Will Ono Shift Again?

A paradigm shift involves the radical shifts of one’s thoughts and behaviors.  Prior to World War II, Japan’s Imperialist government made such a shift and entered the war as an Axis power. 

We come into Ono’s story after Japan has lost the war.  The Imperialist government is no longer what it was.  Japan and its people have suffered greatly.  Prior to the war Ono was able to make an important shift in his beliefs, leaving behind his life in the floating world in order to help Japan.  Can he do so again?  Is he willing to make a another shift in order to help his daughter whose generation so wants to rebuild Japan?

Masuji Ono is the main character of Kazuo Ishiguro’s book titled, “An Artist of the Floating World”.  He began his career as an artist of the floating world and then became an artist of propaganda in support of the Imperialist government in World War II and now it seems he must choose again an alternative path. 

In his early career, Ono enjoyed a life of camaraderie with fellow artists, drinking, playing cards and sleeping late.  His paintings included pleasing images of beautiful women and landscapes.  He was accomplished at painting what was asked. 

In his first shift of thought, he came to support the government and its war efforts when recruited by Chishu Matsuda, a recruiter for the Okada-Shingen Society.  This organization offered exhibits for emerging artists.  It was Matsuda who opened Ono’s eyes to the poverty within Japan.

Matsudo walked Ono through some of the impoverished areas.  “Look down there, Ono,” Matsuda said.  “There are more and more places in our city like this.  Only two or threes years ago, this was not such a bad place.  But now it’s growing into a shanty district.  More and more people become poor, Ono, and they are obliged to leave their houses in the countryside to join their fellow sufferers in places like this.” (166)

It was after seeing, in several parts of his city, tremendous poverty, starving children and depleted services that he was proud to begin painting propaganda.  “Sensei, I feel strongly that my recent work is the finest I have yet one,” said Ono.  His new work was not taken seriously by his teacher.  “It’s no bad thing, no bad thing at all.  But then again one shouldn’t spend too much time with such experiments.  Best return to serious work before too long.” (178)  Ono refused and was dismissed for this reason.  He sought a new venue for his propaganda and threw himself behind the Imperialist government. 

As we know, World War II did not end well for Japan.  Many lives were lost.  Honor was lost.  Bombs were dropped, destroying homes and factories in many cities.  Ono’s own son was killed as a result of his serving as a soldier. 

People were strongly disappointed in how the war was waged.  Japan needed to be rebuilt and western influences were running rampant.  Children of those who supported the Imperialist government were ashamed of their elders and wanted to work towards a new Japan. 

 

In order to coordinate the marriage of his youngest daughter, Ono will be called up to consider yet another shift.  He is not being asked to denounce what was done, but is being asked to acknowledge the perils of what did occur.  He does begin to recognize what needs to be done so that Japan may thrive. After some anguish, he does make that next shift.  “Our nation, it seems, whatever mistakes it may have made in the past, has now another chance to make a better go of things.  One can only wish these young people well.” (206)