An Artist of the Floating World discusses several themes through the memories of the narrator, Masuji Ono. The analysis of these themes is facilitated through their transcendence of time, allowing the audience's rumination on Ono's experiences, permitting them to judge the narrative objectively.[15]
Among the themes explored in this novel are arranged marriage, the changing roles of women, and the declining status of "elders" in Japanese society since 1945. Many of these themes are interwoven. The novel is narrated by a man who, besides being an artist, is also a father, a grandfather, and a widower. It tells, with a strong voice, much about the "pleasure era" of Japanese society, elaborating on the life of a successful and devoted young artist in a decadent era. The reader learns how attitudes toward Japanese art and society became less tolerant of such extravagance in the wake of Japan's defeat in World War II, and what it was like to live with the guilt of such pleasure, as well as the guilt of having supported political movements now seen as treacherous. The pace is slow and the prose lingers over details.
Politicisation of art
Art is a central theme of the novel, with Ono's role as a propaganda artist being the chief story line. The novel questions the ability of art to influence and inspire political action within a community. There is a large conflict between whether art should be politicised or whether it should be simply a source of pleasure and gratification. The novel highlights the way politicised art was retrospectively seen as detrimental to society through the impact of the war, but also presents views within which art is conversely seen as ineffectual and unable to influence events, by implying that the war and its subsequent effects would have occurred with or without Ono's propaganda.[16]
Unreliable narrator
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 unrelated topics and events during his narration, downplaying and concealing his cruel actions and misleading the reader as to the significance of important topics.[17] When Ono recounts interactions with family members, events are often referred to indirectly, or with incomplete information, disguising the truth of what has occurred.[15][17] Because they are given incomplete and confusing information, it becomes more difficult for the reader to determine the extent of Ono's actions and the responsibility he bears for them.[17]
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.[17] The narration reflects the concept that memory is processed through an individual's consciousness, making it subjective to that particular person.[18]
Responsibility
Similar to the theme of the politicisation of art, the novel explores the role of responsibility through the narration of Masuji Ono. There is a conflict between actions and culpability created through Ono's inability to take responsibility for the political aspects of his past work.[14] Ono's deflections of responsibility are evident through his attempt at masking his actions and their subsequent consequences. An Artist of the Floating World makes reference to the liability of leaders after the war and how many of them were not held responsible, a group from which the narrator implicitly disassociates himself.[18]
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?[19]
Changing values
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.[19] In the novel, this clash of values is represented in the relationship between Masuji Ono and his grandson Ichiro.[15] Ono represents the traditional values of pre-war Japan, while Ichiro represents post-war Japan and the new generation.[15] Major changes explored include the changing attitudes towards the war, family hierarchy, geography of Japan and the increasing prevalence of Western culture.[19]
Cultural tension is presented through various scenes between Ichiro and Ono, such as their watching of the Godzilla movie, Ichiro's obsession with cowboys and Popeye and his lack of interest in Japanese heroes.[15]
Women are portrayed throughout this novel from the perspective of Ono and well from the perspective of the changing Japanese society around him. The concept of Japanese masculinity altered after Japan's defeat in the war, and while changes were made to the role of women, women's stereotypes were not changed drastically.[19] Gender relations are explored throughout the novel in the plot strand that treats Noriko's quest for a husband.[19]
Marriage negotiations are a central feature of this novel. The marriage negotiations on behalf of his daughter cause Ono to reflect on his past, facilitating the creation of the story.[17] They further facilitate Ono taking responsibility for his past actions, as well as allowing him to reconsider the changing values of Japan as perhaps being positive. They allow Ono to admit his mistakes, progressing the narrative and acting as a literary device.
