No Longer Human Osamu Dazai


are suddenly made to realize the incompleteness of Yozo's portrait of



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are suddenly made to realize the incompleteness of Yozo's portrait of
himself. In the way that most men fail to see their own cruelty, Yozo
had not noticed his gentleness and his capacity for love.
Yozo's experiences are certainly not typical of all Japanese
intellectuals, but the sense of isolation which they feel between
themselves and the rest of the world is perhaps akin to Yozo's
conviction that he alone is not "human." Again, his frustrations at the
university, his unhappy involvement with the Communist Party, his
disastrous love affairs, all belong to the past of many writers of today.
At the same time, detail after detail clearly is derived
from
the
individual experience of Osamu Dazai himself. The temptation is
strong to consider the book as a barely fictionalized autobiography, but
this would be a mistake, I am sure. Dazai had the creative artistry of a
great cameraman. His lens is often trained on moments of his own past,
but thanks to his brilliant skill in composition and selection his
photographs are not what we expect to find cluttering an album. There
is nothing of the meandering reminiscer about Dazai; with him all is
sharp, brief and evocative. Even if each scene of
No Longer Human
were the exact reproduction of an incident from Dazai's life—of course
this is not the ease—his technique would qualify the whole of the work
as one of original fiction.


No
Longer
Human
is not a cheerful book, yet its effect is far from
that of a painful wound gratuitously inflicted on the reader. As a
reviewer (Richard Gilman in

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