Written by Satō Haruo, first published in Bungei Zasshi (‘Literary Magazine’) Year 1 Issue 4, 1st April 1936. Translated by Laurie Raye.

Original Text: https://www.aozora.gr.jp/cards/001763/files/58593_64940.html

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About a year ago I discovered what at first glance appeared to be a typical fairy-tale style story published in the magazine Aoi Hana, however within it was contained an underlying structure of no coarse composition, one through which, like the wind, there subtly and keenly drifted a sense of reality accompanied by an understanding of the divided self inherent in modern individuals and an introspection on mental weakness. Although I can’t recall the title now, the fact that the author was Dazai Osamu left a strong impression on me. 

When I saw this same author’s name in Bungei magazine, I read it immediately. The piece consisted of three collected short stories which had an exceptionally clever and somewhat metallic quality to them – in contrast to the previous story which had a literary style that unravelled like a ball of yarn. Although it is hard for me to describe, there was a profound and remarkably realistic aspect which resonated with what I had read before and, while the outward style and structure had changed, I was inclined to agree that it was in fact the work of the same author. 

At the time I was writing reviews for Bungei Shunju magazine and wanted to compose a few words on this writer and his work, however I had concerns because his style still contained certain unrefined elements and aligned a little too closely with my own tastes. Even so, I reckoned that if it were truly a rose then it would no doubt bloom in due time, and once that time came I would not hesitate to offer my support, so ultimately my inclination was to silently watch and wait. Sure enough, when “The Flowers of Buffoonery” was subsequently released I knew in my heart that I had been right about him! I was delighted. 

During that time I had become acquainted with Yamagishi Gaishi and had learned of a few delicate matters concerning Dazai’s character from him, so I expressed my impressions to the author of ‘The Flowers of Buffoonery’ by means of a private letter. Dazai was already on the road to recovery at that time, yet still remained hospitalised, and so he replied to me saying that I should pay him a visit once he had been discharged. A short while later we met up in person, accompanied by Yamagishi. 

I recommended Dazai as a candidate for the Akutagawa Prize, but ultimately he only made it to the preliminary round and did not win the award. The public withheld their recognition of Dazai’s abundant talent, though for the most part they were not satisfied with Dazai’s lack of maturity as an individual. Moreover, I myself felt a kind of artistic kinship in Dazai’s collected works, but he had yet to attain sufficient understanding from people other than myself. There was some kind of potential that as yet lay dormant within his work, and since this was a reasonable point to consider, I also couldn’t help but reluctantly agree with the public opinion. And so, through Dazai’s own efforts, I hope that a day will come to pass where Dazai’s work will be instinctively understood by a great many people.

From reading his work I already had that feeling, and visiting him further deepened the sense of artistic kinship. He has the kind of romantic spirit of a selfish, good-for-nothing wastrel, but more than that, he has let this seep deep down into the very marrow of his being. The uninhibited yet fragile self flows out of control, and it is the lot in life of this particular variety of man to continually contemplate himself until his self-awareness becomes intertwined with his bones. In his case, in addition to that he had gone as far as to become addicted to opiates, so I thought it was imperative that we first treated his illness. I consulted a physician (who also happened to be my little brother) and was advised to try some modern treatments for his addiction. I expect this new treatment to have already been successful. 

However, it is his innate disposition that is more troubling than the addiction, and this is without a doubt what is causing such distress, particularly to himself but also to the people around him. And yet, because this is an important element that shapes his art, must we not endure this slight inconvenience and practice tolerance? After all, we should endeavour to encourage him to hone his abilities. His talent is fully deserving of our patience because it is thoroughly worthy of our respect. Taking advantage of this opportunity, I would like to pray for Dazai’s continued self-improvement and at the same time I hope those around him also keep clarity in the way they treat him.

Signed, one who understands him as a kindred artistic spirit.