An introspective young man, burdened by a profound sense of alienation from society, grapples with his inability to truly reveal his true self to others. He puts on a mask of humor, using his wit to poke fun at social norms and himself, all while feeling distant from his family and critical of his friends. This enigmatic protagonist, Yozo Oba, is the embodiment of an antihero, presented in the novel No Longer Human by Japanese writer Osamu Dazai.
No Longer Human, a timeless classic of modern Japanese literature, delves into Yozo’s life from childhood to adulthood as he candidly exposes not only his personal failings but also the failings of society as a whole. The novel’s narrative style, characterized by Yozo’s caustic first-person voice, captivates readers with its raw and conversational tone. Upon its release in the United States, it garnered praise from The New York Times, which lauded its self-prosecution and conversational narrative.
Since its publication in 1948, No Longer Human has gained a devoted cult following, inspiring artists and even being adapted into films and graphic novels. Moreover, Dazai himself has made appearances as a character in popular manga series. The novel’s enduring appeal can be attributed not only to the dramatic life of its author, who tragically died by suicide just before its publication, but also to its sardonic self-awareness. Its relatable themes, coupled with its claustrophobic and introspective narration, resonate with readers, especially those familiar with psychological literature of the past decade.
Even after seventy-five years, No Longer Human remains as relevant as ever. As musician Patti Smith aptly expressed, Dazai’s writing reflects the urgency and yearning of someone seeking the solution to an unsolved equation while being on the brink of death. With the recent translation of its prequel, The Flowers of Buffoonery, Dazai’s intimate and visceral writing finds a new audience. Together, these two works showcase Dazai’s mastery of the confessional style, while also paradoxically presenting powerful portrayals of human connection.
Dazai was an exponent of the “I” novel, a confessional genre of Japanese literature in which authors drew inspiration from their own lives. Yozo’s story, with its lonely childhood, strained relationship with his affluent family, promiscuity, and recurrent suicide attempts, echoes Dazai’s own experiences. However, it is Yozo’s raw perspective, rather than mere parallels with his creator, that gives the book its force and enduring impact. Yozo’s perspective is sharp, concise, and evocative, devoid of meandering reminiscences.
No Longer Human presents a bitter irony in that Yozo, despite his complete detachment from society, appears no less involved in it than anyone else. Raised in the isolated north of Japan, Yozo is a sickly and intelligent child who never quite fits in with his family or peers. To cope, he becomes the class clown, using humor to deflect attention from his own discomfort. He openly admits to not comprehending social norms, such as communal meals or telling white lies for politeness’ sake. He hints at past abuse suffered as a child and the subsequent inability to confide in anyone, which some scholars believe contributes to his later sense of alienation. As a teenager, he realizes that girls are drawn to him, but his confusion hinders any real emotional connections.
Paradoxically, Yozo thrives on relationships despite his self-imposed isolation. He depends on others for survival and companionship, even though he considers himself perpetually removed from the world. Unlocked in Tokyo, he indulges in heavy drinking, promiscuity, and truancy. Yozo harshly criticizes those around him, but unbeknownst to him, he relies on them for support. A Dionysian friend teaches him how to survive in the city, while a contemptible family acquaintance reluctantly takes him in after a suicide attempt. Although Yozo scorns the social infrastructure that surrounds him, it becomes evident to the reader that he needs it.
One manifestation of Yozo’s disconnection from society is his tendency to mock the people he relies on. Equally, he mocks himself, a choice by Dazai that feels strikingly contemporary and establishes him as an unreliable narrator. Yozo’s candid accounts of exploiting the women who fall for him, using them as sources of alcohol or boarding, may initially elicit condemnation. However, Dazai suggests that Yozo is not as monstrous as he portrays himself. The novel concludes with an addendum by an unnamed narrator who discovers Yozo’s personal notebooks and speaks to a woman who knew him. She remembers him as a good boy, an angel. This shift in perspective forces readers to question what else they might see if their viewpoint were slightly altered.
Such glimpses into an alternative perception, however, are rare. Yozo’s enduring appeal stems from Dazai’s decision to present his story directly in the first person. Yet, this had not always been Dazai’s initial approach to the character. In the earlier work, The Flowers of Buffoonery, Dazai initially wrote Yozo in the third person, offering a more distant portrayal of a pained young man who was less misanthropic and more connected to those around him. Although distinct from No Longer Human, Flowers provides fascinating insight into the development of Yozo as a character and demonstrates Dazai’s emphasis on relationships in his writing. Loneliness and sociability are not as mutually exclusive as they may seem.
In essence, No Longer Human and The Flowers of Buffoonery together exemplify Dazai’s ability to craft intimate and piercing narratives. These tales of alienation and companionship offer readers a profound exploration of the human experience and invite contemplation of our own connections and disconnections with the world.
Denial of responsibility! VigourTimes is an automatic aggregator of Global media. In each content, the hyperlink to the primary source is specified. All trademarks belong to their rightful owners, and all materials to their authors. For any complaint, please reach us at – [email protected]. We will take necessary action within 24 hours.
