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No Longer Human

I feared people the more I was liked, and the more I was liked the more I feared them a process which eventually compelled me to run way from everybody

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Paradox 'No Longer Human' by Jagoda Kamov

Related Work: "Paradox" Essay

Published by Snow liv., Fall 2024

"Paradox" was deeply influenced by Osamu Dazai's impactful book, "No Longer Human." As an artist, Dazai's work resonated with me from a young age, shaping my perspectives and inspiring my own artistic expression. Growing up, I found solace in Dazai's exploration of complex themes and emotions, which mirrored the challenges and uncertainties I faced in my personal life. This connection prompted me to reflect on and interrogate my own experiences, ultimately leading me to create "Paradox."

In "No Longer Human," Dazai delves into the human psyche and the struggle to reconcile societal expectations with one's true self. The book served as a catalyst for my essay, as I sought to examine these themes through the lens of my own experiences. By intertwining personal anecdotes with philosophical musings, I aimed to capture the essence of human vulnerability and resilience in the face of adversity.

The process of writing "Paradox" allowed me to engage with the profound impact Dazai's work had on my life and to contribute to the ongoing conversation about the human condition.

 

I hope that readers will connect with my essay as I have connected with "No Longer Human," finding inspiration and solace in the shared human experience.

reserche and development

Yozo Oba feels fundamentally alienated from humanity, unable to understand or authentically connect with others. From childhood, he masks his profound isolation behind clowning and humor, desperately trying to blend into a world where he feels he doesn't belong.
 

As he grows older, Yozo's sense of being "disqualified as a human being" deepens. He drifts through destructive relationships, using women as temporary escapes from his existential despair, yet each connection only reinforces his belief that genuine intimacy is impossible for someone like him.
 

His attempts to numb the pain through alcohol and drugs spiral into addiction, while his mental state deteriorates further. After a failed double suicide attempt that leaves his partner dead and him alive, Yozo retreats deeper into isolation and self-destruction.
 

The story unfolds as a series of confessions, revealing a man who sees himself as fundamentally broken—neither fully human nor capable of finding his place in society. Yozo's journey becomes a haunting exploration of alienation, mental illness, and the desperate human need for connection in a world that feels impossible to navigate authentically.
 

Ultimately, "No Longer Human" asks whether someone who feels so disconnected from humanity can ever find redemption, or if some forms of psychological damage render us permanently exiled from the human community.

 

"No Longer Human" has been woven into my existence since high school, when I felt like a solitary figure adrift in a sea of faces. Dazai's masterpiece became my lifeline—the protagonist's struggle with identity and disconnection mirrored my own, offering solace in an incomprehensible world.

Even in London's bustling streets, Dazai's words remained my constant companion, guiding me through self-discovery. Now, adapting his work, I'm drawn to the heart of his narrative—the relentless quest for authenticity in a world determined to erase it.

My adaptation centers on the protagonist's struggle with his sense of self and place in the world. I explore themes of alienation, isolation, and identity against our modern backdrop where digital communication often supplants genuine human connection. Through his experiences, I invite audiences to confront their own existential complexities and ponder authenticity's elusive nature.

I weave elements of absurdity into the narrative, highlighting life's irrational nature while integrating contemporary issues like social media's impact on self-perception. By situating Dazai's timeless themes in a modern context, I connect audiences with the narrative on a deeply personal level.

This adaptation is my journey of self-discovery and understanding—my testament to literature's power to illuminate the darkest corners of the human soul while reminding us of our capacity for resilience and growth.

Panel Talk with japanese Foundation

Panel Talk Guest: 

Dr Irene Haytor

Dr Irena Hayter is Associate Professor of Japanese Studies at the University of Leeds, UK, where she teaches modern Japanese literature, film and cultural history. She is the co-editor of Tenkō: Cultures of Political Conversion in Trans-war Japan (2021).Together with the literary translator James Garza, Irena is currently working on the English edition of Dazai Osamu’s first published collection of short stories, The Final Years (1935).

Jagoda Kamov

Jagoda Kamov, a dynamic theatre director, writer, and actress, embodies a rich heritage blending Italian, Croatian, and Japanese influences, infusing her work with a globally-inspired perspective. Kamov's directing projects explore the complexities of human existence. Notable works include The Dumb Man (2022), delving into escapism, Coco (2021), celebrating friendship and healing, and Puggo's Dream (2019), exploring existential themes. Kamov's contemporary approach integrates dark psychology and surrealism, aiming to make a lasting impact on audiences.

MIURA Motoi

Born in 1973, MIURA graduated from Toho Gakuen College of Drama and Music. Joining Seinendan Theater Company in 1996, he later studied in Paris for two years on a government scholarship. Returning to Japan in 2001, he founded CHITEN and directed premieres of plays by Jon Fosse and David Harrower. Winning awards including the Toga Director Contest, he recreated Chekhov's masterpieces and received the Agency of Cultural Affairs New Director Award for The Cherry Orchard. In 2010, he received the Kyoto Prefecture Culture Award and published his first book on production theory. His notable productions include Philip Glass's opera In the Penal Colony (2008), Elfriede Jelinek’s Kein Licht (2012), and Beltort Brecht's Fatzer (2013).

There will be a brief overview of DAZAI by Dr Irena Hytar, University of Leeds, at the beginning of this session.

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