The Artist of the Floating World - Feb BOTM

[Diane]

Review thread: https://www.goodreads.com/topic/show/...

[Diane]

AI questions. You do not have to answer them all, pick and chose what you like to answer.

1. How does the narrative perspective through Masuji Ono's unreliable memory shape our understanding of his past actions and motivations?

2. How does Ono's relationship with his daughter, Noriko, reveal his internal conflicts and anxieties about the future?

3. What are the significant moments where Ono attempts to manipulate or distort his past through his recollections?

4. How does the title "An Artist of the Floating World" reflect the transient and fleeting nature of life and societal values in post-war Japan?

5. How does the novel explore the concept of collective guilt and the difficulty of reconciling personal responsibility with societal pressures, especially regarding Japan's wartime actions?

6. What are the different ways in which art is portrayed as a tool of both expression and manipulation within the novel?

7. How does the novel depict the social and cultural changes occurring in Japan following World War II, including the impact of the American occupation?

8. What are the subtle ways in which the novel critiques the Japanese government's handling of its wartime past?

9. How does Ishiguro use flashbacks and shifting timelines to create a sense of ambiguity and complexity around Ono's past?

10. What is the significance of the recurring motif of the "floating world" in the novel?

[George P.]

I'm just commenting to say that I'm reading the novel and am currently at about 30% through it. I'm finding easy to read fairly rapidly, with language that is not complex. I've read two other Ishiguro novels, Never Let Me Go and Remains of the Day. I think I had a different novel of his on my to-read list, but I'm happy to be reading this one.

[Jane]

1. How does the narrative perspective through Masuji Ono's unreliable memory shape our understanding of his past actions and motivations?
One thing that confused me: does Ono believe his work and reputation were more important than they actually were? Setsuko does seem worried that his past will endanger Noriko’s engagement, but later the whole family is puzzled that he denounced his past at the engagement dinner, basically telling him that the family wouldn’t have been aware of his work. We don’t get a lot of details about his art or what he did on the war committees; e.g., he only describes one propaganda painting, and a very early one. A lot of it is implied. And maybe that’s because he doesn’t want to admit it to himself or be specific about what he did (see #9 below, re: Kuroda).

2. How does Ono's relationship with his daughter, Noriko, reveal his internal conflicts and anxieties about the future?
Noriko’s chances for a successful marriage seem to be endangered by Ono’s past, specifically his pro-Imperial propaganda.

3. What are the significant moments where Ono attempts to manipulate or distort his past through his recollections?
On several occasions when he is recalling past conversations, Ono acknowledges that he may not have the words correct. He often excuses this by saying that he is being true to the meaning of the exchange. At other times, he can’t remember if he is recalling something his teacher told him or something he told his pupils. One case in particular is when Mori-san confronts him about the direction of his work – this is a direct parallel to what happens later with Kuroda, so a conversation like the one he recalls could have happened either (or both) times.

4. How does the title "An Artist of the Floating World" reflect the transient and fleeting nature of life and societal values in post-war Japan?
The “floating world” refers to “the night-time world of pleasure, entertainment and drink which formed the backdrop for” the paintings of Mori-san and his students – pictures of Geishas and taverns, etc. As Mori-san explains to Ono, “the finest most fragile beauty an artist can hope to capture drifts within those pleasure houses after dark… transitory, illusory.” It reminds of the concept mono no ware, which is also a theme in The Tale of Genji.

It strikes me that the success or reputation of an artist is transient and dependent upon the times. Mori-san’s subject matter and technique fall out of fashion, just as Ono’s come into fashion. Later, Ono will suffer the same fate, as his work (and actions, e.g. informing on his pupil) become embarrassments in post-war Japan.

5. How does the novel explore the concept of collective guilt and the difficulty of reconciling personal responsibility with societal pressures, especially regarding Japan's wartime actions?
I think I address this in the other questions.

6. What are the different ways in which art is portrayed as a tool of both expression and manipulation within the novel?
Mori-san believes that art should try to capture the beauty of the transient world. Ono is a “traitor” to him not just because of the techniques he uses but because his art is explicitly political. Matsudo, on the other hand, thinks art must have a purpose. In his conversation with Ono, he suggests that Mori-san’s paintings ignore the real conditions in the country, especially those living in poverty, like the Geishas and bar patrons who are his subjects. He convinces Ono to make his art explicitly political.

7. How does the novel depict the social and cultural changes occurring in Japan following World War II, including the impact of the American occupation?
The younger generation, represented by Ono’s sons-in-law, wants to completely reject the ideals of the previous generation. They also harbor a lot of anger about the needless death and suffering. Ono seems to believe they are too quick to dispose of the elder generation and too eager to adopt Western ways.

8. What are the subtle ways in which the novel critiques the Japanese government's handling of its wartime past?
The whole book seems to be about this. One way this is presented is through Ono and his grandson’s discussion of Mr. Naguchi, the composer of patriotic war songs, who kills himself to “apologize” for his role in the war effort. In contrast to Naguchi, Ono seems to be in denial about his complicity. Maybe this is why he often displays a kind of false modesty about his reputation and influence. He also asserts that he did what he believed was right; he was not complicit in the war effort out of fear or a need to conform, nor out of a desire for personal glory or profit, but because he believed in the cause. I don’t think Ishiguro is trying to excuse Ono’s actions but to point out that there were people like this – people who were innocent of committing actual atrocities but who, nevertheless supported them. It reminds me of The Reader, which was one of my TBR books last year.

9. How does Ishiguro use flashbacks and shifting timelines to create a sense of ambiguity and complexity around Ono's past?
We sometimes see the effect of an event before the cause. As one example, when Kuroda’s pupil realizes who Ono is, he becomes cold and asks him to leave. We don’t know the reasons for this until later, when it is revealed that Ono informed on Kuroda. Ono says that he only expressed concern about Kuroda’s work and recalls being shocked by the steps the authorities take, but certainly as a member of several important government committees, he would have known what would happen.

10. What is the significance of the recurring motif of the "floating world" in the novel?
See question #4.