novelist who emerged at the end of World War II as the literary voice of his time. His dark, wry tone perfectly captured the confusion of postwar Japan, when traditional values were discredited and the younger generation nihilistically rejected all of the past.

Born in northern Japan, the sixth son of a wealthy landowner and politician, Dazai often reverted to his background as material for his fiction. Although the dominant mood of much of his writing was gloom, he was also famed for his humour, which sometimes approached farce. Dazai's first collection of short stories, Bannen (1936; “The Twilight Years”), showed him to be potentially a versatile writer of many styles and topics, but he tended toward the shishōsetsu (“I,” or personal fiction) form, and the persona of the author was thenceforth to be seen in most of his fictional characters. Dazai was deeply concerned with his craft, and his stories were far from being mere confessional documents; nevertheless, his artistry was often obscured by the wide publicity given to his dissipation, a source of continued attraction, especially to youthful readers. Almost alone among Japanese writers, Dazai continued to produce works of real literary merit during the war years (1941–45). Otogi zōshi (1945; “Fairy Tales”), new versions of traditional tales, represented a triumph of his style and wit. Tsugaru (1944; Return to Tsugaru) was a deeply sympathetic memorial to his place of birth. The tone of his postwar works—Shayō (1947; The Setting Sun), Biyon no tsuma (1947; Villon's Wife), and Ningen shikkaku (1948; No Longer Human), all translated by Donald Keene—becomes increasingly despairing, reflecting the emotional crisis of the author. After several unsuccessful attempts earlier in his life, Dazai committed suicide in 1948, leaving uncompleted a novel ominously entitled Goodbye.