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Ishiguro, Kazuo

A Pale View of Hills

This is the story of Etsuko, a Japanese woman now living alone in England, dwelling on the recent suicide of her daughter. Retreating into the past, she finds herself reliving one particular hot summer in Nagasaki, when she and her friends struggled to rebuild their lives after the war. But then as she recalls her strange friendship with Sachiko -- a wealthy woman reduced to vagrancy -- the memories take on a disturbing cast.

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An Artist of the Floating World

In An Artist of the Floating World, Kazuo Ishiguro offers readers of the English language an authentic look at postwar Japan, "a floating world" of changing cultural behaviors, shifting societal patterns and troubling questions. Ishiguro, who was born in Nagasaki in 1954 but moved to England in 1960, writes the story of Masuji Ono, a bohemian artist and purveyor of the night life who became a propagandist for Japanese imperialism during the war. But the war is over. Japan lost, Ono's wife and son have been killed, and many young people blame the imperialists for leading the country to disaster. What's left for Ono?

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Never Let Me Go

As a child, Kathy – now thirty-one years old – lived at Hailsham, a private school in the scenic English countryside where the children were sheltered from the outside world, brought up to believe that they were special and that their well-being was crucial not only for themselves but for the society they would eventually enter. Kathy had long ago put this idyllic past behind her, but when two of her Hailsham friends come back into her life, she stops resisting the pull of memory.

And so, as her friendship with Ruth is rekindled, and as the feelings that long ago fueled her adolescent crush on Tommy begin to deepen into love, Kathy recalls their years at Hailsham. She describes happy scenes of boys and girls growing up together, unperturbed – even comforted – by their isolation. But she describes other scenes as well: of discord and misunderstanding that hint at a dark secret behind Hailsham’s nurturing facade. With the dawning clarity of hindsight, the three friends are compelled to face the truth about their childhood–and about their lives now.

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Nocturnes: Five Stories of Music and Nightfall

In this sublime story cycle, Kazuo Ishiguro explores love, music and the passage of time. This quintet ranges from Italian piazzas to the Malvern Hills, a London flat to the “hush-hush floor” of an exclusive Hollywood hotel. Along the way we meet young dreamers, cafĂ© musicians and faded stars, all at some moment of reckoning. 

Gentle, intimate and witty, Nocturnes is underscored by a haunting theme: the struggle to restoke life’s romance, even as relationships flounder and youthful hopes recede.

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The Remains of the Day

In 1956, Stevens, a long-serving butler at Darlington Hall, decides to take a motoring trip through the West Country. The six-day excursion becomes a journey into the past of Stevens and England, a past that takes in fascism, two world wars and an unrealised love between the butler and his housekeeper. Ishiguro’s dazzling novel is a sad and humorous love story, a meditation on the condition of modern man, and an elegy for England at a time of acute change.

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The Unconsoled

The setting is a Central European city where a renowned pianist has come to give the most important performance of his life. Instead, he finds himself diverted by a series of cryptic and infuriating errands that nevertheless provide him with vital clues to his own past. In The Unconsoled, Kazuo Ishiguro creates a work that is itself a virtuoso performance, deeply strange, hauntingly familiar, and resonant with humanity and wit.

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When We Were Orphans

Christopher Banks, the protagonist of Kazuo Ishiguro's fifth novel, When We Were Orphans, has dedicated his life to detective work but behind his successes lies one unsolved mystery: the disappearance of his parents when he was a small boy living in the International Settlement in Shanghai. Moving between England and China in the inter-war period, the book, encompassing the turbulence and political anxieties of the time and the crumbling certainties of a Britain deeply involved in the opium trade in the East, centres on Banks's idealistic need to make sense of the world through the small victories of detection and his need to understand finally what happened to his mother and father.
This new novel, however, is the deliberate antithesis of the classic English detective story--the hermetic country-house worlds of Agatha Christie, the classic "locked room" puzzles in which order and sanity is restored at the story's end. Ishiguro mimics the functional style and clipped speech patterns of the genre, ironising its reliance on melodrama and stereotype, while developing a narrative of subtlety, great emotional depth, and political and cultural acuity: what we get is a negative image of classic detective fiction, in which the solved crimes are mentioned in passing and the real mystery is played out in the psychology of the detective himself. The act of detection, Ishiguro suggests, is one we all perform on our own past, struggling to marshal clues and evidence whilst trying to construct the story of ourselves; the one mystery Banks seems unable to solve is his own.

If Ishiguro's concerns as a writer remain broadly the same as in previous novels such as his Booker Prize-winning The Remains of the Day—the complexities, instability and elusiveness of memory, dramatised through a first-person narrator—this new book shows how flexible and powerful the form has become for him. Banks' quest is both deeply personal and resonantly emblematic of us all:

...for those like us, our fate is to face the world as orphans, chasing through long years the shadows of vanished parents. There is nothing for it but to try and see through our missions to the end, as best we can, for until we do so, we will be permitted no calm.

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