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A review by loxeletters
An Artist of the Floating World by Kazuo Ishiguro
challenging
reflective
slow-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? No
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
4.5
This novel is told from the perspective of Ono, a retired painter in post-war Japan. Over the course of two years, four occasions (each to do with his daughters and grandson) cause him to reflect on his past as a painter before and during the war years. Told in simple yet captivating prose, his recounts are very non-linear and deal with themes of societal standing and power, the meaning of art, a changing nation, and responsibility/guilt.
While reading this book, I was often reminded of a different but somewhat related German novel, Unscharfe Bilder by Ulla Hahn, which also explores a father' feelings of ir/responsibility for his actions during WWII. Both novels captivated me similarly.
In this case, however, the details as to Ono's actions are much more vague, and the most time is spent covering his career as a painter before the war, only hinting at his contributions to the war propaganda and as an advisor to some secret police committee .
In the first half of the book, I found the protagonist to be quite insufferable. His period-typical misogyny and patriarchal attitude, expressed in his refusal to take his adult daughters seriously, was honestly hard to read about - especially since it went pretty much unchallenged. In this sense, the author managed to perfectly portray the attitude of some older people even today. This also reminded me a lot of Hahn's aforementioned novel.
As the book continues, I grew more sympathetic towards Ono, as he showed some remorse about his past actions. The aforementioned misogyny remained, of course. He never totally convinced me, though, because his reasoning that actions borne of genuine belief in a cause are somehow respectable seems to me like a dangerous notion - surely, many war criminals and modern-day Nazis also act/ed out of passion for a cause? Then again, he is not expressly pleading for forgiveness on this base, as far as I recall.
Towards the end, we then get a very important chapter, which pulls into question Ono's whole recount as his daughter denies the importance of Ono's past. After he has multiple times himself pulled into doubt some of the details of his recollection, the reader is tempted to view this as a case of an unreliable narrator. Yet soon after, we are shown Ono reminiscing with an old friend/colleague who shares his perspective, giving reason to take Ono's account seriously.
I believe the author is trying to convey a different message, though which I am not entirely sure. Perhaps, this is meant to emphasise the difference in perception and the inability of outsiders to grasp the guilt of others. To some extent, it may also relfect the result of the failure to talk about one's misdeeds. Yet at some points in the book, certain characters are very much hung up on Ono's past - Kuroda being a prominent example, and Shintaro. Maybe it is a commentary on these actions only being brought up when absolutely necessary - as in the case of marriage negotiations - but silenced when they may disturb family peace.
I feel like Ono's character growth throughout the book is hard to grasp - especially since the aforementioned period-typical flaws remain. One aspect I particularly enjoyed, which exemplifies his growth, is the following: In the beginning of the book, Ono expresses his disdain for the new way of things after the war and for the people's attitudes towards war criminals, and the younger generations generally. His love and missing of the old pleasure district exemplifies this rejection of the new Japan. Yet the last scene of the book shows him sitting happily on a bench before an office block where the old pleasure district used to be, watching young office workers, and wishing them well. I interpret this to mean he has let go of the past - both of pre-war era Japan, and of his guilt and denial regarding his own actions.
Another reviewer mentioned, with regard to this last scene, that Japan seems to simply have replaced the doctrine of imperialism with capitalism. This thought didn't occur to me while reading, but I find it a quite compelling interpretation, given just a few scenes before, we saw Ono's son in law excitedly discussing his workplace, his boss and prospects for global expansion. Following leaders blindly while serving a cause remains the modus operandi.
Overall, this book convinced me with its clean, compelling prose and complex themes and characters. Some parts were frustrating to read, others would not typically appeal to me - the nested narrative structure, for example - yet the combination of subject matter and the writing style kept me engaged throughout. This is my second read by Ishiguro and while Klara and the Sun captured me more on an emotional level, the complex narrative here is something I appreciate just as much. I can't wait to read more of his works.
While reading this book, I was often reminded of a different but somewhat related German novel, Unscharfe Bilder by Ulla Hahn, which also explores a father' feelings of ir/responsibility for his actions during WWII. Both novels captivated me similarly.
In this case, however, the details as to Ono's actions are much more vague, and the most time is spent covering his career as a painter before the war, only hinting at his
In the first half of the book, I found the protagonist to be quite insufferable. His period-typical misogyny and patriarchal attitude, expressed in his refusal to take his adult daughters seriously, was honestly hard to read about - especially since it went pretty much unchallenged. In this sense, the author managed to perfectly portray the attitude of some older people even today. This also reminded me a lot of Hahn's aforementioned novel.
As the book continues, I grew more sympathetic towards Ono, as he showed some remorse about his past actions. The aforementioned misogyny remained, of course. He never totally convinced me, though, because
Towards the end, we then get a very important chapter, which
I believe the author is trying to convey a different message, though which I am not entirely sure. Perhaps, this is meant to emphasise the difference in perception and the inability of outsiders to grasp the guilt of others. To some extent, it may also relfect the result of the failure to talk about one's misdeeds. Yet at some points in the book, certain characters are very much hung up on Ono's past - Kuroda being a prominent example, and Shintaro. Maybe it is a commentary on these actions only being brought up when absolutely necessary - as in the case of marriage negotiations - but silenced when they may disturb family peace.
I feel like Ono's character growth throughout the book is hard to grasp - especially since the aforementioned period-typical flaws remain. One aspect I particularly enjoyed, which exemplifies his growth, is the following:
Another reviewer mentioned, with regard to this last scene, that Japan seems to simply have replaced the doctrine of imperialism with capitalism. This thought didn't occur to me while reading, but I find it a quite compelling interpretation, given just a few scenes before, we saw Ono's son in law excitedly discussing his workplace, his boss and prospects for global expansion. Following leaders blindly while serving a cause remains the modus operandi.
Overall, this book convinced me with its clean, compelling prose and complex themes and characters. Some parts were frustrating to read, others would not typically appeal to me - the nested narrative structure, for example - yet the combination of subject matter and the writing style kept me engaged throughout. This is my second read by Ishiguro and while Klara and the Sun captured me more on an emotional level, the complex narrative here is something I appreciate just as much. I can't wait to read more of his works.
Content Warnings
Graphic: Misogyny
Moderate: Death, Emotional abuse, Suicide, Fire/Fire injury, and Alcohol
Minor: War