In the Japanese culture artists are very respected and even venerated. Masuji Ono, the main character of the novel the Artist of the Floating by Kazuo Ishiguro, is the "art teacher" but mostly the "Sensei" to his pupils. This is the respect that Ono won over the years with his work as artist. In the first chapter "October 1948", the author Ishiguro shows an instance when Kuroda, star pupil of Ono, says,
"I have suspected for some time that Sensei was unaware of the high regard in which he is held by people in this city. Indeed, as the instance he has just related amply illustrates, his reputation has now spread beyond the world of art, to all walks of life. But how typical of Sensei's modest nature that he is unaware of this." Ishiguro, 25
This is a very moving speech made with conviction and love for his instructor. Ishiguro, the author, mentions it because it supposed to show that Ono felt proud of the fact that he was respected even though he was a very modest person. The Migi-Hidari, "pleasure district" for Ono and his pupils, was the place where artist enjoyed themselves discussion issues. This was the place to be be if you wanted to be considered respectable.
Ono's pupils called him "Sensei" and were proud to be part of the circle in at Migi-Hidari. They listened attentively to Ono when he taught them lessons. At one point Ono tells them about the instance he decided to be disloyal to his to master Takeda in order to advance and he says,
"The Takeda experience taught me never to follow the crowd blindly, but to consider carefully the direction in which I was being pushed. And if there's one thing I've tried to encourage you all to do, it's been to rise above the sway of things. To rise above the undesirable and decadent influences that have swamped us and have done so much to weaken the fibre of our nation these past ten, fifteen years." Ishiguro, 73
This is almost a prophetic statement given by Masuji Ono encouraging to his pupils to do as he once did. The story of Ono shows that all his pupils have decided to question their master. The war has surely changed them but it is not only that. Ono and his pupils no longer get together to discuss anything. Kuroda, the one who gave the passionate speech about Ono know evades his teacher. Why is this happening? We know the war definitely separated them and changed the pupils, but why would Kuroda evade Sensei Ono if he only encouraged him to show his patriotism at the time of war with his art? Why would Ono have to hide his art now?
I find all these aspect of the start of the novel very intriguing.
Sunday, January 30, 2011
Thursday, January 20, 2011
War is Hell
Years have passed since the artist Masuji Ono retired from his beloved ability to paint and left behind not only that ambition, but also relived himself of his past. After World War 2, Japan was in devastation and had little or not much to gain, due to the lives and resources that were consumed to provide Imperial Japan with a strong empire to conquer the territory around the Pacific. Yet, many things before and after have affected Mr. Ono after the war and due to this, he lost his devotion to art.
Perhaps of all the things that changed Mr. Ono was his father’s willingness to stop him from becoming an artist, since, in his father’s eyes, artists’, “ live in squalor and poverty” (46). It was due to this negativity that brought Mr. Ono to a rather surprising and disobedient conclusion. One believes that after such a statement from a parent, especially an honorable Japanese father, a child would stop and do anything to honor his parents and please them. It’s this Japanese philosophy that an obedient child would most likely live better off and not do anything else to make his parents annoyed. Yet, Ono makes a strong statement to his mother by saying that even though his father, not wanting his son to be a weak and depraved artist, wouldn’t agree to his art all he did was, “ kindled [his] ambition” (48). This shows that, even before the war for Japan in the 1930’s, Ono had a special gift to use for art. Not only that, but also, Japan was expanding and making a name on the global stage. Everything changed though after the war came through. Art for Imperial Japan and Ono won’t be the same, depicting heroes on the front and even the landscape would change.
Banzai! A common Japanese battle cry used to honor the Emperor before a suicidal charge that, in the long run, brought nothing but destruction to Imperial Japan and to Ono’s family. It’s during the war, that Ono had the most anxiety and was beginning to fall apart on his artistic ability to even continue on with his work. The novel provides details to show that how devastating the war had affected not only Ono, but also his surroundings and neighbors. Every Japanese family gave up their best young men to fight and bring back honor to their families after their deaths. Yet, the people and land, in other words, Ono’s world turned from a beautiful and wealthy Japan, to a war-torn landscape full of debris and rubble. Yet, the most devastating thing was the death of his son. Due to Japan’s conquest of Manchuria during and after the war, the Soviet Communists decided to invade due to its declaration of war. Here, Ono’s son, Kenji, died after a suicidal banzai attempt to charge at the enemy Soviets, but was killed during the battle. Same as with other families, I’m pretty sure such a deadly blow to Ono, seeing that Kenji as his only son, had some kind of influence on his retirement of art. Ono, yet, retains a peaceful mindset and sets off to try to leave such things as his father’s negative attitude towards new things such as the art that gave Ono an opportunity to pursue something he enjoyed and was good at.
If it weren’t for the war, Ono might’ve still practiced art and perhaps teached others, He could’ve done something about his love for that ability and continue to enjoy what he does best. Yet, life isn’t always fair and Ono lived through the struggles that life tosses to him day by day.
Ishiguro, Kazuo. An Artist of the Floating World. New York. Vintage International. 1989.
Perhaps of all the things that changed Mr. Ono was his father’s willingness to stop him from becoming an artist, since, in his father’s eyes, artists’, “ live in squalor and poverty” (46). It was due to this negativity that brought Mr. Ono to a rather surprising and disobedient conclusion. One believes that after such a statement from a parent, especially an honorable Japanese father, a child would stop and do anything to honor his parents and please them. It’s this Japanese philosophy that an obedient child would most likely live better off and not do anything else to make his parents annoyed. Yet, Ono makes a strong statement to his mother by saying that even though his father, not wanting his son to be a weak and depraved artist, wouldn’t agree to his art all he did was, “ kindled [his] ambition” (48). This shows that, even before the war for Japan in the 1930’s, Ono had a special gift to use for art. Not only that, but also, Japan was expanding and making a name on the global stage. Everything changed though after the war came through. Art for Imperial Japan and Ono won’t be the same, depicting heroes on the front and even the landscape would change.
Banzai! A common Japanese battle cry used to honor the Emperor before a suicidal charge that, in the long run, brought nothing but destruction to Imperial Japan and to Ono’s family. It’s during the war, that Ono had the most anxiety and was beginning to fall apart on his artistic ability to even continue on with his work. The novel provides details to show that how devastating the war had affected not only Ono, but also his surroundings and neighbors. Every Japanese family gave up their best young men to fight and bring back honor to their families after their deaths. Yet, the people and land, in other words, Ono’s world turned from a beautiful and wealthy Japan, to a war-torn landscape full of debris and rubble. Yet, the most devastating thing was the death of his son. Due to Japan’s conquest of Manchuria during and after the war, the Soviet Communists decided to invade due to its declaration of war. Here, Ono’s son, Kenji, died after a suicidal banzai attempt to charge at the enemy Soviets, but was killed during the battle. Same as with other families, I’m pretty sure such a deadly blow to Ono, seeing that Kenji as his only son, had some kind of influence on his retirement of art. Ono, yet, retains a peaceful mindset and sets off to try to leave such things as his father’s negative attitude towards new things such as the art that gave Ono an opportunity to pursue something he enjoyed and was good at.
If it weren’t for the war, Ono might’ve still practiced art and perhaps teached others, He could’ve done something about his love for that ability and continue to enjoy what he does best. Yet, life isn’t always fair and Ono lived through the struggles that life tosses to him day by day.
Ishiguro, Kazuo. An Artist of the Floating World. New York. Vintage International. 1989.
An Auction of Prestige
The idea I want to focus on is found at the very beginning of the book when Ishiguro writes, “We are not interested in receiving anything beyond the quoted price. What we mean to do from here on is to conduct an Auction of Prestige” (Ishiguro 9). The setting is that Akira Sugimura – a very wealthy, respected and influential man – wants to sell his huge property. He does not want to give his beautiful to just any person. He is not interested in the person that offers the most money but instead in the person that most it. That’s why he sends out the message that he is having an auction of prestige and not of money.
In order to know what he means by this, we have to understand the definition of prestige. According to the dictionary, prestige is the reputation or influence gained form success, achievement, rank, or other favorable attributes. Basically it would be like making a good name for you. I find this idea of an auction of prestige very interesting because it is not something we are used to. Usually in an auction, we give the object to the person that can pay the most money for it – whether they deserve it or not. This is how the stereotype that money equals happiness is created. The stereotype seems to be true because people that have the money to buy themselves whatever they want are not going to think twice about getting what they want; even if in the process you might be taking away that object from somebody that really needs it but just can’t afford it. This is why I really like the idea of an auction of prestige. It puts aside the money boundaries.
My question is which is more reasonable to have; a regular auction or an auction of prestige? Good argument can be made for both sides. For example, when arguing for an auction of prestige we can say how money won’t be an issue that determines if you really deserve something or not, instead it will be your actions and what you have done in the past. This makes it fair for every person interested in the house to have an equal chance as long as they are good people. The counter argument for that is, who is judging and determining that you are worthy of living in that house. So Akira Sugimura, the owner of the house, and his family are using their own judgments to decide who can buy the house.
I don’t only want to bring attention to the fact of this action but to the fact that the author starts off the book with this idea. I see it as the author making his main character/narrator make it clear from the beginning the reasons why he lives in a big and nice house. He is not there because he is very wealthy and made a mansion out of his property. Instead he is there because one of the most influential men of his time thought he deserved to live there. Maybe this is an important fact that will come back again later in the book. The idea that he earned his right to be where he is now because of who he is and not for how much money he has.
Ichiro’s Balance
Throughout the entire plot of An Artist of the Floating World, Kazuo Ishiguro forces the readers to put on Masuji Ono’s shoes through the descriptive detail that is packed into this book. Each narration and dialog I feel as though those people are actually surrounding me. I see the aging skin of myself (Ono) through a mirror, the newly formed beauty of Setsuko, and the “cobwebs and mould” in the “remains of Sugimara’s garden corridor.” (p.12) But the thing that stands out to me the most is the “heavy thump [that] made the whole house shake” that caught Ono’s attention. With a worried and cautioned look on Ono’s face, he quickly rushes into the dining room. He is taken aback by the darkness and waits until his eyes are able to adjust to it. After a while he notices that nothing is there. Before he gets a chance to turn around and leave, he hears two more bangs. He realizes that the noise is coming from the adjacent room. The moment he enters, he notices his grandson, Ichiro, galloping on a wooden horse.
Throughout this scene, Ishiguro displays Ichiro’s mature, demanding and independent character. He does this through descriptive detail and demanding diction. When Ichiro noticed he was being watched, he “angrily turned” to shout, “Can’t you see I’m busy?” (p. 29) Soon after, he tells his grandfather that he couldn’t play with him at the moment in a screeching way. After a while, he allows his grandfather to watch him as long as he wasn’t disturbed. Ichiro is descriptively described as being watchful and moody showing how serious he was about his drama. His demanding diction shows how his difference with other characters. While others are scared to say the wrong thing to someone, Ichiro speaks his mind freely.
He stands out from the rest of the characters because unlike him, everyone seems like their life is being drained. The other characters seem as though they don’t have any meaning left. Setsuko is being brain washed by her husband Suichi, Ono is focusing too much on what used to be, and Noriko is concentrating too much on her current marriage arrangements. Ichiro’s eagerness to repeat English while pretending to be Lone Ranger shows how he is ready to adapt to other cultures and is open-minded. He is eager to go watch Godzilla while the others aren’t that enthusiastic about it. His dissimilarity with his family balances them. He makes up for the lack of enthusiasm in his family.
Something that I notice is a reoccurring object is the veranda. Setsuko and Ono are always out there relaxing. I believe they find that place to be their sanctum to retreat from their stress. There has to be reason why that place is their place to retreat. Is it because they grew up in a house that had a veranda as well? Maybe it’s because the veranda brings them closer with nature.
In the first section that we read, Noriko’s previous marriage arrangement is an issue that was unsolved. The sisters have suspicions of the arrangement because they believed it was a “love match.” (p.18) They assume Ono had something to do with it or at least knows why it didn’t work out as planned. He claims that he knows nothing about what went wrong. On page 53, Noriko comes across Jiro Miyake. She talks to him like they were friends without having any arrangements made earlier. This says something about her character because she acts like nothing happened even though she was in love with him. Does this mean that she is strong willed and won’t let a bad incident keep her from being happy or does this mean she keeps things bottled up inside so well that it looks like she is happy?
Throughout this scene, Ishiguro displays Ichiro’s mature, demanding and independent character. He does this through descriptive detail and demanding diction. When Ichiro noticed he was being watched, he “angrily turned” to shout, “Can’t you see I’m busy?” (p. 29) Soon after, he tells his grandfather that he couldn’t play with him at the moment in a screeching way. After a while, he allows his grandfather to watch him as long as he wasn’t disturbed. Ichiro is descriptively described as being watchful and moody showing how serious he was about his drama. His demanding diction shows how his difference with other characters. While others are scared to say the wrong thing to someone, Ichiro speaks his mind freely.
He stands out from the rest of the characters because unlike him, everyone seems like their life is being drained. The other characters seem as though they don’t have any meaning left. Setsuko is being brain washed by her husband Suichi, Ono is focusing too much on what used to be, and Noriko is concentrating too much on her current marriage arrangements. Ichiro’s eagerness to repeat English while pretending to be Lone Ranger shows how he is ready to adapt to other cultures and is open-minded. He is eager to go watch Godzilla while the others aren’t that enthusiastic about it. His dissimilarity with his family balances them. He makes up for the lack of enthusiasm in his family.
Something that I notice is a reoccurring object is the veranda. Setsuko and Ono are always out there relaxing. I believe they find that place to be their sanctum to retreat from their stress. There has to be reason why that place is their place to retreat. Is it because they grew up in a house that had a veranda as well? Maybe it’s because the veranda brings them closer with nature.
In the first section that we read, Noriko’s previous marriage arrangement is an issue that was unsolved. The sisters have suspicions of the arrangement because they believed it was a “love match.” (p.18) They assume Ono had something to do with it or at least knows why it didn’t work out as planned. He claims that he knows nothing about what went wrong. On page 53, Noriko comes across Jiro Miyake. She talks to him like they were friends without having any arrangements made earlier. This says something about her character because she acts like nothing happened even though she was in love with him. Does this mean that she is strong willed and won’t let a bad incident keep her from being happy or does this mean she keeps things bottled up inside so well that it looks like she is happy?
Father to Daughter
Father to Daughter
As a child I grew up in a household where everybody (the children ) was treated more or less the same. We got the same food, the same education, even the same punishments mostly. In Kazuo Ishiguras novel, “An Artist of the Floating World”, Sensei Ono-sans two daughters, Noriko and Setsuko don’t seem to have had it quite the same as I did.
Its apparent from the beginning of the novel that Noriko and Setsuko are two very different people with two very different personalities. The very way they carry themselves and speak is evidence to the fact. “Im relieved you’ve come home at last Setsuko. You’ll take father off my hands a little”(13). Though Noriko says this to her elder sister in a playful manner the comment still puts Setsuko in an uncomfortable position. The very thought of insuting her father is unnerving to her. After every retort Ono-san gives it seems like Setsuko responds with “forgive me “ or “please excuse me”. The apologies implement the idea that she is scared of her father and of what he might do if her were to become insulted by her. Where as it seems Noriko is the exact opposite of her sister. She is outspoken and impulsive. “Ill have enough to do without father to look after.” (14). What was it or what is it that made these two sisters who grew up in the same household behave so differently from one another? I believe that Setsuko was obviously treated differently from her sister, probably much more harsh and that is what has given her such a submissive attitude and demeanor. Noriko even says to Setsuko “Theres no need to be afraid of him any more. He’s much more gentle and domesticated.” (13) What is it she is so afraid of?
Ultimately Noriko is the obvious favorite which is evident through her almost arrogant speech, while Setsuko had a much harder time. She was as the elder daughter the guinea pig of Ono-sans rage and Noriko being the second got the more compassionate of their father.
As a child I grew up in a household where everybody (the children ) was treated more or less the same. We got the same food, the same education, even the same punishments mostly. In Kazuo Ishiguras novel, “An Artist of the Floating World”, Sensei Ono-sans two daughters, Noriko and Setsuko don’t seem to have had it quite the same as I did.
Its apparent from the beginning of the novel that Noriko and Setsuko are two very different people with two very different personalities. The very way they carry themselves and speak is evidence to the fact. “Im relieved you’ve come home at last Setsuko. You’ll take father off my hands a little”(13). Though Noriko says this to her elder sister in a playful manner the comment still puts Setsuko in an uncomfortable position. The very thought of insuting her father is unnerving to her. After every retort Ono-san gives it seems like Setsuko responds with “forgive me “ or “please excuse me”. The apologies implement the idea that she is scared of her father and of what he might do if her were to become insulted by her. Where as it seems Noriko is the exact opposite of her sister. She is outspoken and impulsive. “Ill have enough to do without father to look after.” (14). What was it or what is it that made these two sisters who grew up in the same household behave so differently from one another? I believe that Setsuko was obviously treated differently from her sister, probably much more harsh and that is what has given her such a submissive attitude and demeanor. Noriko even says to Setsuko “Theres no need to be afraid of him any more. He’s much more gentle and domesticated.” (13) What is it she is so afraid of?
Ultimately Noriko is the obvious favorite which is evident through her almost arrogant speech, while Setsuko had a much harder time. She was as the elder daughter the guinea pig of Ono-sans rage and Noriko being the second got the more compassionate of their father.
Wednesday, January 19, 2011
Marriage
Marriage is brought up in the first chapter of the book many times in the first chapter. It is something that keeps coming up. The first time that it was brought up. It was on page 17 where it talks about Setsuko. Setsuko is the daughter of the artist, Masuji Ono. Masuji tells the reader about the worry that he and his wife have for his daughter. The worry is that she wouldn't make a good wife. In this culture we can see that Marriage is a big thing/deal. It is something a woman waits for and looks forward to. Masuji Ono noticed his daughter's beauty while she visited him. She noticed that was getting better looking. He states "Setsuko is becoming better looking as she gets older." With this sentence we see that beauty is something that leads up to marriage. The beauty of the woman attracts and determines marriage. He then states, " In her youth, her mother and I had worried that she was too plain to make a good marriage." By Setsuko not having beauty, she lacks other characteristics and gets held back by not having that beauty. Therefore her marriage won’t be as good as others, her parents theorized. This insecurity has made this girl turn out “so shy” and “retiring”. Setsuko is now in her thirties and married but is finally “flowering” according to her mother.
Her sister, Noriko has been engaged and has almost gotten married. Noriko is described as “have grown up so headstrong”. Which in a way can be stated as prepared for marriage. Marriage has excited Noriko and disappointed her. Noriko’s engagement was called off unexpectedly. Which leads to Setsuko to wonder and question a lot of things. Marriage is one thing that they want and can’t wait for. But after it wounded Noriko the way it did, Setsuko wonders what other things aren’t loyal. She questions her father and implies that he knows something when he doesn’t. He tells the reader, “that was not the first time Setsuko had questioned me in such a way concerning last year”. Setsuko has questioned her father before implying he knows something about marriage and engagements. She questions about marriage. This incident has left Setsuko questioning anything that comes her way. I sense fear in the way the author has her ramble about the incident that happened to Noriko. The way she makes up excuses for the family that called off the engagement.
This topic is brought up again on page 52, Noriko states about how she has encountered Jiro Miyake. She expresses her feelings about the withdrawal. She states that she thinks she wasn’t pretty enough and that maybe when she was engaged; the family had already wanted to withdraw. This event has scarred Noriko, in the fear of not getting married, which seems to be very important in this culture. It has made a woman who was once so “headstrong” be insecure of her beauty and value. Noriko feels that she wasn’t pretty enough or that she didn’t meet the requirements that Jiro Miyake and his family had for a wife. Set suko has gone all the way and married. Both started the same but went different paths. Both paths were teh same but different endings occurred. They were both raised the same way but now one is married and the other stuck at home.
Marriage is a serious, serious business. In this book it shows the common interest of daughters and female characters wanting to get married. A woman dreams of the day that she is being taken by her husband and she knows that she is given the opportunity to do her job on Earth which in this culture is believed to give birth, to reproduce. Time has changed this by making woman independent and successful without the need of the male. Women are now educated and can do anything. The female’s job is not to reproduce but to help this world find a way to extend the time of existence for humans.
Work Cited
Ishiguro,Kazuo. An Artist of the Floating World. New York: Vintage Books, 1986. Print
Her sister, Noriko has been engaged and has almost gotten married. Noriko is described as “have grown up so headstrong”. Which in a way can be stated as prepared for marriage. Marriage has excited Noriko and disappointed her. Noriko’s engagement was called off unexpectedly. Which leads to Setsuko to wonder and question a lot of things. Marriage is one thing that they want and can’t wait for. But after it wounded Noriko the way it did, Setsuko wonders what other things aren’t loyal. She questions her father and implies that he knows something when he doesn’t. He tells the reader, “that was not the first time Setsuko had questioned me in such a way concerning last year”. Setsuko has questioned her father before implying he knows something about marriage and engagements. She questions about marriage. This incident has left Setsuko questioning anything that comes her way. I sense fear in the way the author has her ramble about the incident that happened to Noriko. The way she makes up excuses for the family that called off the engagement.
This topic is brought up again on page 52, Noriko states about how she has encountered Jiro Miyake. She expresses her feelings about the withdrawal. She states that she thinks she wasn’t pretty enough and that maybe when she was engaged; the family had already wanted to withdraw. This event has scarred Noriko, in the fear of not getting married, which seems to be very important in this culture. It has made a woman who was once so “headstrong” be insecure of her beauty and value. Noriko feels that she wasn’t pretty enough or that she didn’t meet the requirements that Jiro Miyake and his family had for a wife. Set suko has gone all the way and married. Both started the same but went different paths. Both paths were teh same but different endings occurred. They were both raised the same way but now one is married and the other stuck at home.
Marriage is a serious, serious business. In this book it shows the common interest of daughters and female characters wanting to get married. A woman dreams of the day that she is being taken by her husband and she knows that she is given the opportunity to do her job on Earth which in this culture is believed to give birth, to reproduce. Time has changed this by making woman independent and successful without the need of the male. Women are now educated and can do anything. The female’s job is not to reproduce but to help this world find a way to extend the time of existence for humans.
Work Cited
Ishiguro,Kazuo. An Artist of the Floating World. New York: Vintage Books, 1986. Print
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