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Don't use plagiarized sources. Sammy, who works on the cash register of a supermarket, is dazed by the appearance of three young girls, dressed in bathing suits. The beginning of narration already reveals the impact that the image of the three girls has on the young boy. Significantly, Updike preserves the ungrammaticalities that Sammy makes in his speech. This technique has the effect of characterizing the narrator as a young, unsophisticated, middle-class boy. He is both surprised and delighted at their appearance and their beauty. His eye is first caught by the chubby girl, wearing a green two-piece bathing suit and then by the brunette girl.

Ultimately however, his focus remains with the third girl, that he calls Queenie. As the name he gives her shows, she is his favorite of the three and, in his view, the most beautiful one. What is significant moreover is the way in which Sammy perceives the girls on the whole. According to his idealized perception, they are mythological or exotic creatures that belong to another world.

He is so struck by their nude appearance and their natural beauty that he feels they are unlike everything else he has seen before. The setting of the story is particularly important in this respect. As Sammy himself emphasizes, the supermarket affords only dull views, unremarkable or ugly people. Thus, when the girls approach with their single purchase, they hesitate between Sammy and one of his colleagues on another register. The fact that the girl wears the straps of her bathing suit down is delightful for Sammy.

Also, when the manager reprimands Queenie and her companions, Sammy sees the pickled herring jar reflected in the blue eyes of the girl. Again, the way in which Sammy observes and describes the situation shows him to be a romantic character, who regards the girls as representatives of an exotic, mythological world. The others do not perceive the girls as Sammy does and are not struck by their aesthetic quality.

Sammy sees the other shoppers for what they are — not individuals, but the components of a system, a mere herd, their personalities limited to the very automatic gestures and directions imposed by the shopping list. In his descriptions, Sammy sets the girls well apart from the ordinary, mechanical and artificial world of the supermarket. Sammy portrays the girls as being in sharp contrast with the common world, which is represented by the materialist preoccupations in the supermarket.

As he stands dazed by the appearance of the girls, he significantly makes a mistake on the register, ringing the same box of crackers twice. For Sammy, the girls are sirens who conquer him with their beauty and who also prove to have a fatal influence over his destiny in the end. He embodies the young, inexperienced youth who becomes infatuated with a beautiful, exotic girl. In the end however, Sammy learns a hard lesson. Against the widely held misconception that all Asian countries fell into the hands of Western powers, Japan established its own empire in East Asia.

Just as the grouping of Japan with British colonies in Asia is historically ungrounded, the link of Ishiguro with postcolonial writers such as Naipaul, Mo, and Rushdie seems feeble. As Bill Ashcroft, Gareth Griffiths, and Helen Tiffin lucidly define, postcolonial literatures from different regions of the world are bound by the fact that "they emerged in their present form out of the experience of colonization and asserted themselves by foregrounding the tension with the imperial power, and by emphasizing their differences from the assumptions of the imperial center. In contrast to writers of Britain's former dominions, Ishiguro does not have memories of a homeland ravaged and exploited by the British Empire.

Britain—the country in which Naipaul bemoans the decadence of a bygone empire, Rushdie ridicules ideological fallacies of the former colonizer, and Mo voices Chinese immigrants' bewilderment on the adopted land—stands for Ishiguro as a location for multiple narrative possibilities.


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Different from Rushdie, Mo, and Naipaul who assert identifiable ideological claims and challenge the specified center of Britain, Ishiguro appears evasive in his approach to imperialism. Instead of revolving around the consequences of decolonization, Ishiguro's narratives foreground the psychological turmoil of civilians whose lives the Second World War has drastically altered and the socio-cultural transmutation the war inevitably has occasioned. Between Britain and Japan, Ishiguro situates himself in a third locale where he examines contrapuntally how Japan and Britain, rivals of World War II, sustain the drastic erosions of traditional values in the face of the postwar dominance of a rising superpower, America.

When depicting Japan or Britain at a historical juncture, Ishiguro opts for an indigene's perspective. Pale portrays a war-ravaged Nagasaki through the disturbing memories of Etsuko, a Japanese widow who survived the atomic bombing but has since sought solace in the rural serenity of England. Etsuko daughter's recent suicide propels her to look back at those turbulent years during the Allied Occupation. Artist unfolds the recollection of a retired artist, Masuji Ono, whose wartime militarist advocacy subjects him to irredeemable shame and guilt; drastic changes in social structure and the prevalence of American influence also invoke in him nostalgia for pre-war Japan.

Remains delineates, from an aging butler's viewpoint, the demise of the British Empire—metaphorically represented through the transfer of ownership of Darlington Hall from an English aristocrat to an American businessman. Stevens, the butler, while lingering in memories of the Hall's bygone splendor, strives to accommodate the American owner's tastes. Set in the dual locations of China and Britain, Orphans captures Britain's political and commercial entanglement with China between wars. From the disjointed remembrance he still retains, Christopher Banks, an English detective, pieces together a picture of disillusionment in which once high-minded individuals like Sir Cecil and Uncle Philips are both villains and victims of their political ambition or religious causes.

When Tamaya and O'Brien examine Remains in the light of post-colonialism, they are actually extrapolating the colonial dialectics of the conqueror and the indigene to the social binary of the master and the servant. Comparing the relation between Lord Darlington and Stevens to that of "the colonizer" and "the colonized," Meera Tamaya contends, "Ishiguro uses that consummately economical and British literary form—the novel of manners—to deconstruct British society and its imperial history" Similarly, Susie O'Brien notes Ishiguro's attempt to challenge "the notion of benevolent paternalism which was invoked to legitimate the deployment of power by the British ruling class, both at home and abroad" What Tamaya and O'Brien perceive to be a postcolonial element may be more aptly characterized as the working class's awakening to its role as accomplice to Britain's global colonization.

Stevens's memories of the two wars and Lord Darlington's involvements in the Nazi organizations contribute to the history viewed from below. The subtle subversion Tamaya and O'Brien discern in a butler's version of history also seem evident in Pale, Artist , and Orphans , which similarly unfold history through fragmented memoirs of civilians whose views of the war are either overlooked or obliterated in official documents. Tamaya and O'Brien, however, identify merely one facet of the imperialism Ishiguro intends to portray. Pale, Artist, and Remains , revolving around the personal losses of three individuals, are noticeably situated in the period of postwar political transition.

With its unequaled military presence and economic capacity, America swiftly replaces older powers such as Britain and Japan and becomes an empire of a new sort. The postcolonial element in Ishiguro's texts differs from that in Naipaul's or Rushdie's writing: it lies less firmly in the former colony's reassertion of its once-deprived agency than in the former empire's recent experience of the loss and humiliation it used to inflict upon others. Stevens's subtle scorn on Farraday's American way of doing things, Ono's vehement resistance to American influences, and Setsuko's avid admiration of American wealth collectively illustrate the indigene's attraction and anguish in the face of an alien dominant force.

But to conclude that Ishiguro purports to disparage America's postwar colonization may risk overlooking other thematic strands he weaves into the narratives. Creating civilian narrators from both the victorious defender Britain and the defeated aggressor Japan, Ishiguro takes a double-edged approach to imperialism: he at he once pities the humiliation former empires endure and ridicules the glaring vulgarity the rising empire exhibits.

Even when addressing the Japanese reaction to American-led Allied Occupation, Ishiguro juxtaposes diversified, if not oppositional, responses from individuals of different generations and genders.

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While the older generations such as Ogata-san and Mrs. In depicting Americans' growing dominance in postwar Britain, Ishiguro allows civilians of diverse socio-cultural backgrounds to voice their responses; though Stevens derides Americans' vulgarity, his compatriots such as Harry Smith heartily welcome their notion of democracy and egalitarianism. Set in prewar China, Orphans captures imperialism in a vaster scale, for more rivaling powers have come into play in the game of dominance. A former empire collapsed after two Opium Wars, China is, during the time of narration, externally besieged by Western forces such as the British opium-traders and Japanese militarist-aggressors, and internally divided among regional warlords.

Ishiguro's narratives neither center on imperialism per se nor condemn any specific imperial entity; what recurrently preoccupies the novelist are the warfare calamities civilians endure.

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In addition to the disquieting memories of loss and regret, each of the aforementioned novels captures the transitional moment in which individuals witness warfare re-shaping the landscape of international politics, turning their homelands into informal colonies of emerging powers. Perhaps the phrase more adequate to characterize Ishiguro's thematic preoccupation is "postwar" rather than "postcolonial," partly because Pale, Artist, Remains, and Orphans attend to the psychological trauma and socio-cultural reconfiguration that the Second World War has occasioned and partly because the phrase "postcolonial"—either as historical marker or ideological adjective—contradicts the fact that former colonizers are ironically undergoing informal colonization.

The fact that Ishiguro moved to England at the age of six encourages a number of critics to ally him with other authors of similar migratory experiences. Bruce King claims to discern an affinity of "new internationalism" in Shiva Naipaul, Salman Rushdie, Buchi Emecheta, Timothy Mo, and Ishiguro, for they write about "their native lands or the immigrant experience from within the mainstream of British literature" Dominic Head defines immigrant writers as the "multicultural personae" in a post-war Britain, citing Ishiguro, Rushdie, Mo, and Naipaul as prominent figures of the set Ma considers Ishiguro "a child of Asian Diaspora" and his writing symptomatic of the novelist's "split personality" and "buried self" Immigrant 40, The label of immigrant writing cannot describe Ishiguro's thematic preoccupations without occasioning considerable debate.

While migratory experience informs Ishiguro of the particularities in Japan and grants him an inside-outsider's or outside-insider's perspective of Britain and Japan, the experience per se never occupies the center stage of his writing. Instead of foregrounding the autobiographical details as immigrant writers often do, Ishiguro weaves strands of personal displacement and nostalgia seamlessly into stories of others' lives instead of his own.

It is understandable why Ma judges Ishiguro as deliberately evading his Anglo-Japanese experience and characterizes the topical evasion as an act of "postethnicity" "Persistent Dream" Yet, Ishiguro does not so much, as Ma contends, bypass his cross-cultural encounters as process them in his address on a grander scale of postwar global dispersion. He depicts Diaspora as a tragedy more communal than individual, a disjunction more historical than geographical, and, most noticeably, a phenomenon more global than regional.

Though each of Ishiguro's novels is set at an interesting juncture of two or more cultural forces, only Etsuko of Pale actually shares his experience as a Japanese immigrant in England. Even in Pale , Etsuko's reminiscences center more on her sorrow in Japan than on a maladjustment in England. She recalls that after moving to England, her elder daughter, Keiko, a child born to her first marriage in Japan, lived in self-inflicted isolation and refused even minimal contact with other family members.

This cross-cultural strand, if further developed, could have turned Pale into a story of immigration. Ishiguro, however, interlaces this particular thread into a narrative of trauma, for he leaves unresolved the question of whether Keiko was traumatized by alienation in England or the bombing-incurred horror.

Ishiguro addresses the issue of immigration indirectly through Etsuko's sparse and fruitless interaction with Niki, a child born in Etsuko's second marriage to a British journalist. The mother-daughter discord, indicative of generation gap and cultural barrier that estrange first-generation immigrants from their children, remains deliberately underdeveloped, for it serves primarily as an outer structure to frame as well as occasion Etsuko's reminiscence of war-ravaged Nagasaki.

Among Ishiguro's published works, two of his earlier short stories "A Sometimes Strange and Sadness" and "A Family Supper" contain elements that may be loosely related to immigrant writing. Michiko of "Sadness," like Etsuko of Pale , is a Japanese immigrant in England haunted by memories of war-devastated Nagasaki. The interaction of Michiko and her Britain-born daughter Yasuko, likewise, parallels that of Etsuko and Niki: the Japanese mother is both culturally and emotionally isolated from her English daughter.

Just as Pale revolves around Etsuko's guilt about negligent motherhood, "Sadness" centers on Michiko's remorse for the death of a close friend during the war. Ishiguro could have correlated Michiko's sorrow with her seclusion in England and developed it as the story's primary thematic concern, but he chooses to foreground the haunting incident of the Nagasaki bombing in Michiko's reminisces. The unnamed narrator of "Supper," a male Japanese who left for the States after the war, returns to Japan to reunite with his remaining family members. Rather, "Supper" gyrates around the father's preparation of fugu, a poisonous fish caught off the Pacific shores of Japan, for the family supper.

The detailed description of fugu, assumed suicide of the narrator's mother, and business failure of the narrator's father alarm the reader to the possibility that the bereaved family, out of grief and despair, may attempt to kill themselves by consuming the poisonous fish. A subtext to the major storyline, the narrator's expatriate experience in America serves to de-familiarize Japanese quotidian practices: from the returned native's perspective, fugu eating assumes the exoticness of ritualistic death.

The migratory experiences of both stories, however, remain peripheral to the core narratives about war-shattered Japan. The contrived obscurity Ishiguro exercises on "Sadness" and "Supper" continuously operates in his treatment of immigrant experience. Departing from immigrant writers' common practice of capitalizing on their or their parents' first-hand encounters of value clashes in an adopted land, Ishiguro creates narrators of markedly diverse backgrounds.

Etsuko in Pale , a Japanese widow, lingers in the guilt of her neglect and the horror of a traumatic past.


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  • An aging artist, Masuji Ono in Artist regrets his wartime complicity in militarism. In Remains , Stevens serves in Darlington Hall as a butler who witnesses, with ineffable shame and regret, the fall of his former master. In The Unconsoled , Ryder, a celebrated English musician, arrives in a European town for a presumably monumental occasion but fails to complete any mission expected of him.

    An accomplished detective from England, Christopher Banks in Orphans returns to China searching for his missing parents. None of these fictional characters bear any immediately recognizable resemblance to Ishiguro himself or either of his parents. The narrators of Naipaul's, Mo's, or Rushdie's stories, on the contrary, encourage immediate association with their authors.

    The first-person writer-narrator in The Enigma of Arrival presents a semi-autobiographical account of Naipaul's journey from Trinidad to England. The Chen family in Sweet Sour resembles Mo's in their readjustment to the Chinese community in London; Lily Chen's mastery in boxing noticeably parallels Mo's experience as a professional boxer in real life.

    The detail that Saleem Sinai, the narrator of Midnight's Children , was born on August 15, at once reflects Rushdie's ancestry and addresses the challenge of constructing an Indian history in the wake of colonialism. While Naipaul, Mo, and Rushdie portray human sufferings as a process engendered from the alteration of locations—the motherland and the adopted land—Ishiguro depicts them as an outcome originated from a disjuncture of moments—the Second World War and the postwar period. Haunted by memories of loss and guilt, Ishiguro's characters are more temporally incarcerated than spatially dispersed, for they can neither secure a firm foothold in the capricious present nor flee from the catastrophic past they dread remembering.

    As Norman Pages remarks, Stevens parallels Etsuko and Ono in their discursive styles, for Ishiguro is remarkably dexterous in "transferring to an English context a mode of communication and behavior that resembles the Japanese in its use of highly formal surface to cover tensions, concealments and self-deception" Whether he sets a story in Japan the motherland, Britain the adopted land, or a third locale, Ishiguro navigates it with equally admirable poise.

    At the intersection of two or multiple cultures, he construes a discursive site that at once enables individuals to reflect upon their personal losses and corrals societies into ideological contention so as to expose their respective fallacies. Each poignant story of wartime recollection, intermittently, is lightened up and hence complicated by the author's subtle subversion; he inserts astute remarks to ridicule the complacency of rivaling societies.

    His cultural mockery operates in tactical intricacy. Rather than the marginal figures of adopted societies, Ishiguro's narrators are often natives on the home front. Artist attends to Ono's apprehension that American influences—in the forms of Popeye the Sailorman and the Lone Ranger—have undermined Japanese traditions of communal harmony and the junior's reverence to the elder. Remains delineates, from Stevens the English butler's perspective, how Britain has swiftly succumbed to America's economic and political supremacy; the butler strives to accommodate the peculiar demands of his American employer, in particular his ungentlemanly propensity for "bantering.

    To study Ishiguro's writing in the discourse of immigrant or Diaspora literature, one must bear in mind that, although the novelist disperses his trans-cultural experiences into the individual lives of his narrators, his link with each narrator derives from the impressionistic melancholy of nostalgia and bereavement they endure instead of the realistic correspondence of the actual and fictional events he and they encounter. One also needs to attend to the textual detail that Ishiguro's narrators reminisce about their poignant pasts in their home countries rather than endure the challenging existence in a foreign land.

    These narrators are ensnared in a particular segment of time and thus unable to move on with their lives. The sense of estrangement Ishiguro addresses is deep-seated within rather than inflicted upon from without, for the war has so drastically altered the social structure and personal lives that individuals feel just as much menaced at home as they would abroad. What Ishiguro recurrently tackles is the sense of alienation a native involuntarily undergoes in the postwar era, so it will probably be more truthful to name Ishiguro's writing as Literature of "Inverted Diaspora" or "Immigrant at Home.

    In addition to a postcolonial or immigrant writer, Ishiguro is sometimes characterized as an ethnic Japanese author writing in English. A considerable number of critics link the novelist's understated narrative with the Japanese self-suppressive rhetoric, identifying in his novels noticeable signifiers of Japan. Valerie Purton claims that ". On Artist and Remains , Peter J. Mallet also remarks: "Ishiguro's gradual revelation of his characters is.

    Many others subscribe to this association of Japanese aesthetics with Ishiguro's poetics. Bruce King writes: "[Ishiguro's] instincts are for the nuanced, the understated, elegant but significant gesture, similar to the deft brushwork of Japanese painting" Stanley Kauffmann compares Ishiguro's unique style to Japanese painting, for it conveys "taciturnity, the subtle brush strokes, the aim to evoke form rather than to create it" Rebecca Walkowitz discerns "the assertive Japaneseness" in the suicide in Artist and considers Keiko's suicide in Pale "the preeminent signifier of Japanese culture" The aforementioned critics presume that the rhetoric of prevarication Ishiguro deploys is tightly correlated, if not completely innate, to Japanese discursive patterns.

    But Purton, Mallet, King, Kauffmann, and Walkowitz infer their respective conclusions primarily from Ishiguro's earlier novels Pale, Artist, and Remains and possibly project their impressions of the first two novels onto the third one. The fact that Ishiguro is an ethnic Japanese writing in English and that Pale and Artist are set in Japan and narrated by Japanese figures indeed encourages immediate association of his narrative style with an intricate rhetoric distinctive of Japanese.

    Discursive restraint, however, is not a feature exclusively Japanese, for the British, too, hold a reputation of reticence. Widely hailed as a very English story, Remains defies the postulation that Ishiguro's writing exudes a distinctively Japanese aura. If Stevens, as book teasers and literary critics thus depict him, exemplifies the quintessential English butler, then his rhetoric in Remains should echo the oratory of the British aristocracy he emulates rather than a discursive style inherent to Ishiguro's Japanese ancestry.

    The conflation of Ishiguro's racial identity and aesthetic approach may very well derive from the image of the Oriental other with which Ishiguro established himself in the early s. This indelible impression continues to determine how his subsequent novels are promoted and received. Ishiguro's Japanese origin proves an appealing marketing tactic that publishers and editors, most possibly with the novelist's coy consent, avidly adopt when promoting his writing. Granta 's brief authorial biography for "The Summer after the War" concludes with a hint of the novelist's exotic eccentricity: "Ishiguro lives in London, where he sleeps during the day, and eats enormous quantities of food at night.

    He is of samurai descent" The novelist is intentionally portrayed as one whose biological clock permanently stays in the time zone of Japan and whose samurai ancestry remains essential to his authorship. One, stylized by Andrzej Klimowski, depicts a segment of female face with the right eye staring upward at a flame-like object, half-reminiscing and half-entranced. The other edition, designed by Pentrgram, reproduces a woodblock print, portrays a scene of visitors looking from the harbor over a hill an immediately discernable Mount Fuji. The First Vintage International edition of Artist adorns the black cover with a partial image of an Asian woman vaguely drawn in the upper right-hand corner, a quasi-Chinese Zodiac or Ying-yang symbol fixed at the center, and some Orient-motif ornamental patterns scattered here and there.

    Though arranged by different publishers and for various editions of Pale and Artist , these cover designs unanimously capitalize on Ishiguro's exoticness so as to pique the Western readers' curiosity for stories written in a language they understand, about an Oriental world they cannot quite fathom. Such a presupposition does engender remarkably perceptive parallels between Ishiguro's writing and Japanese aesthetics in rhetoric, cinema, and painting.

    But reviewers of the ethnicity-oriented approach may have overlooked the artistic growth the novelist underwent prior to the publication of his Japanese novels Pale and Artist. Published in the early s, "Strange and Sometimes Sadness," "The Summer after the War" , and "October, " evince that Ishiguro has crafted his art to attain the maturity of his distinctive rhetoric—a style occasionally attributed to the influence of Japanese mannerism.

    A Japanese woman residing in England, Michiko of "Sadness" recalls that during the war in Nagasaki, her friend, Yasuko, and she worked waited for a better future. Yet, the atomic bombing killed Yasuko and devastated the city. Michiko, now settled in England, is still haunted by the losses of those for whom she cared and the shattering of dreams she once held dear. The storyline of "Sadness" reads, in hindsight, like a finger practice of Pale : both delineate what the atomic bombing has devastated and how the memory of this calamity continues to afflict the survivors.

    The psychological delineation of "Sadness" is straightforward and lucid: Michiko acknowledges her remorse for arguing harshly with Yasuko before the bomb killed her. Pale , on the contrary, recounts a far more convoluted past of Etsuko, who is at once preoccupied by wartime losses and ashamed of her negligent motherhood. Unfolding a guilt-ridden past through numerous digressions, Etsuko perturbs the reader with a final revelation implying that she might very well be the indiscreet woman, Sachiko and Keiko the psychologically abused child, Mariko.

    In addition to "Sadness," "The Summer after War" and "October, " elucidate the process through which Ishiguro gradually attains his mastery of story telling. The two stories were later incorporated into Artist , which retains not only the exact names of most characters such as Ono, Ichiro, Sintaro, Kuroda, and Mrs.

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    Kawakami but also their roles, relationship and personalities. Ichiro, the narrator of "Summer," recalls a possibly orphaned childhood at his grandfather's house, where he witnesses that his grandfather, once an influential artist, is shun by his former students. When strolling in the pleasure district he used to frequent, Sensei, the narrator of "October," recalls the pinnacle of his career and the honor pupils once took in being associated with him.

    Together, "Summer" and "October" constitute the core configuration of Artist , in which Ono, a grandfather-artist, finds himself disorientated in the postwar collapse of traditional values and the rebellion of younger generations. The short story begins with Ichiro's curiosity about the abrupt closure of his grandfather's artistic career.

    Though Ichiro repeatedly inquires about the absence of his grandfather's paintings, no definite answer is ever given. The family secrecy eventually unfolds itself when Ichiro overhears his grandfather's conversation with a former pupil. This student asks the retired artist for a letter of disassociation, stating that the two of them often disagree upon wartime issues.

    Similar to Artist , "Summer" addresses in a postwar context the role of an artist in politics. Yet, "Summer" does not reveal the retired artist's remorse through digressions and circumlocutions; from Ichiro's innocent perspective and childlike language, the younger generation's bewilderment and misery are disclosed in a linear and uninhibited fashion.

    In the pleasure district, the retired artist recalls the influence he once exerted in his circle and the flattery his pupils used to heap on him. The entanglement of honor, conceit, guilt, and shame Ono of Artist suffers does not surface in "October," in which Sensei is chiefly portrayed as an old man nostalgic for his prewar glory.

    Also noticeably missing in "October" is the discursive inconsistency Ono of Artist adopts when relating a past of which he is simultaneously proud and ashamed. Juxtaposed with Pale and Artist , the linear and straightforward composition of "Sadness," "Summer," and "October" challenges the assumption that prevarication is intrinsic to the Japanese discourse and illustrate that Ishiguro has markedly developed his narrative tactics, convoluted storylines, and sophisticated characterization as his writing evolved from an earlier apprenticeship of sketchy accounts to his present mastery of fully developed stories.

    The delineations of Nagasaki and Hiroshima in Pale and Artist indicate that Ishiguro does not intend to portray a realistic Japan but to install the country as the historical backdrop of atomic bombings. In Pale , broad strokes of the brush render an impressionistic picture of a post-war Nagasaki. Unfolding her past in a small suburb area outside of the city, Etsuko recalls: "My husband and I lived in an area to the east of the city, a short tram journey from the centre of town" and from the window of her apartment, she could see "a pale outline of hills visible against the clouds" 11, The description of the city appears just as hazy as the outline of the hills—visible only partially from afar.

    In her reminiscence of the ineffable past in postwar Nagasaki, exact names of streets or places are rarely given. Even when a place is specified, scenery details do not always follow. Of her excursion to Inasa with Sachiko and Mariko, Etsuko recalls: "Noises from the harbour followed us across the water—the clang of hammers, the whine of machinery, the occasional deep sound from a ship's horn. In Artist , Japan is captured through signs familiar to Westerners but never intended as an accurate representation.

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    Similar to Pale , Artist is set in a metaphorical Japan with minimal regional particularities. Hiroshima, the city where Ono lives, remains unidentified throughout the novel: whenever referring to where he lives, Ono simply says "the city. Kawakami is called "Mrs. Just as Ishiguro minimizes geographical specifics, he seldom uses the Japanese language in his stories.

    Characterization in John Updike’s A&P Essay

    The scarcity of Japanese terms, except for the names of fictional characters and several geographical locations, further evinces that Ishiguro utilizes Japan more for its symbolic presence than for its actual locality. One cannot help but wonder whether Ishiguro avoids any Japanese phrases, even when they seem most needed, out of consciousness of his childish Japanese. The thematic concerns, backdrop depictions, and sparse usage of Japanese in earlier short stories, Pale , and Artist suggest that while recognizable signifiers of Japan accentuate Ishiguro's origin and subsequently help authenticate his literary constructs of the atomic bombings in Nagasaki and Hiroshima, the novelist retains a detached affection for his homeland.

    Disciplined preoccupation similarly operates in various stages of his career. First and mostly known as an ethnic Japanese novelist, Ishiguro has indeed benefited from the ready association chiefly in the Western world of his racial otherness with Oriental exoticism. But Ishiguro's Japanese stories and novels, when examined in the context of subsequent writing, constitute solely a segment of his literary creation. They stand for an earlier phase of a versatile authorship from which Ishiguro has ventured into the terrain of more diversified settings and more universal concerns.

    Ishiguro's subsequent publications of Remains , Unconsoled , and Orphans defy the assumption that he writes in a delicately circuitous style somehow inherent to his race or that his Japanese origin has determined the historical and geographical parameter of his topic interest. The label of ethnic Japanese writer, if once successfully in launching Ishiguro in Britain's competitive literary arena, can now confine the novelist's writing style and thematic preoccupations to a margin of racial otherness.

    While ethnic Japanese , as a marker, specifies Ishiguro's ancestry, it elides the diversity of his settings, characterizations, topical interests, and sometimes, worse yet, misleadingly attributes the discursive tactics he has developed and polished to the rhetorical mode of Japan the novelist is believed to have inherited. In various interviews, Ishiguro confesses that he retains mere fragmented memories of Japan, and that he is far more immersed in the Western literary tradition than in Japanese cultural conventions.

    When interviewed by Vorda, Ishiguro describes himself as one "who is racially Japanese and looks very Japanese" but whose "Japaneseness" has somewhat vanished after years of residence in England 4. In a conversation with Gregory Mason, the novelist also candidly admits that his Japanese is like "a five-year-old's Japanese" To Dylan Otto Krider, Ishiguro discloses his apprehension of being perceived as "a kind of Japanese foreign correspondent in residence in London" because he fears that his knowledge of Japan is actually very limited The novelist's acknowledgements, however, do not always correspond to the nature of his literary activities.

    In his introduction to a reprint of Yasunari Kawabata's Snow Country and Thousand Cranes , Ishiguro instructs the Western readers about the cultural context of Japan and familiarizes them with Japanese literary conventions. His introduction exhibits such an insider's expertise that one cannot help but wonder if Ishiguro is being unduly modest when proclaiming that he knows very little about Japan.


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    • Juxtaposed with his words in aforementioned interviews, Ishiguro's deeds in prefacing Kawabata's novel and reissuing Early Japanese stories convey inconsistent messages. For those who associate Ishiguro's poetics with Japanese aesthetics, both acts signify the author's reassertion of his Japanese origin. Yet, those who consider Japanese themes elements with which Ishiguro experimented would prefer to view his foreword to Snow as a courtesy extended to a compatriot and the publication of Early as a finale to that phase.

      While the actual intention of these two activities remains contestable, it is certain that they exemplify the elusiveness of Ishiguro's authorship. Ishiguro's ancestry operates like a game he or more precisely, he and his publishers constantly plays with the reader: he first courts readers with his Oriental exoticness, then entertains them with stories in England, Europe and China, and occasionally lures them back to the myths of his homeland.

      Disregarding the equivocation Ishiguro's words and deeds sometimes convey, a number of critics suggest Ishiguro be defined by his thematic concerns and discursive modes instead of his Japanese origin. These critics attend to the significant impact Western literary traditions have made on the novelist and the topical interests he shares with other contemporary writers in Britain.

      Ishiguro indeed echoes many contemporary novelists in voicing concerns with warfare atrocities, in particular the calamitous consequences of the Second World War. In her survey of current British novels about history, A.