Constant Reader discussion

I just finished this. Whitaker thank you for posting the propaganda posters. I did not enjoy this novel as much as I did his others. It reminded me of The Remains of the Day in that each book deals with the nostalgic memories of retired persons reevaluating their lives from the perspective of age and experience. What struck me was the careful writing and exquisite restraint which I now associate with Ishiguro as it slowly builds to what? It is not really clear. What did it mean to have lived this life is perhaps the intended unanswered question.

Kay, yes, I see what you mean about what he lost. And at the time he made his choice, it meant the loss of his life with his teacher and the other students, the loss of security. I was selling Ono short!

Sheila, I read Pale View of Hills years ago (ran through all the Ishiguro I could find after loving Remains of the Day) -- but can't remember it. Perhaps I must seek it out for a reread...

Mary Ellen

I will avoid reading this thread until I'm deeper into the book (or have finished it, which looks like it won't take long at the current pace). Just wanted to say that I finally found a library copy and look forward to catching up on the discussion. I'm sorry that I couldn't participate when it first began. One of the few times I've taken the initiative to try keeping up with the CR lists, and I couldn't even buy the book at any local book stores!

I'll be looking forward to your comments, Jonathan. This was a fascinating book and I don't think I understood all of the possible levels until I read the discussion here.

I just finished the book this morning; thought I'd post my immediate impressions before going back to read the whole thread, which will probably prompt more posting.

This book cements Ishiguro as one of my favorite modern writers. Much like Remains of the Day, it's a story that seems dry and slow on the surface, yet creeps under your skin and sends your mind reeling when you stop to think about what's really going on.

I love the first-person perspective, and Ishiguro is a master of the technique. Of course his narrators are unreliable. All narrators are unreliable; using a primary character as the narrator just brings that fact into the light. What's different in this book is that Ono admits, multiple times, to being unreliable. He often recounts a conversation from the past and then qualifies it by questioning the accuracy of his memory. It's exactly what a man of his age and doubts should be doing.

One of the themes of the novel is how artistic people over-analyze and often inflate the social impact of their works. It's likely that Ono's imperialist paintings were very influential among his peers. However, the broader relevance to Japan's citizens and decision-makers is highly dubious. Yet Ono is so wracked with guilt over the social damage he may have caused that he can't let go of the idea that he is a truly important, even historic, player in WWII Japan.

The novel is essentially a revisionist diary of an irrelevant retiree with illusions of grandeur. He feigns modesty, as Japanese culture demands, but the story is one account after another of his famous past and the supposed aftershocks of his controversial art. The narrator makes no serious attempt to hide this motivation. The very first memory he recounts is about winning a mansion based entirely on his prestige. Perhaps that memory is truthful, but as the book continues, it seems increasingly likely that his fame and influence are far more limited that he would like to believe. Eventually, he resorts to confiding remorse to friends and family in an attempt to cement his reputation, leaving some of these people confounded as to what he could be apologizing for.

The daughter Setsuko's assertion, late in the book, that some cathartic discussions never took place leads me to believe this may actually be the diary of a man entering a state of dementia. Perhaps he even realizes this on some level, and the story is his attempt to record important memories before they escape him completely.

Very good review, Jonathan.

Thanks, Sherry. A couple of remarks on the excellent discussion that I sadly had to miss when it was current:

Ichiro (the grandson) -- I don't know what his presence means, beyond the culture clash that others have mentioned. Still, I appreciated his presence if only for the comic relief in an otherwise very somber book. His behavior, in trying to act much older than he really is, rings true for boys of that age. I can't explain Ono's guidance except that perhaps he is trying to steer the boy away from his own son's dire fate. Or maybe Ono feels so alienated by his daughters that he seeks a partner against them, even at the cost of the boy's manners.

Posters -- A wise friend of mine says "posters are good art that I can afford". I agree completely and have a couple dozen posters on my apartment walls.

Post-War Japan -- There is a controversial Akira Kurosawa film that deals with some of these issues like old Japan vs. new Japan, the pros and cons of Westernization, and the aftermath of WWII. It's called Rhapsody in August and was one of Kurosawa's last films before he died. I highly recommend it, if you are interested in these topics.

Remains of the Day -- I agree that it is very similar to this book, in tone and structure. There is even some overlap with WWII regret and defensiveness. On the other hand, the setting and characters are so completely different. For me, the two books are equals, yet distinct enough to make reading both very worthwhile.

Ishiguro -- He does not provide any easy answers, and maybe no answers at all. The genius of his writing is that it allows us to enjoy the story while also exposing the meta levels. Nothing about his books is obvious, yet they are much easier to digest and begin pondering than other literature of similar complexity. It sounds like his approach leaves some readers unsatisfied, but I find myself very satisfied by the last page, and increasingly so as I devote further thought to the tale. My only worry as I seek out his other books is that structural patterns will form, due to the narrative style, that will be distracting. However, Never Let Me Go is different enough from the other two I've read, so that gives me hope.

Jonathan,

I enjoyed your review of the book. Even though I read this three months ago, the book has stayed with me. It is a sign that it was a good book. Sometimes I read a book that fades away as soon as I get immersed in another book. Ono is an unforgettable character.

Your review captures this book in a nutshell, Jonathan. Excellent job. I particularly liked the paragraph about his inflated sense of importance, linking it to his perception of the social impact of his work.

I was trying to think of another author that might be similar in viewpoint and technique to Ishiguro. He feels unique to me. Can the rest of you think of anyone?

The short story that we read by Edward P. Jones called The First Day reminded me a little bit if Ishiguro. It was restrained with a lot of hidden meaning in the details.

Frankenstein is the first thing that comes to mind for a first-person book with potentially unreliable narrators. Oh, and Lolita of course. And The Catcher in the Rye, although I'm not a fan of it.

I can think of others with unreliable narrators, but there is a lot more to Ishaguro's unique quality than that. I guess I'm also trying to put a finger on what is so unique. I probably need to read more of his books to get that. I think I've only read The Remains of the Day and this one. Sherry, I agree that "The First Day" had that same undercurrents quality to it.

Jonathan, reading your wonderful review brought me back into the rich, layered world of this novel. Thanks!

I hadn't considered the possibility that Ono was slipping into senility. Interesting. (Almost makes me want to re-read quickly with that in mind. But, so many books....)