No Longer Human

No Longer Human (人間失格, Ningen Shikkaku) is a 1948 Japanese novel by Osamu Dazai. It is considered Dazai’s masterpiece and ranks as the second-best selling novel ever in Japan, behind Natsume Sōseki’s Kokoro.[1] The literal translation of the title, discussed by Donald Keene in his preface to the English translation, is “Disqualified From Being Human”. The novel, narrated in first person, contains several elements which portray an autobiographical basis. The novel presents recurring themes in the author’s life, including suicide, social alienation, and depression.[2] Many believe the book to have been his will, as Dazai took his own life shortly after the last part of the book (which had appeared in serial form) was published.

As of January 1, 2019, the book is in the public domain.

No Longer Human is told in the form of notebooks left by one Ōba Yōzō (大庭葉蔵), a troubled man incapable of revealing his true self to others, and who, instead, maintains a facade of hollow jocularity. The work is made up of three chapters, or “memoranda”, which chronicle the life of Ōba from his early childhood to his late twenties.

First Memorandum: Overcome by an intense feeling of alienation and otherness and finding it nearly impossible to understand those who surround him who live in egoism and bad faith, Ōba can’t help but resort to buffoonery in order to establish interpersonal relationships. He is sexually abused by a male servant and a female servant during his childhood, but decides that reporting it would be useless.
Second Memorandum: Ōba becomes increasingly concerned over the potential penetrability of his cheerful facade by his schoolmate Takeichi, who sees through his false buffoonery. Ōba befriends him to prevent Takeichi from revealing his secret. As he shows Takeichi the ghost-like paintings of Amedeo Modigliani, he realizes that certain artists express the inner truth of human cruelty through their own trauma. Ōba paints a self-portrait inspired by these artists, which is so dreadful that he dares not show it to anyone except Takeichi, who esteems the picture. He neglects his university studies, out of fear of collective life. Influenced by a fellow artist, Horiki, whom he meets at a painting class, Oba descends into a vicious pattern of drinking, smoking and harlotry, culminating in a one-night stand with a married woman with whom he attempts to commit double suicide via drowning. Though he survives, she dies, leaving him with nothing but an excruciating feeling of guilt.
Third Memorandum, Part One: Ōba is expelled from university, and comes under the care of a friend of the family. He tries to have a normal relationship with a single mother, serving as a surrogate father to her little girl but abandons them in favor of living with the madam of a bar he patronizes. Since then he tries to believe the meaning of society for an individual is to escape out of fear of humanity. He drinks heavily, inspired by Rubaiyat of Omar Khayyam. Later, he falls into a relationship with Yoshiko, a young and naive woman who wants him to stop drinking.
Third Memorandum, Part Two: Thanks to Yoshiko’s grounding influence on his life, Ōba stops drinking and finds gainful work as a cartoonist. Then Horiki shows up, turning Ōba to self-destructive behavior again. Worse, at the moment of recalling Crime and Punishment by Dostoevsky while he discusses the antonym of crime with Horiki, Ōba becomes estranged from his wife following an incident where she is sexually assaulted by a casual acquaintance. Over time Ōba becomes an alcoholic and a morphine addict, out of fatal fear he felt faced the assault of his wife. He is eventually confined to a mental institution and, upon release, moves to an isolated place, concluding the story with numb self-reflection after profound despair.
The story is bookended with two other, shorter, chapters from the point of view of a neutral observer, who sees three photos of Ōba and eventually tracks down one of the characters mentioned in the notebooks who knew him personally.

Ōba refers to himself throughout the book using the reflexive pronoun “Jibun” (自分), whereas the personal pronoun “Watashi” (私) is used both in the foreword and afterword to the book by the writer, whose name is unclear. The name “Ōba” is actually taken from one of Dazai’s early works, “Petals of Buffoonery” (道化の華).