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Kunstner i den flydende verden (1986)

af Kazuo Ishiguro

Andre forfattere: Se andre forfattere sektionen.

MedlemmerAnmeldelserPopularitetGennemsnitlig vurderingSamtaler / Omtaler
3,8321013,166 (3.82)1 / 391
En berømt japansk maler foretager i de første år efter 2. verdenskrig et lavmælt selvopgør. Var han idealist eller opportunist?.
  1. 50
    Resten af dagen af Kazuo Ishiguro (bibliobibuli, browner56)
    browner56: The consequences of misguided devotion treated from both the British and Japanese perspectives.
  2. 20
    De fjerne blå bjerge af Kazuo Ishiguro (bibliobibuli)
  3. 20
    The Gift of Rain af Tan Twan Eng (bibliobibuli)
    bibliobibuli: The Gift of Rain was greatly influenced by this book.
  4. 10
    Koncerten af Kazuo Ishiguro (Booksloth)
  5. 00
    American Pastoral af Philip Roth (ateolf)
  6. 01
    Sportsjournalisten : roman af Richard Ford (ateolf)
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I årene efter Anden Verdenskrig er kunstneren Masuji Ono ved at finde sine ben igen. Før krigen var han bredt anerkendt, men nu er hans produktion gået i stå, og han bruger det meste af sin tid på at istandsætte sit fine hus, sørge over tabet af sønnen og hustruen, der begge blev dræbt under krigen, og så er det hans opgave at forhandle et ægteskab på plads for den yngste datter Noriko. Setsuko, den ældste, er for længst gift og fra tid til anden kommer hun besøg med barnebarnet Ichiro.

Ono har sine egne traumer at kæmpe med, men han føler sig også fremmed i det nye Japan. Han har svært ved at forstå den vrede, som den yngre generation retter mod alle autoriteter, og han kan ikke se, at han selv har gjort noget forkert, selvom han var en villig og flittig bidragsyder til den ekspansionistiske propaganda.

Mens bryllupsforhandlingerne skrider frem, bliver Ono tvunget til at konfrontere sin fortid. Helt rutinemæssigt sætter den anden familie nemlig en privatdetektiv til at undersøge hans forhold og for at forhindre dårlig omtale, bliver han nødt til at opsøge både sin tidligere velgører og sine tidligere elever. Det første går fint, men eleven er vred. Ono kan ikke helt forstå hvorfor, selvom det undervejs afsløres, at han har angivet ham til politiet under krigen.

Det forhold illustrerer meget godt problemet med fortælleren Ono. Kan det virkelig passe, at han er så naiv, som han ynder at fremstå, eller er det bare noget han bilder sig ind for at undgå at se sig selv i øjnene? Hvor meget kan vi overhovedet stole på hans fremstilling af fortid og nutid? Uanset hvor klart han ser fortiden i øjnene, så er hans omgang med den fuld af opportunisme. Det kan være nødvendigt at sige undskyld, men dybest set mener han ikke, at han gjort noget som helst forkert, og hvis hans handlinger har bidraget til noget forkert, så var han uden mulighed for at gennemskue det.

Kunstner i den flydende verden var mit første møde med Kazuo Ishiguro, der fik nobelprisen sidste år. Det var et godt møde, for Ishiguro viderefører det bedste fra 1800-tallets romantradition. Fortællestilen er afdæmpet, og de afgørende forhold røbes kun i detaljerne. Jeg glæder mig til at læse mere fra forfatterskabet. ( )
  Henrik_Madsen | Aug 25, 2018 |
Ishiguro describes the genesis of his second novel by referring to his first: “There was a subplot in A Pale View of Hills about an old teacher who has to rethink the values on which he’s built his life. I said to myself, I would like to write a full-blown novel about a man in this situation – in this case, an artist whose career becomes contaminated because he happens to live at a certain time.” ... Ishiguro’s fiction has certainly mined the complexities involved in the unreliable, first-person narrator. An Artist of the Floating World is perhaps the supreme example of his art. It is, at face value, deeply Japanese, but many of its themes – secrecy, regret, discretion, hypocrisy and loss – are also to be found in the 20th-century English novel.
 
“An Artist of the Floating World” is a sensitive examination of the turmoil in postwar Japan, a time when certainties were overturned, gender politics shifted, the hierarchy of the generations seemed to topple and even the geography of cities changed. All this is made more poignant when seen through the eyes of a man who is rejected by the future and who chooses to reject his own past.
tilføjet af Lemeritus | RedigerThe Japan Times, Iain Maloney (Mar 7, 2015)
 
In the second novel, An Artist of the Floating World, the teacher of discredited values is the narrator and main character. Mr. Ono is a retired painter and art master, and as in A Pale View of Hills, the story bobs about between reminiscences of different periods of the hero's life. Not that Mr. Ono is a hero: in fact, he is the least admirable and sympathetic of Ishiguro's chief characters, an opportunist and timeserver, adapting his views and even his artistic style to the party in power. So it comes that in the Thirties he deserts his first, westernizing master of painting for the strict, old-fashioned style and patriotic content of the imperialist, propaganda art.
tilføjet af kidzdoc | RedigerThe New York Review of Books, Gabrielle Annan (pay site) (Dec 7, 1989)
 
It is not unusual to find new novels by good writers, novels with precise wording, witty phrases, solid characterizations, scenes that engage. Good writers abound - good novelists are very rare. Kazuo Ishiguro is that rarity. His second novel, ''An Artist of the Floating World,'' is the kind that stretches the reader's awareness, teaching him to read more perceptively.
 
The year 1945, like 1830 and 1914, now seems a natural watershed – above all in countries which experienced national defeat, social upheaval and military occupation. An Artist of the Floating World, a beautiful and haunting novel by the author of A Pale View of the Hills, consists of the rambling reminiscences of a retired painter set down at various dates in the Japan of the late Forties. Americanisation is in full swing, national pride has been humbled, and the horror of the bombed cities and the loss of life is beginning to be counted. The young soldiers who came back from the war are turning into loyal corporation men, eager to forget the Imperial past and to dedicate the remainder of their lives to resurgent capitalism. Ishiguro’s narrator, Masuji Ono, has lost his wife and son but lives on with two daughters, one of whom is married. Were it not for his anxieties over his second daughter’s marriage negotiations, Ono could be left to subside into the indolence of old age. As it is, ‘certain precautionary steps’ must be taken against the investigations to be pursued, as a matter of course, by his prospective son-in-law. The past has its guilty secrets which Ono must slowly and reluctantly bring back to consciousness.
tilføjet af kidzdoc | RedigerThe London Review of Books, Patrick Parrinder (pay site) (Feb 6, 1986)
 

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Forfatter navnRolleHvilken slags forfatterVærk?Status
Ishiguro, Kazuoprimær forfatteralle udgaverbekræftet
Bützow, HeleneOversættermedforfatternogle udgaverbekræftet
Broek, C.A.G. van denOversættermedforfatternogle udgaverbekræftet
Case, DavidFortællermedforfatternogle udgaverbekræftet
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If on a sunny day you climb the steep path leading up from the little wooden bridge still referred to around here as ‘the Bridge of Hesitation’, you will not have to walk far before the roof of my house becomes visible between the tops of two gingko trees.
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If one has failed only where others have not had the courage or will to try, there is a consolation—indeed, a deep satisfaction—to be gained from this observation when looking back over one’s life. (Masuji Ono)
And yet we allow our people to grow more and more desperate, our little children die of malnutrition. Meanwhile, the businessmen get richer and the politicians forever make excuses and chatter. Can you imagine any of the Western powers allowing such a situation? (Matsuda)
It is not necessary that artists always occupy a decadent and enclosed world. My conscience, Sensei, tells me I cannot remain forever an artist of the floating world.’
'...our contribution was always marginal. No one cares now what the likes of you and me once did. They look at us and see only two old men with their sticks.’ He smiled at me, then went on feeding the fish. ‘We’re the only ones who care now. The likes of you and me, Ono, when we look back over our lives and see they were flawed, we’re the only ones who care now.’
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En berømt japansk maler foretager i de første år efter 2. verdenskrig et lavmælt selvopgør. Var han idealist eller opportunist?.

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