ISBN: 1594971250
ISBN 13: 9781594971259
By: Yoshihiro Tatsumi

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Comics Currently Reading Fiction Graphic Novel Graphic Novels Japan Japanese Manga Short Stories To Read

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


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.

Artur Coelho

Este livro foi uma completa surpresa. Há medida que vou descobrindo o prazer do manga, encontro muita coisa que pouco me diz e algumas obras estilística ou conceptualmente interessantes. Mas até agora nenhuma que quebrasse a imagem que tenho do género como algo fortemente comercial, fragmentado numa míriade de nichos atraentes para grupos de fãs acérrimos. Good-bye, e outras obras deste autor, pertencem a outro género de banda desenhada, de cariz reflexivo e autobiográfico que habitualmente ligamos aos comics independentes e a alguns auteurs europeus.Good-bye reúne pequenas histórias que utilizando os recursos estilísticos do manga nos remetem para reflexões sobre a vida no Japão dos anos 70, abordando a solidão das grandes cidades, o lugar do homem envelhecido e reformado numa sociedade de formigas trabalhadoras, e o impacto cultural da presença de soldados americanos numa nação derrotada, sujeita aos horrores da bomba nuclear e empobrecida pelos longos anos da guerra. Não por acaso, a primeira história desta colectânea amarga leva-nos a Hiroxima e às consequências do bombardeamento atómico.Misturando o individualismo da visão pessoal do autor com o estilo inconfundível do manga, Good-bye é uma surpresa a descobrir, que leva a querer procurar mais obras deste autor ainda desconhecido na europa.

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.

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.

Mattias Appelgren

Straight from the seedy underbelly of Japan. It's dark and gritty and dirty and sometimes kinda disturbing. The character in these stories are often struggling, with themselves, loneliness, disappointment and all the stuff that makes it so oddly fascinating to follow. Life ain't pretty and there's never much of a happy ending either. So all in all, a wonderful read.

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.


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.


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.


I found this book to be extremely difficult to read. A lot of the references to Japanese culture (such as the mushrooms) went sailing over my head. I think it was because of this that I couldn't fully understand and appreciate the complexity of this story. Despite my misunderstanding of some things, I was able to recognize sadness and suffering. I wish I could read this as a Japanese person so that I may understand this book a little better. Regardless, I recomend this book to anyone interested in Japanese culture or the aftermath of the war.


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.


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.


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.


One of the most interesting collections of short stories I've ever read. Each of these selections is a little window into someone's falling-apart life. Much like the films of Todd Solondz, Tatsumi's work is challenging and uncomfortable, but that's what makes it even better.

Orrin Grey

Not really what I was looking for. Yoshihiro Tatsumi came up in my searches for good short horror manga, but he's not really writing horror. More "literary fiction," I guess, much as I may dislike that term. Definitely character dramas, most of them about alienation and post-War Japan and sex and human relationships. Most of them depressing.They're generally pretty good stories, but they were not what I was after this time out.

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