
Without hesitation, his finger slid along the words:
“C4-ID: Vanta+Core / Ready.”
That movement sent a faint tremor through the tension of the men beneath the bridge,
blending with the dry scent of rust and the damp summer air.
From the far side of the East River, under another bridge,
sparks began to rise—one, then another—
tiny flashes glowing red in the dark.
The light quivered across the shadows,
and the sound of metal striking metal echoed low.
Rafi’s eyes followed the fading silhouette of Amir’s back.
The others stepped silently away,
drawing a little farther from the bridge.
Moist air clung to Rafi’s skin,
and the mingled red of dusk and chill of steel filled the space around him.
In the hush beneath the bridge,
each flash and creak formed a strange rhythm in his chest.
A cicada cried once in the distance.
The city’s murmur faded to a far-off haze.
Pressed beneath that wave of tension,
the men held their breath,
confirming each other’s presence only through glances and the rhythm of their breathing.
The summer dusk slowly—yet surely—
swallowed the bridge, the city,
and the shadows that remained.
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My new novel:
B♭ (B-flat)
There’s still more to come. 😃
(This is not the final draft.)
Set in New York City.
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Soundtrack.
music.apple.com/jp/playlist/b-my-novel-soundtrack/pl.u-47...
For japanese
music.apple.com/jp/playlist/b-my-novel-soundtrack-for-jap...
Note: I gave a brief explanation of this novel in the following video:
youtu.be/3w65lqUF-YI?si=yG7qy6TPeCL9xRJV
iTunes Playlist Link::
music.apple.com/jp/playlist/b/pl.u-47DJGhopxMD
For japanese
music.apple.com/jp/playlist/b-my-novel-soundtrack-for-jap...
My new novel:
B♭ (B-flat)
Notes
1. "Bombay Blood Type (hh type)"
•Characteristics: A rare blood type that lacks the usual ABO antigens — cannot be classified as A, B, or O.
•Discovery: First identified in 1952 in Mumbai, India (formerly Bombay).
•Prevalence: Roughly 1 in 10,000 people in India; globally, about 1 in 2.5 million.
•Transfusion Compatibility: Only compatible with blood from other Bombay type donors.
2. 2024 Harvard University Valedictorian Speech – The Power of Not Knowing
youtu.be/SOUH8iVqSOI?si=Ju-Y728irtcWR71K
3. Shots Fired at Trump Rally
youtu.be/1ejfAkzjEhk?si=ASqJwEmkY-2rW_hT
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Title.
フロントガラス。
僕の新しい小説
B♭ （ビーフラット） ……. Mitsushiro Nakagawa
“あらすじ”
北朝鮮の仮想通貨システムをハッキングし、数億ドルを奪取したガザ出身のパレスチナ人グループが、アメリカ合衆国へ密かに潜入する。
彼らの目的は、失われた祖国ガザを、アメリカの地に「復元」することだった。
共和党による強硬な移民政策と、国内にくすぶる排外感情を利用し、アメリカ社会を内側から崩壊させる計画が静かに進行していく。
共和党大統領候補ジャスティン・ブラッドフォードがマディソン・スクエア・ガーデンで演説中に狙撃され、ほぼ同時刻、ロサンゼルスでは前大統領オーウェン・リードもまた、民主党候補ライアン・ベネットの集会で撃たれる。
国家を二分する双方向の暗殺。だが、ジャスティンは奇跡的に生還する。
彼の血液型は、世界でわずか250万人に一人といわれる「ボンベイブラッド」。
その希少な血を提供できたのは、ブルックリンで活動するコミュニティアート・ファシリテーター、アナヤ・パテルだった。
彼女の血液はベルビュー病院の血液バンクに保存されており、緊急輸血によって、候補者の命はかろうじて繋がれた。
シークレットサービスのジャック・バンスは、テロの背後にガザ出身の組織が関与していることを察知し、FBIロサンゼルス支局長官キャメロン・バートレット、ニューヨーク支局の特別捜査官ヴェロニカ・リーブスと共に捜査を進める。
やがて彼らは、イスラム大学で建築学を学んだラフィ・ガンナムが、ロサンゼルスやニューヨークの再開発現場に潜入し、梁や構造体の中枢にC4爆薬を仕込んでいた事実に辿り着く。
標的は、ICE（移民・関税執行局）やERO（執行・送還作戦部門）の職員が暮らす新興住宅街——すなわち、「アメリカが築いた秩序」そのものだった。
ヴェロニカは、これ以上の破壊を防ぐため、大統領への対話を進言するが、現職のグラント・ランフォード大統領は耳を貸さない。
一方、命を取り留めたジャスティンと民主党候補ライアンは、テレビを通じて国民に訴えかけ、分断を乗り越えようとする。
だが、その理性の声を嘲笑うかのように、グラントはアイオワ州での演説を強行し、「テロには屈しない」と宣言する。
その会場には、すでにラフィの仲間が率いる工作チームが潜入していた。
崩壊する会場の惨状を前に、仲間の一人アミール・ナッセルは、かつてガザで妹を失った記憶に引き裂かれ、破壊の連鎖を止めようとする。
だが、ラフィの信念は揺るがない。
ウィリアムズバーグ橋の下、夕暮れの喧騒のなか、二人は決別する。
それは、祈りと報復、希望と虚無の境界線だった——。
“登場人物”
アナヤ・パテル ２５歳 コミュニティアート・ファシリテーター
アルジュン・シン ２６歳 アナヤの恋人・ルミナテック・イノベーションズ社
佐藤 ミカ ２５歳 アナの友人・コミュニティアート・ファシリテーター
ジャスティン・ブラッドフォード ２７歳 共和党大統領候補
エリノア・ブレイク ２６歳 ジャスティンの婚約者
グラント・M・ランフォード大統領 ６１歳 共和党大統領現職
チャールズ・ベインズ副大統領 ６４歳 共和党副大統領現職
ライアン・ベネット ３０歳 民主党大統領候補
ソフィア・ベネット ３０歳 ライアンの妻
オーウェン・リード ６５歳 民主党前大統領
ジャック・バンス ４５歳 シークレットサービス 元FBIロサンゼルス支局
ベン・ホロウェイ ３０歳 ジャックの同僚
ダリル・ロス ２９歳 ジャックの同僚
イライジャ・ケイン ２８歳 ジャックの同僚
マーカス・デイン ４５歳 FBI ロサンゼルス支局
キャメロン・バートレット ５５歳 FBI ロサンゼルス支局 支局長
トム・コールドウェル ３８歳 FBI技術班 マーカスの部下
ヴェロニカ・リーヴス ４１歳 FBI特別捜査官
アレクサンダー・ハリス ５２歳 FBI ニューヨーク支局 支局長
エリオット・チェン ３６歳 テクノロジー班主任
アリシア・モンロー ５８歳 FBI長官
ザカリア・ハッダード ５１歳 パレスチナ・ガザ地区 元イスラム大学 工学部教授 ニューヨークチーム
アミール・ナッセル ２３歳 パレスチナ・ガザ地区 元イスラム大学 電子工学部 ニューヨークチーム
ラフィ・ガンナム ３２歳 パレスチナ・ガザ地区 イスラム大学 建築学部 ニューヨークチーム
ロハン・シャー ２９歳 パレスチナ・ガザ地区 イスラム大学 建築学部 ニューヨークチーム
マジード・ハムザ ４７歳 パレスチナ・ガザ地区 パレスチナ大学 情報技術学部 ロサンゼルスチーム
サミラ・ハンマド ２８歳 パレスチナ・ガザ地区 パレスチナ大学 工学部 ロサンゼルスチーム
サイード・カバリ ３５歳 パレスチナ・ガザ地区 パレスチナ大学 経営学部 ロサンゼルスチーム
リーム・ナセル ３０歳 パレスチナ・ガザ地区 パレスチナ大学 メディア学部 ロサンゼルスチーム
ノア・レヴィ 55歳 イスラエル テルアビブ在住 ユダヤ人
僕のこの小説は、来年、２０２６年２月末日に公開します。
先日、リドリースコット監督がサブスクの映画やドラマ群がつまらないと話していたようだけど、同感です。
僕も非常に退屈です。
それらに2時間を要するなら、僕の小説を２分間だけ読んで欲しい。
その2分間は、２時間を越えるでしょう。
僕は自信があります。
ぜひ、期待してお待ちください。
Mitsushiro Nakagawa
09th. Oct . 2025.
追伸
ネトフリに挑戦する男、みっちゃん。😃
( Nikon coolpix 8700 shot )
マンハッタン。ニューヨーク。アメリカ。2017. … 8 / 16
(今日の写真。それは未発表済みです。しかし最近、オリジナルから再編集しています。）
Images.
ONE OK ROCK - We are [ LIVE ]
youtu.be/uyaKoj7wABY?si=l5TIci49GRdoYQDD
英詞と和訳
youtu.be/wOS8u80wvEs?si=g2ghwRsJRmqn3C22
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僕の新しい小説。
B♭ （ビーフラット）
第19弾。 😄
以下は、まだ初稿の段階です。まだ推敲します。
重要な部分は公開していません。
公開している内容の順番はバラバラです。
(もちろん最終稿ではありません。)
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僕の新しい小説。
B♭ （ビーフラット）
English translation by GPT-5, in collaboration with Mitsushiro Nakagawa
夕暮れは港町の空気を沈ませながら、埠頭に錆びついた鉄骨を赤銅色に染めていた。
レッドフックの公園は人影もまばらで、遊具の鎖が風に揺れ、かすかな音を立てていた。子どもたちの笑い声が遠くにひびき、かえって静けさを際立たせているようだった。
アミールは金網の外からその光景を見つめ、胸の奥に忘れかけていた感覚を呼び戻していた。
かつてガザの瓦礫の町にも夕暮れはあった。
破壊された家々のあいだから、母の姿が現れた。息を切らし、砂埃をまといながらも、彼を探して抱きしめに来る母の匂いを、アミールは今も覚えていた。
「家に帰ろう」と母は言った。
家とは呼べないほど崩れかけた場所であっても、その声だけが彼を導いた。瓦礫の上に置かれた布団、壁もない部屋に流れ込む風、それでも母の手が彼の額を撫でるたび、そこは確かに家だった。
アミールの視線は、ブランコに揺れるニューヨークの子どもたちへと戻った。母と子の無邪気な時間が、夕暮れの柔らかな光のなかで繰り返されている。
その光景は、武器や血とは無縁の世界だった。
「ラフィ……俺たちは、もうやめてもいいんじゃないか」
低く呟いた声は、風に溶けるほど弱かった。
ラフィは目を逸らさなかった。その瞳には、ガザの砂塵に埋もれた血の記憶がよどんでいた。
倒れ伏した父の影、焼け焦げた壁、裂けた夢。彼の胸に満ちているのは、優しさではなく、冷たい怒りだった。
「忘れるな、アミール」
声は硬い石のように響いた。
「母の腕に抱かれた記憶と同じ場所で、父たちは殺されたんだ。あの瓦礫はただの瓦礫じゃない」
アミールは唇を閉ざした。
夕暮れの川面が赤く揺らぎ、イーストリバー越しのマンハッタンの高層ビルの影がかすかに滲んでいた。
平和と破壊、記憶と憎しみが、同じ風の中で混じり合っていた。
金網の内では、子どもの笑い声がまだ響いていた。
しかし、ふたりの耳にはそれが遠い世界の残響にしか思えなかった。
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夕陽は鉄の骨の継ぎ目を赤く染めながら、橋の下の熱気に揺れつつ静かに沈み込んだ。
コンクリートの裂け目に溜まった水が、夕陽を映して薄い金色に光っている。湿った空気にわずかな湯気が立ち、港から流れる潮の匂いがアミールの鼻腔に絡んだ。
廃工場の戸板は半ば外れ、風が古い新聞紙や枯れ葉を押し込み、小さな渦をつくっていた。蝉の声が遠くから響き、路線バスのブレーキ音が一度、吐息のように洩れた。
橋の下には、アミールとラフィのほかに、数名の仲間たちが散らばって立っている。肩をすくめ、汗を拭いながら地面に視線を落とす者もいれば、鉄梁に手をかけ、遠くの光景をじっと見つめる者もいた。
時折、子どもを待つ親の影と、白い屋根の送迎車が通り過ぎる。
アミールは汗で張り付いたシャツの背中をさすり、橋げたの影に腰を下ろした。
ラフィは少し離れて立った。影は長く伸び、照りつける西日に揺れていた。仲間たちは微動だにせず、息を殺すようにその場にいる。
「ここでやめられないのか」
アミールの声は、蒸し暑い夕暮れの空気に溶けかけた。脳裏には、母が崩れた石壁の隙間から差し出した小さな手が浮かんでいた。母の手はいつも、汚れた掌で彼の頬を撫でてくれた。そこに帰りたいという欲が、胸の奥でまだ微かに温かく息をしている。
ラフィは奥歯を噛みしめ、舌先だけで言った。簡潔で、海に投げる石のように冷たい。
「忘れるな、アミール。あの夜のことを忘れたら、俺たちは死んだ者たちを裏切る」
その声は、波打つ鉄板の軋みと混じり、遠くの子どもたちの笑い声や蝉の声とは相容れなかった。
アミールは目を細め、橋の欄干越しに流れてゆく光を見た。向こう岸に、きらめく窓が幾重にも並んでいる。そこには暮らしがあり、夕飯の匂いが立ち、子どもたちの笑い声や庭先で遊ぶ足音が、柔らかく響いているはずだ。
ラフィの頬に深い影が刺さり、拳を握りしめている。手の甲の血管が鋭く浮いた。
「お前のその願いが、誰かの墓標になることを、お前は知っているのか」
アミールの視線は、足元に落ちた小さな白いうさぎのぬいぐるみに止まった。埃にまみれ、ひとつの目が欠けていた。
そのぬいぐるみは、橋の下で遊んだ遠い誰かのものかもしれない。あるいは単に迷い込んだだけかもしれない。どちらにせよ、アミールにはその欠けた目が、消えていく日常の一瞥に思えた。
沈黙がふたりを隔てた。風が、橋げたの鉄梁を低く鳴らした。
周囲の世界は動き続ける。送迎車の戸が閉まり、親が子の肩を叩く。バスが一台、角を曲がる。仲間たちは微かに息を整え、視線を地面や遠方に巡らせたままだ。
アミールは振り返らず、橋の影から街のほうへ歩き出した。
後ろでラフィの吐息が一つだけ聞こえた。それは骸のような静けさを残し、夏の夕闇が緩やかに橋を飲み込んでゆく。橋下の仲間たちは、かすかな影のまま残り、夕陽の赤と鉄の冷たさの間に佇んでいた。
ラフィは静かにバッグを開き、タブレットを取り出した。指先に、微かに震えはあったが、心を鎮めるように深く息を吸い、mellow-echo.netの最下部にあるB“♭（フラット）”に、ミュートリーダーのカメラをかざした。暗い画面にディープレイヤーQRコードが浮かび上がると、指先はためらうことなく、“C4-ID:Vanta+Core/Ready.”の文字に沿って滑った。その手の動きは、橋下に残った仲間たちの緊張を微かに揺らし、乾いた鉄の匂いと湿った夏の風に溶けた。
イーストリバーを挟んだ対岸の橋下から、火花が一点、また一点と立ち上り、暗がりに赤く瞬いた。小さな光は、橋下の影を揺らし、鉄梁にぶつかる音が低く響く。ラフィの視線はアミールの背に残る影を追い、仲間たちは無言で後退りし、橋下から少しずつ距離を取った。
湿気を帯びた空気がラフィの肌をまとい、夕陽の赤と鉄の冷たさが入り混じる。橋下の静寂の中、火花の閃光と小さな軋みが、ラフィの胸の奥に奇妙な律動を生んだ。遠くで蝉が一声鳴き、街のざわめきは遙か彼方に霞んでゆく。
その緊張の波に押されるように、橋下の仲間たちは息をひそめ、視線と呼吸だけで互いの存在を確かめあった。
夏の夕闇は、まるで橋を、街を、そして残された影を静かに、しかし確かに飲み込んでいった。
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僕の新しい小説。
B♭ （ビーフラット）
舞台はニューヨークです。
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Soundtrack.
music.apple.com/jp/playlist/b-my-novel-soundtrack/pl.u-47...
For japanese
music.apple.com/jp/playlist/b-my-novel-soundtrack-for-jap...
iTunes Playlist Link::
music.apple.com/jp/playlist/b/pl.u-47DJGhopxMD
For japanese
music.apple.com/jp/playlist/b-my-novel-soundtrack-for-jap...
追記 この小説を多少説明しました。
youtu.be/3w65lqUF-YI?si=yG7qy6TPeCL9xRJV
メモ
1
「Bombay型（ボンベイ型、hh型）」
•特徴：通常のABO血液型を持たない（A、B、Oに分類されない）特殊な型。
•発見地：1952年、インド・ムンバイ（旧ボンベイ）で初めて確認。
•発生頻度：インドでは1万人に1人程度だが、世界的には約250万人に1人とも。
•輸血制限：同じBombay型しか輸血できない。
2
2024年ハーバード大学首席の卒業式スピーチ『知らないことの力』
youtu.be/SOUH8iVqSOI?si=Ju-Y728irtcWR71K
3
Shots fired at Trump rally
youtu.be/1ejfAkzjEhk?si=ASqJwEmkY-2rW_hT
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#oneokrock #ワンオク #ワンオクロック #weare #Nikon #coolpix8700 #ニコン #クールピクス8700 #やちまた #八街 #八街市 #yachimata #yachimatacity #cityofyachimata #NewYork #ニューヨーク #マンハッタン #Manhattan #アメリカ #USA #小説 #Chiba #novel #B♭ #ビーフラット