Rating: 
Summary: Of art and responsibility
Review: Kazuo Ishiguro's "An Artist Of The Floating World" is a beautifully written piece of work dedicated to the perenniel question of the role of an artist in society. Is it "art for art's sake" or does the artist have an implied obligation to hold a mirror to the burning issues of his day ? Through a series of flashbacks into the life of pre-war artist Masuji Ono, the novel also deals with the issue of moral courage and the ability to confront the past without denying one's convictions. The language employed by Ishiguro in his prose and dialogue is formal but entirely congruous with his subject. Ono is in disgrace with the post-war generation who blame artists, politicians and businessmen for their suffering as Japan struggles to recover from the ravages of the disastrous war. His association with the imperialist movement exacts a toll on the personal happiness of his unmarried daughter, Noriko, his former pupil and protege Kuroda desert him, but unlike the unprincipled Shintaro who is willing to recant his past beliefs to get ahead, Ono holds his own, yet shows great courage in breaking away from his master's tradition to paint a picture depicting squalor amidst plenty in contemporary society. Ishiguro's novel is simply brilliant and deserving of the accolades lavished on it. Highly recommended.
Rating:
Summary: Required reading
Review: Like any good novel, there's many different levels for the reader to consider. From a societal point of view, Ishiguro does a wonderful job illuminating Japan's tendency to hide its past atrocities or collectively try to forget them. At the character level, he brilliantly transforms the protagonist Ono from a benevolent old man who wants to play with his grandchildren into the ignorant, glory-seeking monster he really is (or was). Of course complexities and ambiguities abound, but in the end the reader is forced to take a stand about how he or she feels about Ono. Ishiguro's writing is as good as his storytelling ability.
Rating: 
Summary: Not Ishiguro's Best
Review: Literary buffs will love all of Kazuo Ishiguro's writings simply because they are so much deeper than they seem to be. "An Artist of the Floating World" is about a retired Japanese artist trying to come to terms with his past (aiding the government during WW2) and trying to make sense of the present (the new Japanese generation who are resentful against him). I gave the book only three stars because, while readable by all means, it simply fails to be very entertaining which, arguably, is the object of fiction writing. If you love English literature or are writing a research paper on Ishiguro, this book is great. But casual readers should first try "The Remains of the Day," also by Ishiguro.
Rating:
Summary: A reader's thoughts on a small, wonderful story..
Review: Masuji Ono, once a respected artist and teacher, is now forcibly retired after supporting the Japanese imperialist government during WWII by creating war posters. He spends his time negotiating the past and present in the shadow of his former alliance, but never seems fully aware of the weight of that shadow, and the ensuing consequences to his relationships and his own soul. His naive support for the government during the war and resulting shift both in artistic focus and character reveal a man detached from meaning and responsibility, a dreamer whose own loss of a wife and son during the war will likely never be dealt with.
The intellectual transition Ono makes from artist to propagandist is shown when Ono explains his newfound artistic purpose to his former protégé, nicknamed "Tortoise".
This new direction turns out to be the creation of propaganda as art in the service of the imperialists' cause, but Ono is swept away by the more romantic, grandiose description of "....producing paintings of genuine importance. Work that will be a significant contribution to the people of our nation." Ironically, the posters he creates during the war seem to have no lasting artistic merit, but instead contribute to a darker legacy of betrayal and unintended consequences. His unexamined commitment to the government led him to order the arrest of a former student (disloyal to the cause) and, one can argue, indirectly contributed to the deaths of many fellow citizens by adding legitimacy to a destructive, expansionist movement. The degree of miscalculation is predictable since Ono never understood the methods and purpose of the imperialists to begin with.
Profound cultural transitions in Japan during and after the war and questions as to culpability are reflected in Ono's shifting recollections and encounters with various townspeople. Flashbacks depict conversations between Ono and younger Japanese men who are angry that old imperialists are not ashamed of their past transgressions and still prosper, unpunished. These characters relate stories of community leaders loyal to the former government committing suicide in shame, and seem to hint that others should follow.
Ono seems consistently unsure whether these conversations actually took place, and never fails to remark that the words spoken sound like something he would have said. Are these interactions simply an extension of his buried pain and remorse? Was Ono ever a highly regarded man, or was he always a pleasure-seeking fantasist seeking to promote himself no matter the cost? Perhaps his view truly is philosophical, in that he sees the past clearly but shrugs off meaning since the past cannot be changed.
These questions remain unanswered. The author isn't seeking redemption or clarity for the main character, but instead offers a glimpse into the repressed psychology of an artist struggling to avoid the reality of who he is as a result of Japan's defeat by the Americans, and his own abdication of honor, both as an artist and as a human being.
Rating:
Summary: A readers thoughts on a small, wonderful story..
Review: Masuji Ono, once a respected artist and teacher, is now forcibly retired after supporting the Japanese imperialist government during WWII by creating war posters. He spends his time negotiating the past and present in the shadow of his former alliance, but never seems fully aware of the weight of that shadow, and the ensuing consequences to his relationships and his own soul. His naive support for the government during the war and resulting shift both in artistic focus and character reveal a man detached from meaning and responsibility, a dreamer who's own loss of a wife and son during the war will likely never be dealt with. The intellectual transition Ono makes from artist to propagandist is shown when Ono explains his newfound artistic purpose to his former protégé, nicknamed "Tortoise".
This new direction turns out to be the creation of art in the service of the imperialists' cause, but Ono is swept away by the more romantic, grandiose description of "....producing paintings of genuine importance. Work that will be a significant contribution to the people of our nation." Ironically, the posters he creates during the war seem to have no lasting artistic merit, but his unexamined commitment to the imperialists did lead him to order the arrest of a former student (disloyal to the cause) and, one can argue, indirectly contributed to the deaths of many fellow citizens by adding legitimacy to a destructive, expansionist movement. So the sought after legacy of a lasting contribution turned into something other than what was intended, which is predictable since Ono never understood the methods and purpose of the imperialists to begin with. Profound cultural transitions in Japan during and after the war and questions as to culpability are reflected in Ono's shifting recollections and encounters with various townspeople. Flashbacks depict conversations between Ono and younger Japanese men who are angry that old imperialists are not ashamed of their past transgressions and still prosper, unpunished. These characters relate stories of community leaders loyal to the former government committing suicide in shame, and seem to hint that others should follow.
Ono seems consistently unsure whether these conversations actually took place, and never fails to remark that the words spoken sound like something he would have said. Are these interactions simply an extension of his buried pain and remorse? Was Ono ever a highly regarded man, or was he always a pleasure-seeking fantasist seeking to promote himself no matter the cost? Perhaps his view truly is philosophical, in that he sees the past clearly but shrugs off meaning since the past cannot be changed.
We'll never know as the author isn't seeking clarity, but instead offers a glimpse into the repressed psychology of an artist struggling to avoid the reality of who he is as a result of Japan's defeat by the Americans, and his own abdication of honor, both as an artist and as a human being.
Rating:
Summary: Possibly Ishiguro's best example of his intricate writing.
Review: No author seems able to say so much about humanity through means as fascinatingly indirect as Ishiguro's. An Artist of the Floating World creates a wonderful understanding of main character Masuji Ono. Every heartache he must have felt can be felt by the reader as well. Further, all of his experience is delivered in an interweaving of his past and present, giving a distinct comprehension of how the former made him the man he is in the latter. Though nothing is directly said about Ono's emotions, they can be absorbed through his observations of those around him.
Rating:
Summary: REFINED!!!
Review: REFINED! ***** FIVE STARS One can easily underestimate KAZUO ISHIGURO'S AN ARTIST OF THE FLOATING WORLD. It is after all a novel so refined, so exact, and economic that a reader, like myself, would find it, at times, a burden to read. It is a gentle book that requires patience, but a book one can highly suggest. It is post-war Japan, and Masuji Ono (a nationalistic, Japanese painter) is now enjoying a well-earned retirement. The progression of his daughter's (Noriko) marriage arrangement however forced him to examine a lifetime touched by Japanese militarism and patriotic pride (in a climate that, of course, prohibits such sentiments). Ono's interactions with other characters (past and present) are also moments of significance. One notable example is the scene when Ono and Mrs Kawakami were discussing the golden days of the Kitabashi district they loved: - "You know (Kawakami), you really must think seriously about... moving elsewhere now. It's a great opportunity." - "But I've been here so long" - You could open (a new bar)... In the Kitabashi district, or even in Honcho. You can sure I'll drop in whenever I'm passing by." - Mrs Kawakami was quiet for a moment, as though listening for something amidst the sounds the workmen were making outside. The smile spread over her face and she said: This was such a splendid district once. You remember? - I returned her smile, but did not say anything. Of course the old district had been fine. We had all enjoyed ourselves and the spirit that had pervaded the bantering and those arguments had never been less than sincere. But then perhaps the same spirit had not always been the best. Like many things now, it is perhaps as well that the little world has passed away and will not be returning... This compelling book won the Whitbread Book of the Year Award, and was shortlisted for the Booker Prize. The author, Ishiguro, also won the Booker Prize for the novel "THE REMAINS OF THE DAY", which is another achievement.
Rating: 
Summary: floats past
Review: the key word is reserved as i think everyone else pointed out, but it made no impression on me. i think as short book in this style of writing is supposed to leave traces that bloom after youve read it, but i found nothing really staying with me. after id read the end, i found myself asking no questions about what id read: the crucial events were evenly distributed through the text and described sufficiently to avoid suspense, and the larger questions of blame and guilt for 30s japan had been debated as they arose. and then it ended. maybe i was just looking for a denoument, and i appreciate that the author never intended or telegraphed such a thing. it sort of floated by and i put it down and picked up the ny daily news and went on with life. either it made no effect or there is nothing about the way the japanese dealt with each other and their pasts at that time that surprises or gives any new insights. i dont think that was his point though. good writer though: just short of overmannered.
Rating:
Summary: Reflections on a career
Review: The premise of this story is similar to "Remains of the Day". It is about a man, now in his retirement, looking back on his past and rationalizing his actions in the context of a society whose judgement of him is no longer as favorable as it once was. Like "Remains", the actions in question took place in the years leading to WWII. In this case, the protagonist, Masuji Ono, was a talented artist who had lent his talent in producing cultural propaganda for the Japanese imperialist movement. In the post-war years, Ono has become an outcast. Seeking to secure the marriage of his daughter, Ono begins to slowly confront his past and attempts to reconcile it with the effect that it has had on his country. Along the way, Ishiguro explores several themes which are all deftly woven into Ono's recollections : the role of the artist in society, the master-student relationship, the maturization of an artist coming into his own voice, the importance of living a life to make a difference, among others. It also highlights aspects of Japanese society, such as the obligation of the parent, the emphasis on familial reputation in marriage, the proverbial tendency to hammer on the nail which sticks out, the struggle to regain its footing in the post-war years, and the effects of American influence during that time. (Note though that Ishiguro left Japan when he was 6; thus as noted in the backcover, the "Japan" of his fiction is a country of his imagination.) I read this book on the recommendation of a reviewer who listed this as his favorite of Ishiguro's novels to date. This book, Ishiguro's second, was short-listed for the Booker price before his third "Remains" won it. I felt much more fulfilled reading this. When I read "Remains" a few years ago, I remembered being curiously underwhelmed (though it may not be the fault of the book since I read it after watching the movie; and I myself may well have changed since!..) But this has been a good read for me. It's a masterfully-written book, and as all good books do, helps to enlighten the human condition.
Rating: 
Summary: insert title here, please
Review: This is better than Remains of the Day, only it isn't about a butler, and won't get made into a Merchant/Ivory film anytime soon. He makes great use of the style he's known for - subtle, accurate, stately. This one is a nostalgic piece as well, but the narrative style is more interesting -- the artist builds his story as much by inclusion as by omission of details and incidents the consequences of which are visible and central to the chain of events the reader reconstructs. Altogether a very clever and elegant novel.
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