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Yoshihiro Tatsumi

A Drifting Life Paperback – April 14, 2009

by Yoshihiro Tatsumi (Author, Illustrator), Taro Nettleton (Translator), Adrian Tomine (Designer)

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The epic autobiography of a manga master

Acclaimed for his visionary short-story collections The Push Man and Other Stories, Abandon the Old in Tokyo, and Good-Bye―originally created nearly forty years ago, but just as resonant now as ever―the legendary Japanese cartoonist Yoshihiro Tatsumi has come to be recognized in North America as a precursor of today's graphic novel movement. A Drifting Life is his monumental memoir eleven years in the making, beginning with his experiences as a child in Osaka, growing up as part of a country burdened by the shadows of World War II.

Spanning fifteen years from August 1945 to June 1960, Tatsumi's stand-in protagonist, Hiroshi, faces his father's financial burdens and his parents' failing marriage, his jealous brother's deteriorating health, and the innumerable pitfalls that await him in the competitive manga market of mid-twentieth-century Japan. He dreams of following in the considerable footsteps of his idol, the manga artist Osamu Tezuka (Astro Boy, Apollo's Song, Ode to Kirihito, Buddha)―with whom Tatsumi eventually became a peer and, at times, a stylistic rival. As with his short-story collection, A Drifting Life is designed by Adrian Tomine.

Print length

855 pages
Language

English
Publisher

Drawn & Quarterly
Publication date

April 14, 2009
Dimensions

6.58 x 2.33 x 8.72 inches
ISBN-10

1897299745
ISBN-13

978-1897299746
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Editorial Reviews

From Publishers Weekly

Tatsumi revolutionized manga in the 1950s, inventing gekiga—seething, slice-of-life stories about emotional crises. In this elephantine memoir (in which he barely disguises himself as œHiroshi Katsumi), he tells the story of his early years in the comics business, from his teenage obsession with entering postwar magazines' reader-cartoon contests and poring over Osamu Tezuka's comics to the brief late-'50s heyday of the gekiga workshop over which he presided. It's also a history of Japan in that era, filtered through Tatsumi's own experience—the sound of cicadas is a recurring symbol of portentousness—and packed with digressions on cartooning technique, the movies and prose fiction that inspired him, and his nervous flirtations with women; the passage of time is marked by illustrated factoids about each year's headlines. Tatsumi's visual technique is very much a product of an earlier generation—his characters' faces are simple, broad caricatures—but the mastery he's gained in half a century of cartooning comes through in his immaculate staging and composition. Readers curious about Japanese comics history may find the book's wealth of detail fascinating; for the most part, though, Tatsumi's vivid, graceful dramatizations of the period's shifting business and creative alliances don't quite justify the tedious, repetitive hybrid of bildungsroman and industry time line he's created. (Apr.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From School Library Journal

Grade 10 Up–This is a masterfully drafted autobiographical work by the creator of Good-bye (2008) and Abandon the Old in Tokyo (2006, both Drawn & Quarterly). Referring to himself as Hiroshi, Tatsumi begins his story with the surrender of Japan after World War II, when he was 10 years of age, and details the following 15 years of his life. Deeply passionate about manga at a young age, he chronicles the time from his start as an enthusiast to his rise as an influential and celebrated author/illustrator of the format. Although this book centers primarily on Tatsumi's writing career, the history of manga, influential writers and publications of the time, and the turbulent manga publishing industry, much more is revealed. Family life and dynamics influenced by his parents' troubled marriage, his father's financial difficulties, and his friendship and rivalry with his brother are explored, first sexual interests and experiences are considered, and relationships among fellow artists are skillfully portrayed. Historical political and cultural events are introduced throughout the story, giving readers a feel for Japan's climate and social landscape during the period. Black-ink images in a combination of detailed/realistic panels mixed with cartoon-style artwork enhance the atmosphere and bring the characters to life. This is a captivating autobiography, and one that should have high appeal to those interested in the history of manga and Japanese culture, and followers of Tatsumi's works.–Lara McAllister, Halifax Public Libraries, Nova Scotia END

From Booklist

Veteran manga creator Tatsumi has won belated American acclaim with recent collections of his stories of Japan’s outcasts and losers in translation. This much longer book traces his personal and artistic journey from the end of World War II, when, at 10, he discovered manga. It includes his inspirational meeting with his idol, Astro Boy creator Osamu Tezuka; his first professional publication while still in high school; his rapid ascent through the insular world of manga artists; and the frustration with the medium’s commercial strictures that spurred his development of the realistic style he dubbed gekiga. En route, he faced standard coming-of-age issues, from familial conflicts to romantic confusion, but here his artistic struggles remain in the forefront. Tatsumi’s relatively dispassionate autobiography makes far more placid reading than does his harrowing, intense fiction, and his visual approach, always straightforward and naturalistic, is even simpler in it. His earnest account of living in thrall to art speaks universally, even if its greatest appeal is to manga devotees. --Gordon Flagg

Review

“In the hands of a talent like Tatsumi . . . hidden worlds are excavated and dark corners of the human condition illuminated.” ―Bookforum on Yoshihiro Tatsumi

“His nakedly personal work, created when the medium was predominantly impersonal, made Tatsumi unique in Japan and around the world.” ―Print on Yoshihiro Tatsumi

About the Author

Born in Osaka, Japan, in 1935, Yoshihiro Tatsumi began writing and drawing comics for a sophisticated adult readership in a realistic style he called “Gekiga.” He is the cartoonist of The Push Man and Other Stories and Abandon the Old in Tokyo.

Adrian Tomine is the author of Scenes from an Impending Marriage, Shortcomings, Summer Blonde, Sleepwalk, 32 Stories, and the comic book series Optic Nerve. He is also an illustrator for The New Yorker, Esquire, and Rolling Stone, and his stories have appeared in The Best American Nonrequired Reading and An Anthology of Graphic Fiction, Cartoons, and True Stories. A graduate of the University of California at Berkeley, Tomine lives in Brooklyn, New York.

Publisher ‏ : ‎ Drawn & Quarterly (April 14, 2009)
Language ‏ : ‎ English
Paperback ‏ : ‎ 855 pages
ISBN-10 ‏ : ‎ 1897299745
ISBN-13 ‏ : ‎ 978-1897299746
Item Weight ‏ : ‎ 2.93 pounds
Dimensions ‏ : ‎ 6.58 x 2.33 x 8.72 inches

Best Sellers Rank: #1,049,685 in Books (See Top 100 in Books)
- #209 in Drawn & Quarterly Comic & Graphic Novels
- #390 in Japanese Biographies
- #701 in Educational & Nonfiction Graphic Novels

Customer Reviews:
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Pure and simple, a masterwork

Reviewed in the United States on November 15, 2009

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There have been many attempts at autobiographical graphic novels, Binky Brown and I Saw It among the earliest and Maus the best-known. I think it's fair to say that only fans of the genre and people interested in the specific issues explored were enthusiastic about these books.

Yoshihiro Tatsumi has created something totally different, a memoir that speaks to everyone, in totally original form. He tells an absorbing story using a few simple words and a few simple lines. He uses panels to pace the story, to focus details, to show facial expression, to convey emotion; in ways distinct from written autobiographies, but also distinct from film-makers, painters, photographers and anyone else who ever tried to use art to convey the feeling and meaning of a life.

I feel the reviewers complaining about the lack of depth are missing the point. The author's technique cannot go below the surface, he's drawing pictures. He can use those pictures to suggest depths, but not to explore them. A writer can spend thousands of words (or more) describing internal psychological states or conveying depth in other ways. Other graphic novelists, and also film-makers and painters, attempt to do the same by leaving realism behind or by including a lot of detail. Tatsumi confines himself to simple realism, but realism as perceived at the time, and stripped down to essential lines. He tells us what he saw and leaves it to us to imagine what went on below (and above, and before, and after).

To take one example, a historian might want to know the name and background of the waitress in the restaurant beneath his apartment who tries to seduce him with comic results. An artist might paint a haunting evocation of youth and inexperience and lust. Tatsumi draws her as he saw her, essentials only, few facts and no reliable ones. Was she young and pretty, confident and cheerful, hardworking and promiscuous? We know he thought so at the time, nothing more, but also nothing less. He conveys the episode not in one detailed picture, but in a dozen quick sketches, with word balloons and backdrops. In this way we learn about his life in a different manner than any previous autobiographical work of art, we learn different aspects than we have ever encountered.

This is not only a book for Manga fans. It's a story anyone can understand. The pain of having your ideas ignored or misunderstood. The pleasure of winning some degree of acceptance, and the frustration when others twist it for their own ends (but at the same time, the temptation of letting them do it, to gain recognition and money at the expense of artistic purity). The complex personal relationships, often searing, sometimes wondrous. The ups and downs of collaboration. The enigma of other people, those we love, those we respect and those we fear. All this with a backdrop of Japanese history and culture, a boy growing up, and an art form evolving.

This is an extraordinary masterwork. It takes only a couple of hours to read and you will be drawn into it in a different manner from anything else you've ever experienced.

8 people found this helpful

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Benjamin Boylan

A Classic Already

Reviewed in the United States on May 11, 2009

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Although it has just come out and I've only read it once, I have no hesitation in saying that "A Drifting Life" is a manga classic. If you have read and enjoyed "Barefoot Gen," the more mature Tezuka works, or even newer manga like "Monster" or "Pluto" by Urasawa you need to check this out.

The art is simple and easy to read. The story is engaging and interesting all the way through. It really left me wanting more - I read all 800+ pages in one weekend. You get to see how classic manga was made and get insight into the industry.

This is not manga for kids. This is an intriguing story for adults. I would also recommend it to those who are new to manga/graphic novels because it is an extremely easy and intuitive read. Don't be intimidated by the page count. I read manga 5-10 times quicker than prose/regular books, and at least twice as quick as regular american comics.

I hope he writes a sequel because I am interested to know what his life in manga was like after this book ends.

3 people found this helpful

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VeryBadChessPlayer

An Essential Book for Lovers of Manga, and Lots of Other People, Too

Reviewed in the United States on October 30, 2014

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The concept of "A Drifting Life" couldn't be simpler: The life story of one of the early masters of manga, told (of course) as a manga. But it ends up being far more than that. Among other things, it's a panoramic action shot of postwar Japan, and a meditation (I know how pretentious this sounds, but it can't be helped) on the power of art to transform one's life. And it's gorgeously drawn, but more than that, it's drawn in ways that keep the narrative moving for hundreds of pages. It's long, and it can be a bit difficult (especially for those of us who aren't Japanese), but it's hugely rewarding. Highly recommended.

2 people found this helpful

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Amazon Customer

Get it before it's gone!

Reviewed in the United States on October 7, 2015

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I have loved everything about this book. Deeply personal semi-autobiagraphical memoir chronicling a man's passion for manga and creating them while also revealing their history. All against the backdrop of post WW2 Japan and an often hard And dysfunctional life. Brutally honest, hopeful and heartbreaking. As real as it gets and GREAT art,and storytelling. Artists of all sorts should appreciate it, seeing him go through the same kinds of struggles and feelings and commitment is inspiring and comforting. I don't know what people are rating it low against? What standard? This book is a classic work that can sit next to any other intellectual comic. Meaty and ripped out of his heart, served on a silver georgeously illustrated platter.

One person found this helpful

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Tabitha

Not the best quality, but the grgaphic novel was interesting

Reviewed in the United States on May 15, 2018

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Chunks of pages would come out from the seams as I read. Not the best quality, but the grgaphic novel was interesting. A very cool memoir. There is nudity in illustrations.

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Pipsqueak

A graphic novel also for history buffs

Reviewed in the United States on November 4, 2009

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This book is a bit like Marjane Satrapi's "Persepolis" in terms of genre - autobiographical and set against a historic drawback (in this case, the socioeconomic and cultural evolution in a post-war Japan). But Tatsumi's narrative is less witty, impassioned or intimate in comparison. I think it's due to both personal and generational differences. Tatsumi's visual style in this book is particularly simple and modest. But I did enjoy reading it, particularly the "immaculate staging" (as Publishers Weekly put it) and interesting factoids of that period. I'm comparing the book to Persepolis only because Persepolis has gained prominence in pop culture, not that it's the standard.

2 people found this helpful

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Jesse Cline

Beautifully drawn but NOT as pictured on Drawn and Quarterly

Reviewed in the United States on August 4, 2009

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This is a very nice story and memoir, especially for any cartoonist or aspiring artist. There is just one thing I want to point out for anyone who may have found this book listed on Drawn and Quarterly's website and are not familiar with Tatsumi or Manga. The image they have on the front page to promote the book[...] Osamu Tezuka's characters as envisioned by the character Hiroshi, and is not the style in which the book is illustrated. Tatsumi's art is more realistic, which is beautiful and fits the narrative, but it is not what I envisioned based on the D&Q ad. Not sure why they chose to use that picture, but either way its great read and I highly recommend it!!!

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Timothy E. Buchanan

Poorly bound.

Reviewed in the United States on March 17, 2018

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It's an interesting book, but the binding cell apart before I was halfway through.

One person found this helpful

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Mr. G. Frare

Tatsumi's saga of becoming a manga master.

Reviewed in the United Kingdom on September 24, 2019

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Almost 900 pages of Tatsumi's love of manga and his detailed odyssey of becoming a master of the genre.
Interspersed with social, cultural and political events occurring during the years of the author development in his beloved post-war Japan. Well drawn in black and white, although simply and sparsely, the story is somehow one dimensional and drawn out, but I admit I lasted the course, even though the reading was a little boring at times.
A gorgeous book to own, beautifully presented and curated with a lot of details by Drawn & Quarterly.

Liam J Madden

Inspiring and deeply fascinating...

Reviewed in the United Kingdom on February 7, 2018

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A truly stunning piece of work. This is thick in appearance but the ease at which the work unfolds means it is very easy to get through. As an autobiography and covering parts of the history of Japan after WWII finishes, it's nearly a masterpiece. The artwork starts as beautifully simple in approach and develops slightly as the story progresses. It's a very impressive black & white graphic novel, beautifully printed and simply written. Highly recommended if you are new to the genre. The style of drawing shows talent throughout but all in all it is a deeply fascinating approach to telling a very interesting autobiography of Japanese life. Well worth buying and highly inspiring to read.

penny sharp

Five Stars

Reviewed in the United Kingdom on March 30, 2018

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Arrived on time and exactly as described. Thank you.

Pablo Javier

Reseña de “A Drifting Life”, de Yoshihiro Tatsumi

Reviewed in Mexico on March 28, 2017

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**MANGA TOP 100**

En un tiempo cuando la cantidad superó por mucho a la calidad y hay más títulos que tiempo para leerlos. Cuando individuos sin talento, de todos los países y en cada uno de los medios, alcanza el éxito entre comunidades y consumidores más y más ignorantes (en consecuencia, menos exigentes), y grandes figuras de la Literatura, la Música y el Cine aseguran que “el Arte está muerto” (moción que no secundo). En esta época, en la que se cosifica al ser humano, se celebra el extremismo y los jóvenes crean personajes de sí mismos en esa perenne búsqueda de identidad personal. Cuando el dinero es el mayor motor del mundo y todo parece seguir una tendencia intrascendente, efímera. Hoy.

Hoy es importante mirar atrás. No con el propósito de identificar el punto donde las cosas empezaron a ir mal, sino reconocer que incluso en un mundo tan jodido como aquél en que hemos convertido éste han habido enormes personajes, en cualesquiera espacios y ámbitos, incluyendo el Manga, que produjeron Arte, cuando Arte era eso y no artista, ahora un término difícilmente real y probablemente mundano. El Manga, pues, llegó a ser, a desarrollarse, gracias a la perspicacia y capacidades, la agudeza e intelecto de hombres y mujeres quienes, desde el Siglo XII, pero más destacadamente posteriormente a la Segunda Guerra Mundial, dedicaron su tiempo y esfuerzo a la fabricación de mundos alternos impresos en un ingrediente por naturaleza sencillo: la hoja de papel. Osamu Tezuka es el primer nombre que viene a la mente, y es con semejante justicia que Yoshihiro Tatsumi, su contemporáneo tristemente desconocido en el continente americano, lo sigue de cerca.

Yoshihiro Tatsumi (1935-2015) es adjudicado, entre otras cosas, con la invención de la “novela gráfica”. Parcialmente cierto, su más valioso apéndice al Arte gráfico fue aquél de iniciar el movimiento “Gekiga”, que se refería a la elaboración y uso de ilustraciones más “serias” en un período cuando el Manga (o el cómic, para tal efecto) era estrictamente ligero e infantil (ergo, considerado para niños). Si el término desapareció al poco tiempo fue porque el Manga adoptó dicha corriente y, sin dejar de ser Manga, los autores sintieron una mayor libertad para crear historias oscuras, realistas, dramáticas o violentas (es decir, el sub-género fue absorbido y se volvió obsoleto). El Gekiga, sin embargo, permitió que los practicantes—incluyendo a Tezuka, que se unió al movimiento con obras como “Phoenix” y “Adolf"—abordaran los temas que deseaban sin limitarse a lo que era éticamente aceptable. Asimismo, el Gekiga, nombre de la revista fundada por Tatsumi, abandonó el hasta entonces concretado formato de cuatro viñetas, lo que atrajo a un impresionante número de aspirantes (provocando el acrecentamiento de sub-géneros) y propició, después, la Época de Oro del Manga.

Tras años de éxito y diversos reconocimientos, y probablemente por la insistencia de editores preocupados porque escribiera sus memorias (algo que Tezuka nunca hizo) antes de “expirar”, Tatsumi publicó su autobiografía como no habría podido hacerlo de otra forma: en Manga. En el año 2008, y sin haber sido parte de publicaciones semanales/mensuales (quizás el motivo por el que el primero en adquirir la licencia internacional fue Drawn & Quarterly, editorial no especializada en Manga), aparecieron los dos volúmenes tankobon de “A Drifting Life” (en español, “Una vida errante”), el fenómeno literario que rápidamente recibió excelentes críticas, fue integrado a las listas de “Mejores Manga de la Historia”, alcanzó los más altos rangos de ventas anuales a nivel mundial (el #3 en la prestigiosa lista del New York Times), y fue presentado con dos premios Eisner, el Tezuka Osamu Cultural Prize y, en 2012, el Angouleme International Comic Prize, una de las preseas por obra gráfica (junto con el Lucca Comics & Games, de Italia) más importantes en Europa.

“A Drifting Life” es muchas cosas a la vez. Una autobiografía (obviamente) que es el retrato de un Artista brillante, la historia del Manga y el recuento social-cultural de un Japón varias veces derrotado y perjudicado (hasta la actualidad) por la catástrofe de Hiroshima; la crónica del amorodio hacia el pueblo y gobierno estadounidenses, y el inventario—cuidadoso escrutinio—de todo el Arte producido (y llegado a Japón) entre 1945 y 1960.
Hiroshi Katsumi (el mismo Tatsumi, modificando su nombre) es un niño devorador de historias, y entre todos los autores que encuentra en los locales de libros en renta (Y10 por tres libros), hay uno que despierta su pasión y ambición por el dibujo: un joven genio, apenas unos años mayor, de nombre Osamu Tezuka. Inspirados por éste, Katsumi y su asiduamente enfermo hermano, Okimasa, comienzan a trazar Manga en cuatro viñetas, enviándolo a las diferentes revistas de las que son lectores asiduos, mas es Katsumi quien primero y más rápidamente adquiere notoriedad gracias a su trazo e ingenio. En conjunto con otros niños, él establece una sociedad de mangakas que da por resultado su participación en la revista Mainichi Shimbun, publicación que, como lo más normal, le permite acercarse y convivir con el mismísimo Tezuka. Aunque breve, esta sólida relación le abre las puertas a una relación con demás editores y personalidades del medio. Entre tumbo y tumba, Katsumi se integrará a diferentes editoriales (entonces no existían la “exclusividad” ni los Derechos de Autor en Japón), sobreviviendo a los estragos del éxito y las penas del fracaso, y conociendo a los compañeros mangakas con quienes, años después, se aventuraría al establecimiento del Gekiga.
Tatsumi es sumamente categórico y diáfano en la exposición de su “yo” pasado. El balance de sentimientos e inseguridades, en unión al constante reportaje del Japón post-guerra, es escalofriante en su honestidad y precisión. A lo anterior, como debe preverse de un Maestro de su oficio, se suma un sinnúmero de homenajes y referencias al Arte que lo inspiró (especialmente el Cine y la Literatura) en su desenvolvimiento profesional y creación artística. No obstante la obra no se presenta dividida en partes o etapas, cada uno de los años, cual estampados, es una recreación íntegra de una vida dedicada al Arte—al Manga; la enfermedad y enemistad (temporal) con su hermano, la carencia económica, la vacilación y abandono eventual del dibujo, el amor por Tezuka, la depresión y ansiedad por cumplir las metas y las exigencias de los editores (a veces discrepantes, pero en síntesis exactamente como se las presenta en “Bakuman", de Ohba y Obata—algunas cosas nunca cambian). Todo esto, como un solo compuesto, es lo que la realidad paga y deja, y pocas obras—sean libro, película u obra de teatro—comprenden: las características, particularidades y propiedades de no sólo haber transitado sino dejado huella en el mundo. Katsumi, el personaje, crece sin prisa por llegar a su destino; el lector lo acompaña y, sin exageraciones, crece con él.
El punto acaso más importante que debe citarse, en especial para lectores aclimatados al Manga contemporáneo, es el Arte. Personajes, escenarios y fondos son explicados y manifestados—tal vez comprometidos—con sencillez y minimalismo. Esto no es extraño ni inválido, empero la obra fuera publicada en 2008. Tatsumi trazó su obra rigurosa y puntualmente de acuerdo al Arte de los 50’s y 60’s, cuando “menos era más” y la franqueza (aparente simplicidad) del Arte se compaginaba con los grandes expositores de Japón, Estados Unidos, Francia e Italia. Más relevantemente, seguido parece que el extraordinario mangaka no trabajó sólo: el lector percibe la idea que Tatsumi bosquejó con el puño de Takao Saito, Alexandre Dumas, Humphrey Bogart y, por supuesto, Osamu Tezuka. Porque ¿qué carajos es un Artista si no los Artistas que lo han inspirado? Yoshihiro Tatsumi y Hiroshi Katsumi son dos personajes (uno en la realidad, otro en la fantasía) que ameritan nuestro estudio, respeto y aprecio.

“A Drifting Life”, disponible en tomo único (omnibus) de Drawn & Quarterly (en asociación con The Japan Foundation). Más de 800 páginas que pasan volando.

Mi calificación: A+

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Massimo

Largo

Reviewed in Mexico on December 8, 2018

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Es excesivamente largo y algo repetitivo, es un manga donde se cuenta la biografía del autor, tiene muchas partes históricas donde cuenta como era Japón en ciertos espacios del tiempo en los que vivió, algo que me gusto fue todas las referencias cinematográficas que aparecen, pero fuera de eso es un manga algo tedioso de leer, me gusta Yoshihiro Tatsumi, pero creo que este manga no mucho.

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