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Baccano! 
Or: the art of living forever.  

 

Cici Zhang

9/11/23

 
 
 
 

Editor's note: Spoilers for Baccano!

Author’s note: previously published in The Isis, Carnival issue, Trinity 2023.

Trigger warnings: references to blood/gore depicted in media.

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When Ryohgo Narita was asked to give a name to his series of light novels (which would later be called Baccano!), he raised an eyebrow. Years of experience meant nothing to an author who just wanted to have a bit of fun: just name it something nonsensical. The implicit humor: it is not as if the story itself makes any sense.

 

His later series Durarara!! sees the same enthusiasm for nonsensical names­. Speculation persists: perhaps the onomatopoeia in durarara resembles the revving of a motorcycle engine—or is it a deliberate punning on Dullahan, the headless rider around whom the stories evolve? No matter. Nonsense, after all, is nonsense. And Narita delights in excess.

 

The term light novel is a wasei-eigo: an English term coined in the Japanese language. Though contemporary light novels are often published in volumes, they are sometimes serialized monthly within anthology journals. It would be best to compare such a medium to the fiction columns of a Western pulp magazine. Though light novels primarily target high school and middle school students, readership is widespread—these stories are whetted and polished to capture a mainstream audience. The publishing schedule is tight. During a successful year, authors could be asked to produce one novel per month. The process calls to mind how installments of Dickens were originally published in serials. Tropes of damsels and villains are turned on their heads; every chapter is sure to end on a cliffhanger if only to bring an inexorably curious reader back for more. Light novels lack the esteem of published paperbacks and the full visual artistry of manga, but the medium is influential precisely because it allows for the wildest, wackiest narratives to sell.

 

Into this turbulent industry, Baccano! is born.

 

The term baccano brings to mind bacchanal, tracing its etymology back to the Latin bacchanalia, and to Bacchus, the Greek god of wine and intoxication. Bacchanal has inhabited various definitions since its coinage. Associated originally with dances, songs, and festivals in honour of Bacchus, it went on to mean an act of indulging in alcohol, of riotous drinking, roistering; an occasion of drunken revelry; an orgy. The idea of a ruckus—a row, a brawl, a riot, an occasion of commotion—encapsulates the soul of Narita’s novels. His characters are not crafted to deliver philosophical insight or offer eloquent, meaningful monologues. They are crafted to make noise.

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Baccano! depicts a New York drawn from the movies. The air is honeyed with jazz; the streets flood with girls donning pearls and peacock feathers and skinny, black-strapped dresses, and men who carry Glocks and pocketknives. This is a world filled with innocence and decadence, with farce and tragedy. An alchemist tempts Fate by calling the devil. A homunculus spars—or dances—with a mobster. A boy with a tattooed cheek and a girl with scarred arms rob some cargo and find a family. A solipsistic cutthroat falls in love with an assassin. A young girl trawls the waters of the Hudson River in search of an undead brother. Three mafioso families prepare for war as the local tabloid savours a potential story.

 

Keeping company with the characters of Baccano! is like sitting in a restaurant with a hundred tables and trying to listen to every single conversation at once. Making conversation would mean having to shout over the din of everyone else’s voices. Every character has a story to tell, and they couldn’t care less about whether their voices overlap.

 

In the animated adaptation of Baccano!, director Takahiro Omori plays with storytelling with this same vivid fluidity. In the spirit of Nolan’s Memento or Singer’s The Usual Suspects, the non-linear timeline leaves us dizzy until we relent beneath its momentum. Previously separate narratives converge as satisfyingly as they do in Tarantino’s Pulp Fiction—and a similar aesthetic exploitation of graphic violence gives the anime a gruesome, volatile beauty that twists your stomach as it turns your head. Omori concocts a heady cocktail of spilled blood and severed fingers that would make Martin Scorsese or Brian de Palma proud, transforming the savage atmospheric setting from page to screen without losing its marvelous intricacy.

 

Indeed, in Narita’s novels, the setting is almost a character in itself. Durarara!! creates a similar effect. Ikebukuro, a district neighbourhood in Tokyo, becomes the epicentre of terror and rapture as the characters’ lives collide. The colours of the characters’ headspaces are mapped onto the cityscape that surrounds them. The faces of strangers are blurred, vending machines and streetlamps are uprooted, a yellowish sunset bleeds across blue skies like egg-yolk seeping from a broken bowl. Durarara!! captures the claustrophobic familiarity of a metropolitan neighborhood where you cannot move without elbowing those around you, where a thousand voices scream into the void of an internet chatroom, and where a single action drastically changes the lives of those who stumble into your vicinity. As the characters learn to navigate the urban panorama around them, they are bound to one another by the obscenity of their mutual terrain, drawn into a tangled knot of love and resentment by an inescapable sense of place.

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The Baccano! novels harness a polyphony of voices. Its enormous cast of characters gives way to a diverse myriad of stories and backstories, of plots and subplots. Reality is splintered, fragments of narrative tossed to the skies like a handful of confetti. We observe how the chronicles knot a paradoxical ouroboros of narrative threads, creating a space wherein stories can go on forever. In this ruckus, every character has a story to tell. Everybody has a place to spit their words into the golden cup.

 

In Baccano!’s anime adaptation, Omori creates a frame narrative. The separate storylines are being knotted and unravelled by Gustav St. Germain, vice president of the tabloid Daily Days, and his assistant, Carol. As the pair try to make sense of the local fiasco, they observe the events across multiple temporalities as if from an omnipotent perspective. Their positions as journalists mirrors our positions as viewers. Stories are buried within other stories, observed through different eyes and reimagined by different minds, to create a cycle where past and present feed from each other. Even as the present action takes place, it is being retold. The actions that unfurl are being reenacted on multiple planes of existence, caught between memory and immediacy, between reality and imagination. This off-kilter sense of unreality questions the relationship between action and observer. Despite immersed in the verisimilitude of the conflict, we become hyper-aware of how the conflict is being fictionalized as we speak.

 

Narita wants to entertain. He wants to give us a good story. Baccano! celebrates the power of fiction as the stories become aware of the marvel and glamor they carry. The stories themselves are eager to be told.

At the centre of Baccano! are an eccentric pair of thieves, Isaac and Miria. He is a loud-mouthed, burly young man with too many boisterous ideas, and she a slender, wide-eyed girl whose laughter can wake an entire city. They laugh over the most ludicrous of self-made jokes. They sob over the most trivial of sorrows they see. Every sentence that comes out of their mouths emerges with an exclamation mark. They are senseless, heedless, deluded, inane. They are audacious, carefree, and outrageously compassionate. They are always accepting, always companionable—their cuffs stained with blood, their hair musky with gun-smoke, their arms opened wide to pull you into their mad, insatiable world. They dress in Halloween costumes to rob a bank. They steal watches in an attempt to steal time, steal chocolate in an attempt to starve children, and steal a museum’s front door in an attempt to stop anyone from entering. They are walking hazards to society, and they manage, somehow, to make everyone around them preposterously happy. They are brimming, overflowing with impudence, seething with commotion.

 

They are so stupid. They were so busy laughing with each other that they didn’t notice neither of them had aged past twenty until they were eighty years old. For over a hundred years, they had no idea that they were going to live forever, because the idea of their own mortality never crossed their minds. William Blake said it best when he penned “The Fly”:

 

So I am a happy fly,

Whilst I live, and until I die.

 

If an awareness of mortality brings us one step closer to death, then Miria and Isaac are more alive than the rest of us could ever be. Baccano! encapsulates Blake’s wistfulness beneath its rough, bloodied surface. Our summer’s play—to dance, and drink and sing, ’til some blind hand should brush my wing—is as vulnerable as it is wonderful. To be happy flies until we die, to be unaware of one’s mortality is to live forever.

 

It is satisfying that the central theme of Baccano! is immortality. Narita’s characters are not only able to heal from bullet-wounds and eviscerated stomachs—they are also able to live again and again in the ruthless animations of our minds. They live on the threshold of a reader’s consciousness. The root of immortality is not only an elixir concocted out of man’s whim and a demon’s callousness. Immortality is an orchestra, a raw, raging chorus of characters who want to project their voices, their stories, as loudly as they can.

Narita’s spirit seduces us into the ludicrous, the absurd. We love his nonsensical stories. We lose ourselves in the mosaics of narrative, in the flavours of fiction until all colour and melody blurs together. We must drink and laugh and be stupid. This is our cabaret, our bacchanal. We must exult in the nonsensical, the carnivalesque, the fever of life.

 

Living and reliving the stories of Baccano! always recalls the wisdom of Miria and Isaac, for no pair of fools have ever enthused me more. I want to dance, too. I want to feel the hot blood thrumming beneath my skin, to open up a vein and trust that it will invariably heal. I want to laugh so much, to be so stupid that I forget I was never meant to live forever.

 

So get out there and make some noise. Make the biggest, loudest ruckus possible.

 

How else do you plan on living forever?

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