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


More bleak vignette goodness set in post-war/pre-boom Japan of the 1960's. On the surface Tatsumi's slices of life are as morbid and sordid as they come but ultimately there is a certain blue-collar precision that he consistently utilizes to portray the depravity of the human condition that is worthy of note (at least) from the safety of the sidelines.


As much as I like Tatsumi's work, this one was so depressing it almost lost it for me. He has a brilliant way of telling a story. however, and uses the settings in a remarkable way. Many of the obsessions in this book, unlike previous volumes, are more overtly sexual. There is also a thread of political commentary in this book that is absent from the others.

Peter Panic

I often watch japanese films and am always taken aback because of the cultural differences shown. Yet, for the japanese comics I have read there is rarely that feel. Then again the few manga's I have read are of more universal theme's of plain fighting stories (i.e Battle Royale). So for me to start reading Tatsumi, I realized that while his output in Japan may have been enormous he was still relatively unknown. His subject matter is always somewhat depressing and topical and definitely not fantastical (which seems to have been the norm), in fact his stories of alienation and abuse and war (which is 40 years old) is more current to our times that it seems that it was written only just yesterday. His style is so normal and fluid that aside from the kenji characters and the Japanese iconography, I don't find it particularly Japanese. Meaning that he shouldn't be lumped in as a Japanese master but lauded as a wonderful storyteller. In fact it makes me wonder why he isn't hailed as a master like Will Eisner has been recently touted as. I can only applaud the efforts of Tomine and hope that there will be more and more volumes put out to keep me entertained in the future.


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.


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.

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!


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.


DO NOT READ THIS BOOK AT WORK OR IN PUBLIC!!!! This book had way more inappropriate scenes than I anticipated. Though a very good story, it took me about three of them to see that they weren't chapters. This makes me feel about a rice crumb better for laughing at some of them. Each is vey quirk with really strong underlying messages. The balance of text to images is perfect because I am 100% sure that the closure in my mind would be rated XXX if there were anymore words or panels. I didn't however like that there was no deliberate connection between the stories, but I'm not sure I would have liked it either. Overall though I did like it. I recommend this book to anyone that is a dirty birdy and enjoys drawn ladies or to curious Tweens that don't have health class. I have suggested books but I feel like they are probably under your older brother'a bed.

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".

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".

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.


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.


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!


An incredible introduction into a Japanese comic master. They call it manga but it seems to fit right in with classics by Will Eisner and the other original comic novelists.Good-bye is a collection of short stories centered around post-war Japan. They mine deeply into the malaise of the nation's people and examine the often sad lives of pre-economic boom Japan. Most have an almost surreal effect, almost like Japanese comic Twilight Zones. They're mostly sad, hopeless and sometimes disturbing. Exactly why I thoroughly enjoy them.


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.

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