Investigate the relationship between Ono and his father in Kazuo Ishiguro’s
novel A
​ n Artist of the Floating World.
Kazuo Ishiguro’s interest in relationships is at the forefront of his novel, ​An Artist of
the Floating World​. Masuji Ono, the protagonist, narrates memories spanning his
artistic aspirations, work as a propaganda artist and retirement. As he reflects on
interactions both recent and from years ago, one particular relationship is of interest.
Ono’s uncomfortable interaction with his father is marked by aloofness, subtle
dialogue and pressuring expectations. Through Ono, Ishiguro portrays behaviour
that imitates and responds to these interactions, demonstrating the formative effect
past relationships can have on a person’s present.
Ono’s father is reserved, even aloof - much like Ono. This is evident in his response to
Ono’s artistic aspirations: ‘I’ve heard a curious thing from your mother.’ He expresses
himself in a conservative manner to begin with, concealing the aversion that only
surfaces as he comes to realise that Ono’s ambitions may be serious. It is worthwhile
to note that he receives this news from his wife, not from Ono himself. Perhaps his
ignorance is due to a lack of communication with his son; perhaps Ono withheld the
information out of fear. If the latter, this would be justified. Ono’s father considers
professional painting ‘a curious thing’. The adjective suggests that he does not
consider it valuable, a suggestion confirmed by his later words. In the absence of
dialogue between Ono and his father, Ono’s mother has to take on the role of
communicator. As Ono narrates past events though, there is no other voice to
provide missing information or a differing opinion. There is an obscurity to Ono’s
story reminiscent of the father character. Ono decides not to ‘worry Noriko with
details’ about his efforts concerning her marriage negotiations. It is similar to his
omission to inform the reader of the emotions he must have suffered when his
father burnt his paintings. The lack of communication modelled in his childhood is
partially continued by Ono. This parallel suggests that his father has influenced him.
Ono’s interaction with his father is an early introduction to indirect - even deceitful speech with pointed meaning. Their relationship is awkward as a result. His father’s
request ‘I think that was your mother...ask her to step in here’ appears simple. The
hallway however is empty, as Ono ‘had known it would be’. While he is in the
corridor, he is then ordered to ‘gather the rest of your paintings’. Instead of
expressing his wish directly, the father takes a subtler approach. He avoids
forthrightness. This indirectness and deceit is mimicked by Ono as a child in an
attempt to protect his own interests. ‘I’ve done as you instructed,’ he tells his father.
He has really kept aside some of his paintings. His subservience is deceptive, like his
father’s request. This understanding of subtlety in conversation is not lost in his old
age. He responds to Setsuko’s hints at ‘precautionary steps’ regarding ‘their
investigations’ with ‘I was not aware we had anything to hide’. He realises the
implications contained in her words. His narration too shows the indirectness his
father used to interact with him. He attempts to present well through highlighting
his positive attributes, and skimming over the negatives.
The desire to appear prestigious and honourable is a driving force behind Ono’s
narration. Much of the novel can be viewed as a response to his father’s harsh
judgement on his fifteen year old self. His father repeats a wandering priest’s
prediction that Ono would have a ‘tendency towards slothfulness and deceit’, adding
that ‘Artists...live in squalor’. Ono’s description of his time at Takeda’s working ‘the
most arduous hours’; his attempts to clarify when ‘These...may not have been the
exact words I used’; his analysis of his painting which ‘achieved a certain fame and
influence’ and description of his grand house ‘in keeping with our status’; through
narration like this, Ono tries to paint a picture of a hardworking, honourable,
prestigious artist. Tellini notes that being an artist is an unfavourable ‘alternative to
fixing his flawed character from his family’s perspective’. His descriptions of himself
and his actions though serve as a rebuttal to this projection. He is still trying to
disprove his father’s expectations.
Ono’s relationship with his father was an unhealthy one. They remained aloof from
each other, choosing indirectness over clear communication to achieve their desires.
Nonetheless, the influence of Ono’s father can be seen in the almost cyclical
behaviour Ishiguro details: Ono is also aloof and indirect in dialogue, and his
narration subtly responds to his father’s dire predictions. Ishiguro presents a
character deeply affected by his past. ​An Artist of the Floating World ​ challenges the
reader to evaluate how their relationships have shaped them, and if they are proud
of the results.