ISBN: 1594971250
ISBN 13: 9781594971259
By: Yoshihiro Tatsumi

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About this book

Tetsú es un macarra de poca monta que vive de su chica. No sabe hacer nada, no tiene ninguna meta, apenas habla siquiera. Un día marchará para no regresar.Mika es una prostituta atormentada por la soledad. Cuando por fin encuentre al hombre que quiera quedarse con ella, tal vez la situación resultante no sea tan satisfactoria como había soñado.Kyoko abandonó a su marido dos años atrás. A su regreso, descubre que ha dejado la casa exactamente igual como la dejó el día de su partida.Yamaguchi y otros hombre de negocios tienen una apuesta en marcha: el que acierte el número de fallecidos en accidente de circulación de la semana siguiente, se lleva el dinero.Pero qué importa el dinero cuando cada accidente es una depedida, cuando cada hola le sigue un adiós. Así funciona y así nos lo retrata Tatsumi en esta magistral antología de historia breves: sin sensiblerías, sin moralejas, con un pulso narrativo casi documental y una sensibilidad capaz de conmover al más pintado.

Reader's Thoughts


A collection of ghost stories without ghosts. The sudden endings, emotional violence and looping miseries leave you lacking in hope. These tales would fit in a viewing of "Requiem for a Dream," if you're looking for a good reference point for their bleak outlook. Tatsumi is not a nihilist. He contends that there is something to being alive, but he does not pretend that something is anything good.


Another great Manga collection by Yoshihiro Tatsumi. His sparse little narratives captures the odd and the strange in post-war Japan. Poetic to a great degree, yet on a high genius level as well. Tezuka is on one side of the coin, and Tatsumi is on the other. Grim, sad, sexual, and very moving all at the same time. But not a downer for some reason. I think because the way he draws and tells the tale is quite magnificent. Even those who are not into Manga, should at the very least dip their toes into the pool of Tatsumi's odd but genius work.

Bruce Reid

The least revelatory of Tatsumi's three American collections, and because of that my least favorite. These short manga, less stories than tracings of sad, stunted lives, are as affecting as ever; but the symbology, often sexual, is rather heavy-handed and the characters offer fewer surprises. There are still several gems and stand-out moments, however, from the oppressive, watery inks that come to dominate the startling Hiroshima story "Hell" to the marvelously unexpected conclusion of the bar hostess's travails in "Life is So Sad".


There is a line that runs through our lives. It is where we would like our lives to go. We straddle it as best we can. Some gifts of birth make it easier, some make it virtually impossible. Then life intervenes. Somewhere along the way most of us fall off that line to the one side or the other--by events we couldn't foresee or the myriad choices we are forced to make. Some stray so far from that line that they forget it may have ever existed. That describes many of the characters in Yoshihiro Tatsumi's GOOD-BYE. A ground-breaking writer/artist who re-imagined what comic books could be in Japan the way western writers did by differentiating Graphic Novels from Comic Books. The writing is sparse, the images seem simple but as they flow one to the next the stifling frustration and angst, desperate grasping for hope beyond their reach....seeps into the reader. It is sad but beautiful in it's honesty. A fine collection of favorite being the first entitled HELL set right after the atomic bombing of Japan but they all are marvelous. There is hope here....but it costs...and it's worth it.

Jigar Brahmbhatt

Short stories as manga. By the time I finished this third book by Tatsumi I had already become a fan. If there ever was an artist who explored the desperation, the ennui, the bitterness, the pervertion of city life in this medium it had to be him. I have encountered no one who is better so far. Not even Osamu Tesuka. There is a Japanese sensibility at work here, the same spirit that haunts a piece by Tanikazi or a dreamscape by Murakami. The artwork in black and white is gorgeous.

Michael Scott

Part of the series on Japanese daily life by TATSUMI Yoshihiro that also includes Push Man and Abandon the Old in Tokyo, Good-Bye is a collection of short stories depicting Japan probably around the 1970s (as shown by the picture of Eisaku Sato, Japanese PM 1964-1972, the haircuts of some of the characters, etc.) The topics included here, although drawn as "gekiga" (realistic drama) so by no means "easy", are the most palatable in the series; the graphics also feel more polished and the stories better constructed.Tatsumi focuses on the lives of working class outcasts, which he depicts in realistic, if slightly edgy and extremely pessimistic, circumstances. The characters seem permanently on the edge of collapse, physical or moral, and usually fall during the first dramatic event. The art is clean, with cartoonish characters but a certain photo quality for the backgrounds."Good-bye", the story that gives the title to this collection, is an accomplished piece. Mary, a self-standing young woman, is the mistress of Joe, one of the Americans stationed in Japan. When Joe is recalled to the US, Mary learns that all his promises have been lies. Confronted with the loss of reputation that a vicious society cannot forget, and with an abusive father who doubles as a thief, she descends into alcoholism. Her father concludes for both: "This is hell. It'll never stop." (In the Q&A chapter at the end of the book, a 2000s-Tatsumi confesses that the story is vaguely autobiographical--he has been witness to dramatic situations involving the Americans stationed at the Itami Airfield, Osaka.)In the other stories this collection, a freelance photographer meets temporary fame when his photo of the Hiroshima remnants captures media attention, then a story twist ruins all ("Hell"). In "Just a Man", a retiring salary man reflects on a life spent working and starts an affair, only to discover he is impotent. In "Sky Burial", the main character seems to be buried in a run-down apartment in Tokyo. In "Rash", an old retired man withdraws from his life of salary man and head of family, and learns to regain control over his body, only to find out he is impotent (the mushroom in the bed seems a metaphor for this). In "The Woman in the Mirror", a boy grows without a father but with three women in the house, caves under the pressure of being expected to start being the head of the family, and becomes a transvestite. In "The Night Falls Again", a lonely salary man becomes entangled in the world of pornography and peep shows, rather than trying to find himself a partner. In "Life is So Sad", a woman waits chaste for her boyfriend and lover-of-one-night to exit prison, but decides to cheat on him the evening prior to his liberation. In "Click Click Click", a man who won at the stock market leads a double-life, as a respected member of the charity organization working with kids and as a skirt-chaser with a fetish for boots. The series also includes aspects that are either typically Japanese (or do not have a real correspondent in European and American post-WW2 life). The women are second-class citizens, and are only depicted as either extreme villains (money-grabbers, cheaters, etc.) or target of abuse (typically, sexual harassment or even rape). "Hell" includes allusions to a repetition of the horrors of war (the cenotaph stone in the Memorial Park includes the label "rest in peace, we will not allow this to happen again", but the story shows just an example of breaking this promise). The gun in front of the Yasukuni Shrine, symbol of Japanese imperialist ambitions, is compared metaphorically with an old and impotent salaryman in "Just a Man".

Spike Gomes

One of my favorite mangaka, who writes and illustrates short bleak vignettes that echo within you long after you finish. The alienation, loneliness and sense of personal and societal failure are the perfect antidote for dispelling all the pretty little lies about humanity that most people embrace in fiction and art. Never has ugliness and shame been so breathtakingly beautiful and sublime. A must-read.


These stories are about loneliness, desperation, war, and other intensely painful realities. They are, at the same time, both beautiful & amazing, and awful, hard to deal with. The art is incredible. The power of Yoshihiro Tatsumi to express the vastness of these painful emotions & realities through his words and art blows my mind. He is not afraid to go real deep and then leave you in the scariest & most uncomfortable part. I don't think I could ever read this book again. One time left a huge impact on my mind!


4 & 1/2 stars. These stories are set in postwar Japan. Tatsumi's style is almost woodcut: stark, heavy, black&white, and bleak. And yet he never looks away, even while the reader at times can hardly bear to look. In "Hell" a nuclear shadow depicts a secret past that is very different from the past it seems at first to represent. And in "Good-Bye" the post-war world, squalid and nightmarishly small, seems to depict a country that has become unmoored, brutally severed from its connections to its own history, unbearable but still without any livable alternative it can embrace.


I LOVED this graphic novel and read it in one day. The books is composed of several vignettes from different people's lives in Japan from after WWII until present day. Each story is pretty depressing and gives readers insight into the underbelly of the poor and middle class throughout Japan.One reoccurring theme throughout the novel is the feeling and physical actuality of impotence. Many of the men in these stories are in their 50's and are forced to retire. They have spent their lives engrossed in their work and now that that is gone they look back at their lackluster lives and have a crisis of identity. Other stories in this novel suggest these men are symbolic of Japan just following WWII under the military and government influence of the US. The novel begins just after the Atomic bomb hit and the last story returns to this era during US occupation.


Being one lonely person surrounded by 130 million contemporaries serves not only to isolate, but to besot with striking similarity amongst each of the persons in question. To be neglected and disenfranchised is what it means to be one of many nameless protagonists in a Yoshihiro Tatsumi story.The Raymond Carver of manga, Tatsumi presents his subjects with unflinching reality (an acceptable form of cruelty). This is not because he hates his characters, but because - in a deeper sense - he communes with them. The surface levels of basic humanity are prised away, and the underlying pain, anguish, and devilish driving forces become what makes each individual somewhat apart from the millions of others.The tedium of loveless relationships, disarray of modern living, and compunction of survival from moment to moment (like a recovering addict, only with mere existence in place of some controlled substance) are not as seclusionist as they seem to those undergoing the psychological struggles at the time. In Japan alone, Tatsumi presents a defining litany of dozens who live the same life. The basic variables may not match point-for-point, but the alienation and subsequent humiliation, dejection, and defeat are all too identical.Welcome to the world of adulthood.Good-Bye presents Tatsumi's work from 1971 through 1972, and the stories themselves have a focus on the working class Japanese, and the struggles to get through a post-World War II devastation and regrouping. During this era, Japan had not presented the world with its frenzied pop-culture artifacts or superior technological advances.One year earlier, in 1970, John Lennon lyricized the phrase "a working class hero is something to be." Tatsumi's collection of stories presents a zeitgeist of this facetious modern-day (and iconic) adage. Whether the characters struggle with adapting to their harrowing situations, or whether they've abandoned their old ways for a life of simplicity, these tales do not stretch the realm of credibility - but expand upon what we would otherwise perceive as the mundane or meaningless or uneventful.Each human life, no matter how small or battered it has become over time, has a deliberate potency as presented in Good-Bye.

Emilia P

the check-out dude at the library was like THIS IS SO AWESOMEand he was basically right. It is really not what I expected seventies Japanese comics to be like - a lot of sad sexual stuff, some noiry historical surprises, much more rounded and sketchy art than I was used to, without being too draggy and self-involved. Not "artsy" but definetly different. Still a Tezuka devotee though!


Each story is engrossing, but problematic. Apologies for that awful, awful grad school euphemism. What I mean is that this man has problems: he writes and draws a good story, but he hates women. His story about a boy who turns to cross dressing because his mother places too much pressure on him to support the family as the "man of the house" stinks of the pre 1972 psych drivel still desperately being touted by the "ex-gay" movement. The first story about Hiroshima, however, was worth the whole collection.

Robert Beveridge

Yoshihro Tatsumi, Good-Bye (Drawn and Quarterly, 2008)With every collection of Yoshihiro Tatsumi stories that Drawn and Quarterly releases, I find myself becoming more and more enamored of the man's work. I wasn't really sure that was possible; after all, D&Q's first Tatsumi collection, The Push Man and Other Stories, made my beat-reads-of-the-year list back a couple of years ago. But, yes, they just keep getting better. Good-Bye, which collects pieces Tatsumi wrote in the early- to mid-seventies, does something I'm not sure I thought was possible where manga is concerned: it shows that it's possible for an artist to come up with overtly political stories in the genre that actually still work as stories. Difficult to do in any artistic medium, and thus all the more impressive when they actually work. (Don't try this at home, kiddies; Tatsumi is a professional's professional, and he makes it look easy, rather like Bukowski does with poetry. He gets a lot of bad imitators, too.) If you're familiar with Tatsumi, you've got some idea of what to expect; the characters here are on the fringes and in the lower classes of society, for the most part, and are being acted on by forces over which they have little, if any, control; there are few positive resolutions in a book written by Tatsumi. Depressing stuff, to be sure, but brilliant in the same way that Mishima's stories are brilliant. The destination is not somewhere you want to be, but the journey is exquisite. Drawn and Quarterly's next Tatsumi project is a nine-hundred-page autobiographical comic; I, for one, can't wait. **** ½


This is the last one I read of the 3 Tatsumi-san's book series published by Drawn and Quarterly: Abandon the Old Tokyo, The Pushman, and this one. Maybe I got the sequence all wrong.I think the recurring theme in these 3 books that stayed with me is feeling of being chained, tied down, caged, repressed. Everybody wants freedom, and the freedom one so covetously eyeing, turned out to be just another cage, another chain, another burden. It rang true a century back, and will certainly continue so until the end.

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