Final Thoughts On ...

How to be successful. These basic ideas have been the emphasis of countless teachers, coaches and parents lessons for many generations. What exactly does it mean to be successful? Do you need to fit in with a culture? A sub culture? If so which one do you aim for? Can I simply turn on the TV and listen to Oprah advice on how to loose ten pounds and re organize my house to deem myself a success. The world that I currently live in seems much to vast, to broad, that to truly be able to consider myself successful based on a single tangible event, would be merely looking at only one part of the story.

In Rob Burton’s book entitled, Artist of The Floating World, Burton ponders the topic of, not how to become successful person, rather, how exactly does one become a responsible citizen in a “floating world”. This idea of floating can be viewed in different lights, for instance, floating can signify passiveness in the world governed by the unchangeable outcome that fate offers. Likewise the symbol of the “floating” can also be used to justify chance and prospect in this modern world that all we live in. Through Burton’s textual analysis, Burton weighs ideas and actions that lead to an individual being a responsible citizen of the floating world. Is this claim obtainable? Can a celebrity write a step-by-step book instructing you on how to become a responsible “floater” in the world? I feel that Burton would argue that no, it is not definable however, a person can note certain ways that others live their lives by and encapsulate different methods in forming themselves into a responsible “artist of the floating world.”

As noted in the conclusion chapter of Burton’s novel he makes the claim that responsible citizens must be able to subsist in an ever-changing environment, placing and viewing him or herself as a character in a story. In Bessie Heads novel titled, Maru it is obvious that the idea of a character changing environments is dealt with. Maru tells the tale of a young (mixed blood) citizen trying to exist and maintain herself in a society not generally accepting of her cultural and racial distinction. Similarly, Bharati Mukherjee’s book, Jasmine tells a tale of a young girl leaving her homeland exposing herself to a completely different world, America, and than taking up the task of transforming herself into the society she is living in, whether it be New York City, India, or even Iowa. Both took different means in achieving their eventual outcome of being responsible citizens in the world, by allowing themselves to reshape and rewrite the stories of their lives.

Another way that Burton points to in shaping oneself into becoming a citizen that is responsible in this world is to be aware of the frames that structure your life. Juxtaposing the two authors Salman Rushdie and Bessie Head, a reader can note that both artists delve deep into the skill and style of living lives that are not confined to the regulations and suppression that frames cast over lives. The two artists however take different approaches in creating these lives of framelessness. On one hand you have Bessie Head whose life as noted in The Artist of the Floating World demonstrates the “dangers” of “existential freedom in a frameless life (131).” Bessie Head wrote novels by hand with ink and paper, the iconic scene from her novel Maru depicting her character Margaret Cadmore staying up late hours pumping out painting after painting. This scene captures very well the at times chaos and beauty of a frameless life. On the other hand Salman Rushdies approach to a life with out frames was achieved on a different path. Rushdie, an author who has spent his career speaking out against religion, eventually worked his way up to his keystone novel Satanic Versus. Rushdie approached his frameless style of life and literature in a very precise articulate manner compared to that of Head. It seems in comparison that on one hand with Head there is a jumbled chaotic message where as Rushdie’s claims are very matter-of-fact and concise. It is interesting to note however that through two alternate paths both people are able to live lives not confined to the frames people spend lifetimes within.

In becoming an accountable member of this floating world one can draw on the author Kazuo Ishiguro’s character Masuji Ono in An Artist of the Floating World. Ono exhibits a key quality that is a duty for a responsible citizen in the floating world. The first principle that Ono demonstrate is his ability to hear, see, and spread images from different perspectives. Ono began his carrier as an artist practicing the art of ukiyo, a skilled art in which he narrated pictures and art of sad, grief stricken world, then switching over to the post World War 2 propaganda machine of Japan. In doing this Ono acknowledges and participates in the shift between two voices one, a small subculture of art form, to another form broadcasted and promoted by the government. In Ono’s paradigm shift an outsider is able to take note of his ability to acknowledge and cultivate voices within himself that he may not have allotted time to before his shift in artistic methodology. As a citizen in the floating world it is important to do the same in regards to hearing and offering a wide variety of voices.

In the four above mentioned authors, Head, Mukherjee, Rushdie, and Ono a reader can note the last quality Burton points to in becoming a responsible citizen of the floating world. The last basic concept is to continually transcend and continue learning. All of these authors continuously keep a fervors pace in their novels and real life pushing foreword to new experiences, languages, and lives. Whether it was Jasmines transformation to an American, or Ono’s change of artist style one must always continue on a transcendent path. All and all that is truly what is most important, not being a successful citizen, rather taking note of authors like the ones above and pursing their everyday actions and forming yourself into a responsible citizen.