An Artist of the Floating World

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An Artist of the Floating World (1986)[1] is a novel by British author Kazuo Ishiguro. It is set in post-World War II Japan and is narrated by Masuji Ono, an ageing painter, who looks back on his life and how he has lived it. He notices how his once-great reputation has faltered since the war and how attitudes towards him and his paintings have changed. The chief conflict deals with Ono's need to accept responsibility for his past actions, rendered politically suspect in the context of post-War Japan. The novel ends with the narrator expressing good will for the young white-collar workers on the streets at lunchbreak. The novel also deals with the role of people in a rapidly changing political environment and with the assumption and denial of guilt.wikipedia

Video: 1 About the Author 

Kazuo Ishiguro, a British writer of Japanese origin, is the author of An Artist of the Floating World (1986), a novel that explores memory, guilt, and the shifting cultural landscape of post-war Japan. Born in Nagasaki in 1954, Ishiguro moved to England as a child and later became one of the most acclaimed contemporary authors. His writing is known for its subtlety, introspection, and themes of self-deception and nostalgia.

Among his most famous works is The Remains of the Day (1989), which won the Booker Prize and tells the story of an aging butler who reflects on his life, realizing too late the personal costs of his unwavering loyalty. Another of his acclaimed novels is Never Let Me Go (2005), a haunting dystopian narrative about cloned children raised for organ donation, which explores themes of identity, fate, and the loss of innocence.

In An Artist of the Floating World, Ishiguro presents a protagonist, Masuji Ono, who wrestles with the consequences of his past, much like the butler in The Remains of the Day. The novel also echoes the melancholic and eerie tone of Never Let Me Go, as Ono's memories shift between pride and regret. The idea of an “abyss” is central to many of Ishiguro’s works, representing the moral and existential void that his characters face. Similarly, a “pale view of hell” manifests in the way they grapple with past mistakes, living in a state of quiet, unresolved suffering.

In 2017, Ishiguro was awarded the Nobel Prize in Literature, with the committee praising his ability to uncover "the abyss beneath our illusory sense of connection with the world." His novels continue to captivate readers with their restrained elegance and profound emotional depth.

Video:2 Title of the Novel 

The Beginning:

The title, An Artist of the Floating World, introduces us to the protagonist, Masuji Ono, a retired painter in post-World War II Japan. Ono was once celebrated for his work, but as the country moves toward democracy and modern values, his past actions come under scrutiny. Through his recollections, he attempts to justify his choices and understand the shifting perceptions around him.

Historical Context:

The novel is set in post-war Japan, a time when the nation was rebuilding itself after its imperialist past. Before and during the war, artists like Ono were encouraged to create propaganda supporting nationalism and militarism. However, after Japan’s defeat, the country rejected its former ideals, and those who once held influential positions—like Ono—found themselves criticized or ignored. The novel reflects Japan’s struggle with its wartime legacy and the question of personal responsibility.

Unreliable Narrator:

Ono is an unreliable narrator, as his recollections are often self-contradictory or overly optimistic. He portrays himself as a man of importance, but as the story unfolds, subtle hints suggest that he may be exaggerating his role in shaping Japan’s wartime ideology. His attempts to justify his past actions reveal a deep inner conflict, making the reader question how much of his story is true.

The Message:

The novel explores themes of guilt, memory, and changing cultural values. Ishiguro raises the question of whether individuals should be held accountable for actions that were once socially acceptable but later condemned. Ono’s struggle represents a broader moral dilemma: can people escape their past, or must they live with its consequences?

Ukiyo-e / The Floating World:

The phrase "floating world" (ukiyo-e) originally referred to the pleasure districts of Edo-period Japan, where artists, geishas, and intellectuals thrived. Ono, in his early career, painted in this style, embracing beauty and entertainment. However, he later abandoned it for political art that served Japan’s nationalist cause. The title suggests the impermanence of art, culture, and values—what was once celebrated can be dismissed or forgotten as the world changes.

Video:3 Characters and Narrative Strategy 

Characters:

Masuji Ono – A retired painter struggling with guilt and changing perceptions of his nationalist past.

Noriko Ono – His outspoken younger daughter, whose marriage negotiations highlight the family’s declining reputation.

Setsuko Ono – His reserved elder daughter, subtly challenges his perception of the past.

Suichi – Setsuko’s husband, critical of Japan’s wartime generation, including Ono.

Ichiro – Setsuko’s young son, fascinated by Western culture and American heroes.

Michiko – Ono’s deceased wife, mentioned in passing but not a central character.

Kenji – Ono’s deceased son, who died in the war, symbolizing Japan’s lost generation.

Jiro Miyake – A young man once considered for Noriko’s husband, but the engagement falls through.

The Saito Family – A respected family whose marriage negotiations with Noriko’s family are affected by Ono’s past.

Taro Saito – Dr. Saito’s son and Noriko’s potential fiancé, reluctant to associate with Ono.

Seiji Moriyama – Ono’s first mentor, a traditional artist devoted to pleasure and beauty.

Kuroda – Ono’s former apprentice, imprisoned for opposing nationalism, representing artistic integrity.

Shintaro – Ono’s former student, distances himself to avoid association with Ono’s past.

Enchi – A minor character, likely a former acquaintance in Ono’s social circle.

Chishu Matsuda – Ono’s old friend, who encouraged him to create nationalist art but later accepts Japan’s new direction.

Narrative Strategy:

The narrative strategy used in the novel is first-person narration, which makes Masuji Ono an unreliable narrator. This is a characteristic of post-modernist narrative strategies, where readers are told a story through the eyes of a character but are constantly in doubt as to whether the narration or the story is reliable. Masuji Ono keeps on telling us something and then we may feel that he is hiding something from us. In the initial part of the novel, he tells us that he has purchased a very costly house from Akira Sugimura's family members, who decided to give it to the most desirable person. They investigated Masuji Ono and found him to be a highly respected artist in society. However, as the story unfolds, we come to know that people are regretting his paintings, and his reputation is not as great as we thought it was. This shows how the unreliable narrator starts unfolding things.

The instructor goes on to highlight how the beauty of the novel lies in its narrative strategy. The writer, Ishiguro, is appreciated for the way he tells the story, not just the story itself. The instructor shares a part of the novel to help understand the narrative strategy. Masuji Ono is telling us something and then hiding something from us, and he starts telling something else that seems to be useless. This is a digression that the author utilizes in the narration. Until the last chapters of the narrative, we are not able to capture what he is trying to hide, and we are kept in a kind of darkness. This is an interesting narrative strategy that Ishiguro uses.

Masuji Ono's daughter, Satsuko, is also a character in the novel. She tells her father that because of his reputation, they have to suffer in their in-laws, and her sister is not able to marry a foreigner. The instructor points out that Masuji Ono keeps on repeating certain words and phrases, such as "drifting" and "digressing," which indicate that he is avoiding telling us something that is very important. This adds to the mystery and intrigue of the novel.

Video:4 Thematic Study of the Novel

Unreliable Narrator:

Masuji Ono is an unreliable narrator who selectively remembers and alters events to justify his past. He presents himself as an influential artist, yet subtle contradictions and external comments suggest he may be exaggerating his role. His self-justification reflects broader issues of personal and national denial after Japan’s defeat in World War II.

Role of Art and Artists:

The novel explores the power and responsibility of art. Ono initially painted in the pleasure-focused ukiyo-e style but later shifted to propaganda supporting nationalism. His changing role highlights the moral dilemmas artists face—whether to create for personal expression, political influence, or social acceptance.

Intergenerational Conflict:

Ono’s generation, which supported Japan’s wartime ideology, faces criticism from younger people like his son-in-law Suichi. The novel portrays a Japan where old values are being rejected in favor of Westernization, leading to tensions between those who once held authority and the new generation seeking a fresh start.

Ageing:

Ono’s journey is also about coming to terms with aging. He reflects on his past, struggles with the loss of influence, and faces the reality that the world no longer values his contributions. His declining status symbolizes the broader shift in post-war Japan.

Grief:

The novel subtly addresses grief, particularly through Ono’s loss of his wife Michiko and son Kenji, who died in the war. These losses shape his reflections and add to his sense of regret and nostalgia for the past.

Pedagogy (Teaching and Mentorship):

Ono’s role as a mentor is significant, particularly in his relationships with Kuroda and Shintaro. While he once shaped his students' artistic and political beliefs, their later rejection of his influence shows how education can be both empowering and limiting, depending on the ideologies involved.

Marriage:

Marriage negotiations for Noriko highlight the impact of Ono’s past on his family. In post-war Japan, reputation plays a crucial role in securing good matches, and Ono’s previous associations with nationalism create obstacles. This theme reflects societal values and the tension between personal history and future aspirations.

Video:5 Reading Important Passages from the Novel

Novel in Four Parts:

The book is divided into four sections, each set in different time periods (October 1948, April 1949, November 1949, and June 1950). Through these sections, Ono’s narrative unfolds non-linearly, revealing inconsistencies and gaps in his recollections.

Beginning of the Novel:

Ono introduces himself and his life in retirement, describing his house, which once belonged to the prestigious Sugimura family. This sets up themes of legacy and changing social structures in post-war Japan.

'You' the Reader:

Ono directly addresses the reader at times, making his narration feel personal but also manipulative. This conversational tone increases the sense that he is trying to justify or reshape his past.

Connection Snapped:

As Japan modernizes, Ono realizes that his influence has diminished. His former students distance themselves, and his old associates either fade away or, like Matsuda, accept the new order.

Resumed 'You':

Ono occasionally returns to directly addressing the reader, reinforcing his self-justification. This rhetorical device invites the reader to question his reliability.

Unreliable Narrator – Wayne C. Booth:

Wayne C. Booth, in The Rhetoric of Fiction, discusses unreliable narrators—characters whose versions of events cannot be fully trusted. Ono embodies this concept, as his narration is filled with contradictions, omissions, and self-serving reinterpretations.

Signs of an Unreliable Narrative Wayne C. Booth

Ono’s narrative contains clear indicators of unreliability:

Gaps in memory – He hesitates or contradicts himself when recalling events.

Lies or distortions – He downplays his involvement in nationalist propaganda.

Shifting blame – He justifies his actions while subtly suggesting others played a bigger role.

April 1949 – Miai Ceremony – "I made many mistakes" 

During Noriko’s miai (marriage negotiation), Ono acknowledges that he made mistakes in the past but remains vague about what they were. This moment suggests regret but also a reluctance to fully accept responsibility.

Yukio Naguchi – Suicide

Naguchi, a composer, commits suicide due to his wartime associations, reflecting the fate of many who had once supported Japan’s militaristic past. His fate contrasts with Ono’s, who avoids public disgrace but still faces internal guilt.

Painting 'Complacency' – 'Eyes on the Horizon' (Pg 168-169)

Ono recalls his painting Complacency, which once symbolized his belief in Japan’s imperial vision. His reflection on this piece highlights his shifting perspective on art’s role in shaping ideology.

Theme of Art:

Ishiguro explores the idea that art is shaped by societal structures, echoing Marxist thought. Ono’s transition from pleasure-focused art (ukiyo-e) to political propaganda reflects how artists can be influenced by dominant ideologies.

Seiji Moriyama & Masuji Ono:

Moriyama, Ono’s first mentor, believed in art for beauty rather than politics. This contrast between Moriyama’s artistic ideals and Ono’s later propaganda work highlights Ono’s moral and artistic downfall.

Masuji & Setsuko:

Setsuko subtly challenges her father’s version of events, particularly regarding his past influence. Her quiet but pointed remarks force Ono to confront the possibility that his role in history was not as significant as he claims.

New Japan:

Post-war Japan is undergoing rapid modernization, embracing Western values and rejecting its militaristic past. Younger generations, like Suichi and Ichiro, embody this change, making Ono feel increasingly irrelevant.

Matsuda:

Ono’s old friend Matsuda represents a different way of dealing with the past. Unlike Ono, who struggles with regret, Matsuda accepts that the world has changed and tries to make peace with it.

End:

By the novel’s conclusion, Ono comes to terms with his diminishing significance. While he never fully admits guilt, he acknowledges that the past cannot be changed. The open-ended nature of the ending leaves the reader questioning how much of Ono’s version of history can be trusted.

Reference:

DoE-MKBU. (2023d, February 23). An Artist of the Floating World | About the author - Kazuo Ishiguro | Session 1 | Sem 2 Online Class [Video]. YouTube. https://www.youtube.com/watch?v=_Zd6XLLyGvg

DoE-MKBU. (2021, June 17). Title of the novel - explained | An Artist of the Floating World | Sem 2 Online Classes | 2021 06 17 [Video]. YouTube. https://www.youtube.com/watch?v=htKqgRreDtg

DoE-MKBU. (2021a, June 17). Characters | Narrative Strategy | An Artist of the Floating World | Sem 2 Online Class | 2021 06 17 [Video]. YouTube. https://www.youtube.com/watch?v=z1EhasEkeZ4

DoE-MKBU. (2021c, June 18). Themes | An Artist of the Floating World | Sem 2 Online Classes | 2021 06 18 [Video]. YouTube. https://www.youtube.com/watch?v=Y45Swhri1Fc

DoE-MKBU. (2021c, June 18). Reading Important Passages | An Artist of the Floating World | Sem 2 Online Classes | 2021 06 18 [Video]. YouTube. https://www.youtube.com/watch?v=-WoqKO3hHlc

Ishiguro, Kazuo. An Artist of the Floating World. Faber and Faber, 2009.https://www.google.co.in/books/edition/An_Artist_of_the_Floating_World/mmHhWgrCWygC?hl=en&gbpv=0