An Artist of the Floating World: An Episodic Approach October 1948

An Artist of the Floating World: October 1948

Summary & Analysis

Summary

The narrator, Masuji Ono, describes his home and how he acquired it. Ono is not, nor has he ever been rich, and he acquires his large and elegant house in an unusual way. Akira Sugimura, a respected and influential man in the city, built it. After his death, his family decides to sell his home to a buyer whom they feel will do the home justice. Ono is approached by Sugimura's two middle-aged daughters, who present him with a low price for the house and tell him they will investigate his background to see if he is worthy of it. The sisters add that their father was an art appreciator and knew of Ono's work as an artist.
Ono's wife Michiko is offended by the Sugimuras' "high-handedness," but Ono reminds her that they will be investigated in a similar way in the coming years when their children start the process of finding spouses. Part of the reason the family wants to buy the Sugimura house is to bolster the family reputation and improve the children's marriage prospects. Ono himself finds the idea of an "auction of prestige" appealing. He thinks that more things should be awarded to people this way, instead of to the highest bidder. Still, he feels that the Sugimuras are rather rude to him: when they encounter him, they often ask only about the state of the house, instead of making polite inquiries about his family.
Years later, Ono reflects that after the "surrender," the younger of the two Sugimura sisters came to visit the house. Miss Sugimura hardly paid attention to Ono's news that Michiko and their son Kenji had been killed. She only seemed to care about the state of the house. Ono was annoyed at this, but upon learning that she had lost most of her family during the war and was overcome by emotion, he forgave her rudeness and showed her around.
The house was damaged during the war, especially the very beautiful corridor running alongside the garden to the eastern wing. Miss Sugimura was near tears at the sight, but Ono reassured her that he would repair it. However, supplies remained scarce for a long time after the surrender, and Ono had to dedicate all available supplies to repairing damage to the main house. With only himself and his daughter Noriko living there, he felt less urgency to open the eastern wing. Today, Ono reports, the corridor is covered by sheets of tarpaulin and full of dust and cobwebs. Ono has, however, repaired the damage to the veranda, where his family had often spent time chatting before the war.
Ono recalls his married daughter Setsuko's visit the previous month. On the morning after Setsuko's arrival, Ono and his two daughters sit on the veranda, chatting as they used to before the war. Noriko tells her sister that their father has become much gentler and less tyrannical but needs a lot of looking after because he spends his days moping around the house. Ono contradicts Noriko but does so with a laugh to communicate that he knows the jabs are in good humor. Noriko adds that she won't come back to look after him after she marries. Setsuko appears to grow uneasy during her sister's remarks and shoots Ono an inquiring glance. Eager to change the subject, she scolds her son Ichiro, who is rowdily running back and forth on the veranda. Setsuko calls to Ichiro to come sit down, but he ignores her.
Ono calls to Ichiro to come sit with him so that they can discuss "men's things." Ichiro obeys and asks his grandfather whether "the monster is prehistoric." Ono has no idea what Ichiro is talking about, but Setsuko explains that Ichiro saw a movie poster with a monster on it that sparked his curiosity. Ono tells Ichiro they would need to see the movie to find out if the monster is prehistoric, but that he isn't sure the movie will be appropriate for a young child like Ichiro. Ichiro becomes insulted at this remark and shouts, "How dare you!" Noriko diverts Ichiro's attention, saying she will not be able to lift the heavy table without his help. Left alone with her father, Setsuko asks if Noriko's marriage is imminent. Ono tells her it is not and recounts how Noriko has spoken indiscreetly in the same way about her marriage in front of strangers. Setsuko falls into thought, and Ono looks at her face. He thinks that she has gotten better looking as she has gotten older, just as her mother predicted she would. When Setsuko was young, Noriko had teased her and called her "boy."
Setsuko says that she imagines it was a terrible blow for Noriko when, the year before, the Miyake family had cut off marriage talks at the last minute. Setsuko asks her father if he ever heard anything about why the proposal fell through, explaining that her husband Suichi believes there must be some secret reason behind it. Coldly, Ono tells her he would have told her the reason if he knew it.
In the present, Ono explains that it may seem like he was short with Setsuko, but this was not the first time she had questioned him about the Miyakes' withdrawal, and he was frustrated by the suspicion that he was keeping something from her.
Ono provides his own analysis of the Miyakes' withdrawal from marriage talks, saying that the Miyakes likely pulled out at the last minute because they felt that their social status was inferior to the Ono family's. Perhaps they waited until the last minute because they were confused about the right thing to do. Jiro and Noriko claimed that it was a love match, but in the end, they decided it wouldn't be right to marry above their station.
Digressing further, Ono says he gives little thought to status and is often surprised at how highly he is esteemed. For instance, on a recent evening, he was drinking in Mrs. Kawakami's place (a bar), when Shintaro advised Mrs. Kawakami that Ono could help her relative get a job. Ono realizes that Shintaro is remembering a time in 1935 or 1936 when he had given Shintaro's younger brother Yoshio a recommendation. The two brothers had come to his home to thank him, promising him their eternal gratitude. Ono says this visit showed him how far his status had been elevated through all his hard work, something he never would have noticed otherwise because he is unconscious of status. Ono tells Shintaro and Mrs. Kawakami that he now has fewer connections, but he wonders if perhaps he does indeed still have influence that he himself is unaware of.
Ono says that, even if Shintaro seems naive, it is nice to spend time with someone who is not bitter like most people these days. It is pleasant to visit Mrs. Kawakami's and find Shintaro at the same bar he has been visiting for the last seventeen years. Shintaro, who was once Ono's pupil, still treats him with great respect and asks him questions about technique, even though he no longer works as a real artist.
Mrs. Kawakami often teases the gullible Shintaro, tricking him into thinking she is serious when she is kidding. Shintaro also sometimes believes people are joking when they are serious. For instance, once Shintaro wondered aloud what had become of a general who had recently been executed as a war criminal. Other customers in the bar disapproved of Shintaro's admiring attitude towards the general, but when Mrs. Kawakami told him the general's fate, Shintaro thought that she was joking around. Mrs. Kawakami has been aged by the war, and she has very little business at her bar. The pleasure district where her bar is located used to be full of many bars and people strolling, but now all the other businesses are gone. In the old days, many artists and writers spent their time talking and drinking late into the night.
Ono's favorite haunt in the area was called Migi-Hidari. He had helped the bar become the most prominent one in the neighborhood and had been provided with his own table, where his best students would sit and talk to him.
Ono recounts how he once told his students assembled at the Migi-Hidari about the incident with Shintaro and his brother Yoshio. Shintaro had not been one of the top students. Ono's protégé Kuroda had mocked Shintaro for his extreme gratitude at Ono's intercession to help his brother get a "mere white-collar job." Ono said he was surprised to see, based on his ability to get Yoshio a job, how far his stature had grown. Kuroda replied that Ono was extremely modest and had no idea how respected he was by the public and his students. This kind of praise was common when his students became drunk, and Kuroda was often the one to give these speeches. Ono says he usually ignored these outpourings but found Kuroda's praise very gratifying on this occasion.
In the present day, the atmosphere in Mrs. Kawakami's place feels to Ono like it has never changed, but the rest of the pleasure district is unrecognizable. Right after the war, many of the buildings were still standing, and Ono had hoped there would be repairs and activity would return to the district. Instead, bulldozers came and tore down the buildings. There has been nothing but rubble in the area surrounding Mrs. Kawakami's place for the last three years. Ono recalls recently looking back at the pleasure district from the Bridge of Hesitation, which leads from it to his house, seeing smoke rising from the rubble, and feeling melancholy.Speaking very indirectly, Setsuko suggests Ono may want to take certain precautionary steps to ensure Noriko's marriage negotiations progress as planned. Ono says he doesn't know what she means. She says that she is concerned about the families' investigations into one another's pasts. Ono says they will hire the same detective they hired last time. Setsuko replies that she is concerned about the other side's investigation of their family. Ono says he doesn't think they have anything to hide.
Setsuko laughs nervously and apologizes for being so bad at expressing herself. She says Suichi would be much better at expressing her meaning and that they do not want any misunderstandings to arise about the past, since Noriko is almost twenty-six and they cannot afford another failed marriage negotiation. She says that she is sure that her concern is unwarranted and that her father has already taken all the necessary steps to ensure Noriko's marriage goes through. Looking at her floral arrangement, she says that she has little skill at these things. Ono says the flowers look splendid. Setsuko laughs self-consciously.
The narrative shifts to the present, and Ono describes how, reflecting on this conversation he had with Setsuko, he feels irritated. He realizes that his irritation is not directed at Setsuko so much as it is at Suichi, her husband. Ono knows how much Suichi suffered in Manchuria and tries to show tolerance when Suichi shows signs of bitterness towards members of Ono's generation. But Ono feels resentful all the same that Setsuko seems to share Suichi's perspective and that this perspective has spread to Noriko. During Setsuko's visit, he noticed that the two sisters would sometimes break off their conversation when he approached.

THEMES

Memory and Reflection:
Ono's inner world of memories and reflections plays a significant role in the novel.
Illustration: Ono frequently reminisces about his past actions as a propagandist during the war, leading to self-reflection and reevaluation of his choices.
Art and Society:
The relationship between art and societal values is explored throughout the story.
Illustration: Ono believes that artists should serve society and align their work with societal values, showcasing the connection between art and the larger social context.
Guilt and Regret:
Ono experiences a sense of guilt and regret for his past actions during the war.
Illustration: Ono's guilt is evident as he questions the value of his contributions to society and reflects on the consequences of his past propaganda work.
Tradition versus Progress:
Ono grapples with the tension between traditional values and the desire for progress.
Illustration: Ono compromises and seeks a balance between preserving traditional artistic practices and embracing progressive ideas, showcasing the conflict between tradition and progress.
Family and Relationships:
Ono's relationships, particularly with his son and daughter, undergo strain and change.
Illustration: Ono's actions during the war strain his relationship with his son, resulting in estrangement and limited interaction, highlighting the impact of his past on family dynamics.
Loss and Devastation:
The setting of post-World War II Japan highlights the aftermath of the war and its effects.
Illustration: The characters in the novel experience the devastation and loss caused by the war, emphasizing the impact of historical events on personal lives.
These themes provide a glimpse into the complex narrative of "An Artist of the Floating World" and contribute to the overall exploration of personal and societal transformations in post-war Japan.

LESSONS

The Consequences of One's Actions:
Moral Lesson: Our past actions have repercussions that can impact our relationships, sense of self, and societal standing.
Illustration: Ono's reflection on his past as a propagandist during the war reveals the guilt and regret he feels for his actions, highlighting the importance of considering the consequences of our choices.
The Complexity of Personal and Societal Transformation:
Moral Lesson: Personal growth and societal change are complex processes that require self-reflection, questioning of beliefs, and a willingness to adapt.
Illustration: Ono's journey involves grappling with the tension between tradition and progress, illustrating the complexities of navigating personal and societal transformations.
The Value of Self-Reflection and Self-Realization:
Moral Lesson: Engaging in self-reflection and recognizing one's shortcomings is essential for personal growth and understanding one's place in society.
Illustration: Ono's introspection and realization of his role in the war and his impact on his family demonstrate the importance of self-reflection in fostering personal growth and understanding.
The Role of Art in Society:
Moral Lesson: Art can serve as a reflection of societal values, challenge norms, and contribute to the cultural fabric of a community.
Illustration: Ono's beliefs about the role of artists in serving society and aligning their work with societal values highlight the significance of art in shaping and reflecting the cultural landscape.
The Influence of Historical Events on Personal Lives:
Moral Lesson: Historical events can have a profound impact on individuals, shaping their experiences, relationships, and sense of identity.
Illustration: The devastation and loss experienced by the characters in post-World War II Japan illustrate the far-reaching consequences of historical events on personal lives, underscoring the importance of understanding and acknowledging historical context.
These moral lessons provide insights into the deeper messages and reflections offered by "An Artist of the Floating World," emphasizing the significance of personal growth, introspection, societal dynamics, and historical context in shaping individuals and communities.