The Day I Picked Up Dazai - Blog Posts

As a writer, this hits home so much. I love reading the afterwards of the novels so much, because aside from just in general being really interesting, I really love how Asagiri talks about writing and engaging in media.

And yeah, both sides of the Day I Picked Up Dazai hurt.

[Translation] Asagiri Kafka's afterwords for The Day I Picked up Dazai novel

Normally, afterwords would be the last thing I read in a novel, but as there are not many changes to the published novel this time compared to the movie bonus version, I was able to skim through the text quickly and get to this. And to be honest, despite not being a writer myself, I was so moved by Asagiri's views about writing and his characters that he shared in the afterwords, that I had to sit down and translate it right away.

This is just my crappy translation, as usual, but I hope it gave you a short, interesting look into the author and the characters. And please do not forget to buy the novel if you have the chance.

The translation is under the cut, thank you!

It has been a while. This is Asagiri Kafka.

Have you been enjoying Bungou Stray Dogs?

This novel, “The Day I Picked up Dazai”, is a compilation of the first week’s bonus novel “The Day I Picked up Dazai – Side A” and the second week’s bonus novel “The Day I Picked up Dazai – Side B” for the screening of “Bungou Stray Dogs BEAST” movie (hereinafter referred to as “BEAST”).

Normally, it is difficult to publish a bonus like this, but since "BEAST” and “Fifteen” that were published earlier by BEANS Bunko were originally bonus novels too, "The Day I Picked up Dazai” was also published in the same way, thanks to the efforts of all parties involved in the Bungou Stray Dogs series.

It is the story of Dazai and Odasaku’s first meeting, where Dazai who wants to die, collapsed in front of Odasaku’s place, who is neither a mafioso nor a hit man.

Why are there two different stores, Side A and Sode B? Regarding this question, please read the novel and see for yourself. If you keep in mind that this is the bonus for the BEAST movie, I think you will be able to understand it better.

Let me reminisce a little bit here.

This story was actually suggested to me by Igarashi Takuya, Director of the Bungou Stray Dogs anime.

Shortly before BEAST movie premiered, I was struggling. It was because I was asked to write a bonus novel for movie-goers again. I said “again” because, as I mentioned earlier, BEAST itself was a bonus novel for the Bungou Stray Dogs DEAD APPLE movie. I remembered having a hard time writing it, because I let myself run wild and wrote a total of 190 pages instead of 50 pages as requested.

But I had learnt my lesson after the last rampage. I can’t just write whatever I want anymore. I have to wrap the story in a reasonable length, like a pro should do.

A proper, professional story.

Huh?

My pen stopped right there. I stopped, looked around, feeling lost.

What is a proper story?

The act of writing novel is quite different in character compared to other types of media such as writing manga, anime scripts, or game scenarios. You can say it is almost a different thing. Writing novels, rather than narrating an event, is more like putting the flow of emotions into specific sentences. You use the sequence of letters to create rhythms, create flows, and create emotions. If anything, it might be closer to composing a song than writing a story.

Therefore, you have to decide “what kind of emotion will be put in this novel” from the very beginning, or you can’t start writing. That is the only and absolute rule.

Now, however, that is where the condition of a “proper story” hung over me.

A proper novel, of a proper volume, with a proper content for a bonus.

In other words, a proper emotion.

I searched through the drawers inside my head. For a proper emotion that is waiting to be brought out.

There was nothing but emptiness there.

A professional story teller is one with the skill to move the readers’ emotions. When people find the chance to move their own emotions, they will happily be paying for it. Human-being is that kind of creature.

And writers are ones who create and sell those kinds of emotions: the fear, the excitement, the heart throb etc., those that make you think. It is that kind of job.

It is supposed to be that kind of job.

Yet I became unable to move forward.

A good story is a story that moves people. I know that. Then what kind of emotion I should put in the story to make it "proper"?

How do I find that emotion?

I mean, how did I even write novels until now?

I stood still. My legs stiffened, my knees froze, unable to take even a step forward.

I then tried to at least pretend that I was moving forward, by listening to music, by taking a walk around the neighborhood at night. But as good as the night breeze felt, I didn’t manage to reach a single story that I needed to write.

What if I stayed like this forever, what would I do?

I felt a chill plunging into my back.

Then I realized, that stories, or probably emotions too, are not things you can search for or come up with. You have no choice but to patiently wait for it to come your way. You have no choice but to humbly and earnestly sit and wait for the story’s visit.

I got that, but the "proper 50-page story” still refused to come.

It was not long before one week passed. Then two weeks.

I was doing other work, while keeping my heart’s door open, waiting for the story to come to me.

At that time, I had an online meeting with the anime staff. I casually asked Director Igarashi, “Do you have any story you want to see?”

The Director gave it a little thought then told me, "I want to see the story of Dazai and Oda’s encounter”.

At that very moment, the story rushed in through my door, like a bang. I could hear that sound very clearly.

Two stories. Odasaku, and the two Dazais. A story where they met, and a story where they couldn’t meet. A story of gain and a story of loss. If I can portray the gain and loss side by side, the amplitude of the heart will be doubled and rise up in front of us.

That was a momentary event. Rather than pushing my way forward, I felt as if something was pulling my hand. Before I noticed, I have already finished the stories.

I came to realize.

It is not the writer who searches for the story. It is the story that chooses its writer, and at some point it will come our way. A professional writer is no more than someone with the ability to catch that call.

Also, this is the most important thing: there is no such thing as a “proper emotion”. Because after all, the feelings of other people belong to them only. That is why there is no guarantee that a novel can move others “properly”. However, you can move your own emotions. You know what kind of novel can and how it will move you. If you do, you can write just that. That’s the only way. That is the truly professional attitude. That’s what I thought.

Well then.

It is a little bit off topic, but as we are talking about “stories that come our way”, let’s talk about Odasaku’s first-person narrative.

Odasaku is a special character. For me, he is exclusively a novel character, and I have never portrayed him in the manga.

He first appeared as the narrator in “Dazai Osamu and The Dark Era”, then “BEAST” and now this “The Day I Picked up Dazai”. All are novels. That’s why for me, Odasaku doesn’t live inside the pictures, he lives inside the first-person narrative passages.

He is an eccentric guy. Even if you prepare the place and tell him to speak, he won’t speak to you that easily. His way of thinking is rather unique, that if I write his narrative after writing other characters’ first-person narrative, I would stumble for sure. Odasaku doesn’t speak. He just sits there in silence, while I can do nothing but sitting in front of my blank manuscript paper, trying to talk to him, like “What’s up?”, “Here, here”. However, he is a guy who won’t speak when it is not necessary. Sometimes it goes days or even weeks without him saying a word. Why did such a character come to me...?

During such time, there is only one thing I can do. That is, of course, to stay with him, sit patiently, and simply wait.

Finally he will start speaking. In his unique rhythm, word by word. His words have the power to cut through the world from a certain angle. That special cross-section is full of things I have never seen before and it never fails to surprise me.

And then when he finishes telling his story, he will swiftly disappear. To a dark and quiet place somewhere – probably, I can only imagine, somewhere like a bar. He will sit there calmly and keep his own time to himself. After that, it will be hard to call him again. It is a backbreaking task to me, but in the end, that is the type of guy Odasaku is, and if I am allowed to sound self-conscious, that is Odasaku's charm.

This story was written in such a way. There is a chance that he will come back again. And when he does, I will patiently listen to his voice again.

This story was completed and published thanks to the help of many people: in the Bungou Stray Dogs BEAST movie’s Production Committee, the anime staff, Young Ace’s Editorial Department, BEANS Bunko’s Editorial Department, and the many people who were involved in the publication of the book. Thank you very much. It is all thanks to you that the book was published without any problem this time as well.

Well then, see you in the next story.

Asagiri Kafka.

I think Dazai's backstory is really cool in how, despite having more information about it than most other characters, majority of his life is just one giant noodle incident.

Yep, that's the line I'm going with as an introduction to this analysis. Just bear with me.

To start off, for those who don't know, the term "noodle incident" originates from the (amazing) comic Calvin and Hobbes. In it, the whole idea is that Calvin did this unspecified thing in school that involved noodles, but it's never confirmed what exactly happened. It's only referenced in passing, and it is clear that it was not good. Applied to general fiction, the term Noodle Incident refers to an event that is often referenced, but never clearly explained, and what is important is the characters' reactions and feelings towards it. The principle idea behind it is that imagining what said incident could be is way more significant and impactful than anything it would actually be if it was said. It's not the event that's important, but the effects and responses to it are. *for more info, I recommend Overly Sarcastic Productions trope talk video about it*

Now, how this plays into Dazai's life is that, while it is extremely evident that he likely has a horrible, tragic backstory, we never really get to see much of it. The earliest we are introduced to him, he is already suicidal, and he has lost most in hope in existence. These feelings are tempered a bit when he first joins the Port Mafia, but they come back all too quickly. And while you could argue that him being in the Mafia is a large contributor to his depression,the main reasons why he seeks escape clearly transpired before he ever met Mori.

Dazai was already trying to commit suicide at fourteen, which is how he met Mori. Something happened earlier in his life, but we don't know what. Asagiri himself says that he left Dazai's core, the reason he wants to die, vague on purpose. We aren't given many details, and honestly, we aren't given much backstory to it either. The two biggest hints that we get is when he is speaking to Odasaku. First in The Day I Picked Up Dazai, and the second from Dazai and the Dark Era.

We have no idea who or what Dazai is referring to. From all that we have seen, all the backstories and light novels we are given, the only people that we know of whom Dazai actually lost were Ango and Odasaku-for Ango, it was that special friendship, and Odasaku, it was his life. And even so, it isn't much of an explanation, because he was obviously suicidal before he met them, as evident from how he speaks to Odasaku, and losing them wasn't a catalyst for Dazai's depression. (As a matter of fact, it was actually the first step towards improvement, but that's a different analysis).

Yet for how much we don't know about Dazai's life, I think it's done in such a way that it doesn't really matter. It's a noodle incident, in that sense. Because it's not about the events that actually transpired, it's about how that affects Dazai and the way we see him. Don't get me wrong, I would love a full, confirmed backstory, but Asagiri doesn't seem to intend to write it, and that makes Dazai's character so beautiful. It's also one of the reasons why the dark era, especially the light novel, is so tragic. Because yes, you can argue that as far as tragic backstories go, losing two friends isn't near the most awful, especially not in this universe (I'm not trying to play the "which character has more trauma" game, but compared to, for example, growing up in an abusive orphanage, it's relatively not as inherently tragic. That doesn't make it any less horrible though). But the point of the backstory isn't just to explain the reasoning why things ended up the way they did, why Dazai left the Mafia, boo hoo his friend died, but Odasaku and Ango represent everything in Dazai's life, everyone from his past we never got to meet and I'm not sure if we're ever going to. They symbolize all the things in his life that mattered to him, everything he never wanted to lose but did. The last scene in the bar, where the three of them meet up for the last time, Ango leaves, the picture with the three of them laughing and smiling, the whole thing is meant to serve as a microcosm for Dazai's life as a whole. That he feels he's always going to lose everything, and that's why he wants to die. We don't get details, we don't know the specific events, but we're left with the emotions that gives us an important glimpse into this character's mind, more than his life, and that's what makes him such an interesting character that's left open to interpretation and analysis. We aren't privy to the tragedy, but the aftereffects of it. And, almost as if to prove the point, Odasaku dies the next day. Right after Dazai says he always loses everyone, further cementing the idea that there's almost a curse surrounding him, a void of loneliness that may never be fulfilled, which is as much as Odasaku tells him when he dies.

Whatever happened in Dazai's life before fourteen was probably something horrible and tragic. Maybe he had a family. Maybe he had other good friends. Perhaps he even believed in the goodness of life and humanity. But what's really cool about the way he's written is that the exact events are not important nor necessary to understanding his character. His life is one big noodle incident, yet because of that, we're able to glean an almost deeper understanding about him, by leaving the details in the dark and exposing only the raw, humane emotions left behind. The most important part about any backstory in fiction isn't about what actually happened, it's about how does this affect the character now? What lasting impact did it leave on them, and how is it evident in the way they interact with the story in the present? This is something that Asagiri nails on the head when it comes to his backstories. And I think the lack of clear information about Dazai's backstory, yet all the information we do end up getting about him, is one of the reasons why Dazai is such an interesting and intriguing character in the series.

Thank you all for you time. You may now return to your procrastination.

A ramble/analysis about the significance of the bar in The Day I Picked Up Dazai

Ok, so I just reread the day I picked up Dazai, and read side b for the first time, and man do I have many, many thoughts, but one thing in particular struck me, and that is the bar. More specifically, the reason why they go in the first place and why it is significant. (spoilers for the day i picked up dazai side a, obviously)

The first time the bar is mentioned is when Odasaku and Dazai are having a discussion about death and why Dazai desires it. Oda says that "he is a fool for wanting to die" and that anyone is fool for dying before going to "that place." He doesn't specify what it is though, and Dazai thinks he's making it up at first. The way Odasaku speaks about it, it's as if it's some magic place, a place that only some can see the true value of. This intrigues Dazai, because one important thing about him is the fact that he's always searching. Always looking for something interesting, some reason to keep living, some proof that life isn't the boring place he believes it to be.

The second time this place is brought up is when Odasaku and Dazai are in the cell, and Oda is trying to convince Dazai that he should escape with him. He mentions that the place is nearby, and that they should escape and go. Now, Dazai is truly curious about it, and it works. He says, "how long has it been, I wonder? To have somewhere I want to go...I have a feeling that even if there is nothing at that place, it will be fine as it is." He's excited, and looking forward to the place that Odasaku has been, for lack of a better term, hyping up the entire light novel. Even if it may not be so interesting after all, like Oda said it might not be.

Still, when they arrive at the bar, Dazai acts a little disappointed at first. The place Oda took him to was really just a bar after all. Odasaku even admits that he lied, that where could he take him to that he wouldn't already know, and that he was merely teasing him. Dazai is taken aback at first, but in the end, he finds value in the place. They sit for ages, talking about everything and nothing, playing poker, and drinking. And despite being disappointed in the beginning, it ends up being enough for Dazai.

And now, for the actual point of this ted talk, the reason why this is so significant is because to me, the bar represents Dazai's search. He is always looking for something interesting to keep him alive, but the fact of the matter is, there is nothing. Oda says as much to him when he dies; nothing in this world is going to fill the void of loneliness inside of Dazai. But the fact that he took Dazai to something as simple as a bar, a place he said he was a fool for not going, the place that intrigued Dazai so much signifies that Dazai would only find something in a place as simple as a bar. That for all his searching, the answer might just be playing a game of cards and talking to a friend while having a few drinks. Dazai feels so far removed from human connection, but in truth, that is the one thing that could even attempt to fill the void, even if just a little. He will keep searching, keep looking for some external factor that may allow life to interest him, the thing that he would be foolish for dying before seeing, but the answer might just lie in spending the night in a simple bar with a friend.

There's something so interesting about how the ADA is associated with cats the PM is compared to dogs.

How there's Atsushi, who is quite literally a cat (sorry, tiger). How Fukuzawa, the president of the Agency, is obsessed with cats and caring for them.

While characters in the Mafia are dogs. There's Akutagawa, the Rabid Dog of the port mafia. Chuuya, who's loyalty could be considered dogmatic. Who literally wears a choker, or "dog collar."

And then there's the fact that Odasaku constantly compares Dazai to a cat, especially in The Day I Picked Up Dazai. Like a subtle hint that Dazai doesn't belong with the Mafia. As a matter of fact, he hates dogs. He belongs with the Agency, the ones who are associated with cats.

the day i picked up a stray cat