Bibliography
Kazuo Ishiguro (born
November 8,
1954) is a British author who was born in
He won the Whitbread Prize in
1986
for his novel An
Artist of the Floating World, and he won the Booker Prize in 1989
for his
novel, The
Remains of the Day.
His other novels include A
Pale View of Hills, The
Unconsoled, and When
We Were Orphans.
The literary characteristics
of
Ishiguro's work are almost unique in the accepted canon of English
literature
and technique. This is largely due to the mixed chronology of the plot,
to the
extreme subjectivity of the narration, and to the delicate and
historically-accurate descriptions that accompany the narration. These
characteristics are radically disconnected from conventional literary
wisdom,
which suggests that brief descriptions, linear chronology and objective
narration characterises the most successful English writing.
Kazuo Ishiguro's novels are,
by
definition, historical works. His novel The Remains of the Day takes
place
within a large country home of an aristocratic lord, during the period
immediately after the First World War and to the final period before the
outbreak of hostilities in 1939. The quality of the research is
superlative;
not only are dates and events recorded accurately, but the psychological
atmosphere is represented with skill rarely approached in historical
fiction. Another
novel An Artist of the Floating World is set in
The novels are written in
first
person perspective, and Ishiguro permits his choice of narrator to
carry all
the bias common to human beings. Often his characters refuse to face
realities
to which the reader is made aware by the behaviour if not the thoughts
of the
individual character. For example, in The Remains of the Day, Stephens -
a butler
- struggles to reconcile himself between the call of duty, and to the
allure of
romance. In the process of writing, Ishiguro makes full use of real
historical
people on the stage of his narration. Thus in The Remains of the Day
Lord
Darlington appears as the hero's employer, but in a historical sense,
he was an
actual figure of prominence in
His novels end with a
paradox. The
issues his characters confront are buried in the past, and the problems
those
issues have caused cannot be resolved. Thus Ishiguro ends many of his
novels
with an atmosphere of depressing resignation, whereby the characters
accept
what has happened, and who they have become, and find in that
realisation a
relief from mental anguish.
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