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The purpose of this paper is to trace Abe Kobo’s turning point in style and ideas in For the Nameless Night (1948) and to explain the internal process of transforming himself into an avant-garde writer. For the Nameless Night has been generally known as an imitative work of Rainer Maria Rilke’s The Notebooks of Malte Laurids Brigge. However, soon after writing this novel, Abe separated himself from Rilke’s style and sought drastic changes to write “Dendrocacalia”, one of the most famous avant-garde short stories. Abe wrote For the Nameless Night not in the most influenced period, but in the time of change. so we can get a clue to what he was searching in it. To the narrator of For the Nameless Night, writing Dinggedicht (poem of things) just like Rilke was the most important objective. Dinggedicht needs both keen observation and oblivion, so the narrator compared the former to “day”, and the latter to “night.” But devoid of the eyes of Rilke, the narrator was lost for a long time without a single good poem written. One day, he suffered from short-term amnesia and changed his mind. He was led to believed that living in the present is more important than understanding the past. and that this is the true meaning of The Notebooks of Malte Laurids Brigge. He promised himself to be freed from the solitude that Rilke once recommended. This paper discovered a self-declaration feature of this novel and ranked this novel as a forerunner of Abe Kobo’s new writing style era.