An Artist of the Floating World by Kazuo Ishiguro is a first-person narration, set in post-World War II Japan, in the historical fiction genre. Narrator and protagonist Masuji Ono was once a great painter but, on reminiscing about his life since the war, notices that attitudes towards him and his paintings have changed. The new political landscape leaves Ono reacting internally and in his relationships interpersonally, and through the revealing of his memory-based reflections, the nature and context of that political environment is gradually illuminated to the reader. Ono frequently admits to being uncertain as to the accuracy of his recall thus doubt is cast on the reliability of his narration.

Ono’s style of reminiscing reads like a warm conversation with a friend, with the reader being taken through this one-sided communication on Ono’s terms, the story traversing four time periods: October 1948, April 1949, November 1949 and June 1950. Though largely structured upon the non-chronological recall of Ono’s memories, some of which date back to his childhood, a prominent linear thread within the narrative is Ono’s negotiating the traditional marriage of his 26 year old daughter, Noriko. With the failed attempt of one such planned marriage the previous year, Ono’s eldest daughter Setsuko delicately suggests that Ono visit his old friends and colleagues to ensure a positive report is returned should the groom’s family interview them as part of their investigation. Ono infers Setsuko’s suggestion to mean that his wartime reputation may have factored into the failed negotiation.

While Ono’s work during the war is not clearly articulated, what is known is that before the war he had been a promising painter and had studied under a master whose artistic focus favoured aesthetics and technique. Ono was later influenced to incorporate social and political aspects into his work, eventually producing nationalistic works for the state. Ono gained power working for the Committee of Unpatriotic Activities and, disapproving of the artistic direction of his once protégé and favourite student, Kuroda, reports him to the Committee. Kuroda’s paintings are burned and he is imprisoned and tortured.

Ono’s powerful position is short-lived when the war comes to an end and American troops occupy Japan. It is from this time period that Ono narrates. His observations of the younger, American-influenced generation are soured and he suspects they hold Ono’s generation responsible for the war. Having prematurely lost his wife and son during the war, Ono appears to feel genuine guilt about some of his actions, including his denouncement of Kuroda. He attempts to find absolution through attributing his wartime actions to the ‘good faith’ he had for his country at the time.

In the final section, Ono’s daughter Noriko is successfully wed, and Setsuko tells Ono that whilst his wartime works were well-liked, they were not so influential as to cause harm. This feedback is cutting for Ono whose self-image is premised on his elevated wartime status, albeit shrouded in his post-war guilt and discredited reputation. Ono eventually concedes that, when compared to certain of his fellow colleagues, at least his life was not lived in mediocrity and appears to find some resolution to his resentment, wishing goodwill on the new generation.

Floating World

The Floating World (ukiyo in Japanese) referred to the culture of play and entertainment that characterised Japanese cities, including Tokyo, Osaka, and Kyoto, during the Edo period (1616-1868). Amongst the various bohemian celebrations, which included geisha (professional female entertainers), kabuki (classical Japanese dance-drama) and puppet theatres, were government-sanctioned ‘pleasure districts’ where courtesans (licensed prostitutes) could be found.

The painting and printmaking genre known as ukiyo-e, which depicted scenes from the floating world, developed in the 17th century and flourished for around 250 years until it became old-fashioned and too time-consuming compared to Western techniques.