An Artist of the Floating World

Masuji Ono (小野 益次 Ono Masuji) is the narrator and protagonist of the novel. He is presented as an elderly artist, father and grandfather to his family.[9] Throughout the novel he is concerned with his youngest daughter's marriage negotiations. As a child his father was reluctant for him to become a painter, however as he grew older he soon became an artist. He previously worked in his younger years with the nationalist government in the creation of wartime paintings.[9] Presently, whilst his art career before his involvement with propaganda paintings is applauded, his other work is scorned. This results in Ono living a conflicting life.

Noriko is Ono's youngest daughter. She lives with him in his house and is seen as sometimes indignant and bad-mannered.[9] She is somewhat bitter to Ono in the beginning of the novel as she believes he was the core reason as to why her original marriage arrangement was cancelled. However, she soon become enamoured with her second marriage arrangement and is happy when she eventually marries him. Noriko views her father, Ono, as someone she must care for forming a small resentment and anger towards him.[10] Noriko is very outspoken and boisterous throughout the novel, contrasting Setsuko.

Setsuko is Ono's eldest daughter. She is a quiet and traditional woman, who is married to Suichi and has a son named Ichiro. She and Ono have a solid relationship and she helps him throughout the marriage arrangement proceedings and dealing with his guilt post-war; she acts as his listener.[10] Setsuko and Noriko have a strong, sisterly relationship, however they are quite different temperament wise.

Ichiro is Ono's grandson, Setsuko's child and Noriko's nephew. He is a young boy in the novel with an active imagination. To Ono, Ichiro can be confusing and alienating owing to his adoption of Western culture such as some English words and his obsession with cowboys and the movie Godzilla.[9] They have a good relationship, and bond over their masculinity frequently.

Suichi is Setsuko's husband and son-in-law to Ono. He represents the new and changing ideals of Japan and is quite outspoken regarding Ono's role in the war.[10] He frequently speaks out about his opinions regarding the war. Before the war he was seen as a well-mannered and happy man, however post-war he has seen to have changed into a relatively angry and bitter man as a result of his experiences as a soldier.[11]

Kuroda was Ono's protégé and student. They initially had a strong relationship, but after Ono disapproved of the direction of Kuroda's art he reported Kuroda to the Committee of Unpatriotic Activities.[12] This results in Kuroda being punished and his paintings destroyed. He therefore develops a strong dislike for Ono, and never sees him again.

Matsuda is characterised as a nationalist who ultimately influences Ono, to create politicised paintings. He disparages artists who do not deal with social and political issues through their art, considering them to be naïve. After the war, he becomes a sick and elderly individual who Ono visits relatively frequently. He is quite regretful of remaining unmarried and having no heirs to succeed him.[11]

Seiji Moriyama, also known as Mori-san during the novel, was Ono's art teacher during his younger years. He is a strong believer in painting the ‘floating world’ and teaches students in his villa. His main artistic technique is the inclusion of Western techniques such using dark lines in favour of shading.[11] He is a stubborn yet nurturing figure, however once students steer away from his techniques, they are soon told to leave.

Dr Saito is a major art professor with a high social standing. Ono believes he is well acquainted with his work, however Setsuko disagrees throughout the novel, raising questions as to the validity of his memory.[9]

Mrs. Kawakami is the bar owner of which Ono frequent regularly, in the pleasure district of where he lives. She is a good friend of Ono. She remains hopeful throughout the novel that the pleasure district will have a resurrection, however this is not the case and she thus sells her bar by the end.[11]

Nakahara, also referred to as ‘The Tortoise’ due to his slow painting, is a friend of Ono's during his youthful days at Mori-san's villa. He is mocked by many of Mori-san's pupils for his slow painting however Ono soon defends him. However, after Ono alters his painting style to become politically associated he distances himself, believing Ono has become a traitor.[11]

Art is a central theme to the novel, with Ono's role as a propaganda artist the chief story line. Art facilitates the questioning of its ability to influence and inspire action within a community. There is a large conflict between whether art should be politicised or whether it should be simply a source of gratification. Ishiguro both highlights the role of politicised art to be seen as detrimental to society through the impacts of the war, and to be seen as ineffectual and unsubstantial to changing events; the war and its subsequent effect would have occurred with Ono's propaganda, or without it.[14] This theme bleeds into the scene regarding Kuroda and Ono, ultimately suggesting that the politicisation of art will result in the manufacturing of cruel actions.[14] However, this idea is counteracted through the various scenes between Ono and his daughters who confront the idea of his role as a propagandist being highly involved.[15] This allows both sides of arts argument to be explored facilitating the questioning of arts role. Art is therefore transcended into a defining moment of Japanese history, pre and post war life.

The novel is structured as a series of interwoven memories described by Masuji Ono. Ishiguro uses a variety of techniques to convey the fallibility of Ono's recollections to the audience, gradually revealing that Ono is an unreliable narrator and undermining the audience's faith in his story. For example, Ono makes frequent digressions into explanation unrelated topics and events during his narration, downplaying and concealing his cruel actions and misleading the audience as to the significance of unimportant topics.[16] When Ono recounts interactions with family members, events are often referred to indirectly, or with incomplete information, disguising the truth of what has occurred.[13][16] Because they are given incomplete and confusing information, it becomes more difficult for the audience to determine the extent of Ono's actions and the responsibility he bears for them.[16]

Masuji Ono repeatedly reassesses events from his past throughout the novel, which suggests that he is constantly reconsidering his guilt about his actions and ultimately rethinking both the role of propaganda and the construction of memories. This process of reassessment highlights his status as an unreliable narrator, emphasising his fickle nature.[16] This reflects the concept that memory is processed through an individual's consciousness, making it subjective to that particular person.[17]

Similar to the theme of the politicisation of art, Ishiguro explores the role of responsibility through the narration of, Masuji Ono. This is identified through the conflict between actions and culpability that is created through Ono's inability to take responsibility.[12] This is evident through his attempt at masking his actions and the subsequent consequences. An Artist of the Floating World explores the liability of leaders after the war and how many of them were not held responsible.[17]

Alternatively, the concept of responsibility can be considered abstractly. This is done by placing emphasis on the reader to take responsibility in the determining the ending of the novel; is Ono guilty of his actions or is he simply exaggerating his importance and role in the war.[18]

Post-World War II Japan was a time of great change and upheaval of traditional values. Japan's defeat in the war created a large divide between individuals and generations.[18] In the novel, this clash of values is represented in the relationship between Masuji Ono and his grandson Ichiro.[13] Ono represents the traditional values of pre-war Japan, while Ichiro represents post-war Japan and the new generation.[13] Major changes explored include the changing attitudes towards the war, family hierarchy, geography of Japan and the increasing prevalence of Western culture.[18]

This is presented through scenes such as between Ichiro and Ono when watching the Godzilla movie, Ichiro's obsession with cowboys and his lack of interest in Japanese heroes.[13] Ishiguro does not present these changes as either good or bad, instead simply portrays them as reality, allowing the audience to determine their effects on society.

Women are portrayed throughout this novel through both the perspective of Ono and the perspective of the changing Japanese society. The concept of Japanese masculinity altered after Japan's defeat in the war, and whilst changes were made to the role of women, women's stereotypes were not changed drastically.[18] This is explored throughout the novel through Noriko's quest for a husband.[18]

Marriage negotiations are the central tenet to this novel. Through the marriage negotiations Ono reflects on his past facilitating the creation of the story. Overall, the marriage negotiations are the stimulus for Ono to reflect on his past memories.[16] They further facilitate him taking responsibility for his actions as well as allow him to reconsider the changing values of Japan as perhaps positive. They allow for him to admit his mistakes, progressing the narrative and acting as a literary device.