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The Remains of the Day


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Stewart 15th December 2005 03:00 PM

 

The Remains of the Day

 

A short monologue (about 250 pages) dictated by Stevens, the Butler of Darlington Hall in the 1950s who, on the recommendation of his new American employer, takes a trip out to the English countryside.

 

Of course, priding himself on his professionalism, he uses the trip for work purposes in the hope of recruiting a former worker back to Darlington Hall after he had convinced himself that, from her letter, she wanted to return.

 

So off he goes and all the while he recalls the major events of Darlington Hall during the 1930s as his employer, Lord Darlington, dabbles in politics and demonstrates Nazi sympathies - a man more influenced by others than someone to aspire to. All the while, of course, Stevens is the consummate professional and his attitude to his master is one of love and respect, a man whom he would obey without question.

 

The prose is sweet. Stevens’ voice is smooth, well constructed, and so utterly natural, and his musings over trying to come to terms with the world via such minor quibbles as perfecting the art of bantering demonstrate a wonderful character. Polite the whole way through his language only falters when it almost seems his emotions are about to better him and tears are ready to gush.

 

Written in the late 1980s this Booker Prize winner from Ishiguro is an interesting look at professionalism and I think, at least to me, it demonstrates how we need to find a balance between achieving our goals and being true to ourselves.

 

 

 

David 15th December 2005 03:10 PM

 

As I have mentioned elsewhere, this is one of my favourite books and a beautifully constructed novel. The skill in the narrative lies in the creation of Stevens' persona, tragically flawed in its emotional reserve, with its wonderful hints of the depths beneath (such as his fondness for romantic novels, poignantly prised from him by Miss Kenton). We see the truth behind his words, yet he does not, and it is that which imbues the book with such frustration and tenderness.

 

I have always been interested by the fact that this subject matter - an old-school butler lost in notions of respect for one's 'betters' and smothered in emotional reserve - was chosen by a writer of Japanese descent. The traditional Japanese culture bears strong parallels with the portrayal of Stevens and must surely have been part of his inspiration.

 

A great book and for once a very worthy Booker winner!

 

 

 

belinda 20th December 2005 09:44 PM

 

Ishiguro was a new writer to me this year. Personally I think he is one of the best writers out there. I can't say there is one novel I admire above all others.

 

What I do know is that I will read and re-read his novels over the years. The only one I felt fell short was 'The Unconsoled' where his touch felt less sure

 

If you have not read the book but only seen the film of 'Remains of the Day' - read the book, the film came nowhere near the pathos and dignity of the book.

 

 

 

Hilary 20th December 2005 11:30 PM

 

Dignity, that is exactly the word... I loved this book but have never read any others. What would you recommend first?

 

 

Stewart 21st December 2005 12:21 AM

 

Ishiguro was a new writer to me this year. Personally I think he is one of the best writers out there.

 

Same here. I've now read The Remains of the Day, An Artist of the Floating World, and Never Let Me Go, and I've been nothing short of impressed and, in the case of my writing, inspired.

 

I now have A Pale View of Hills, The Unconsoled, and When We Were Orphans on my shelf waiting to be read.

 

Dignity, that is exactly the word... I loved this book but have never read any others. What would you recommend first?

 

Since the books are seen as very loose trilogies (so I've learnt) I would suggest, despite never having read it, A Pale View of Hills. It's better, I think, to start at the start and read this amazing author develop over his six books.

 

 

 

minxminnie 16th March 2006 05:53 PM

 

I've just read this book, picked pretty much at random from my TBR pile. I got through it in three days, despite being otherwise very busy - I was hooked from page one.

I found it sad, thought provoking, and very funny - especially when he was trying to learn to banter. I liked the narrative voice - in many ways he made me think of Christopher in "A Curious Incident of the Dog in the Nighttime", with his passionless dissection of normal activities. I found it a bit hard to see what Miss Kenton saw in him!

 

 

 

Mr.InBetween 21st March 2006 12:56 PM

 

What I do know is that I will read and re-read his novels over the years. The only one I felt fell short was 'The Unconsoled' where his touch felt less sure

 

On a literary level it’s a hell of a book, but it is a…bizarre read. The way he captures the randomness and surrealness of dreaming is breathtaking.

But, as like watching the Kurosawa film “Dreams”, there is something unsettling about it.

Definitely worth a read, but not when one is desiring something like much of KI’s other work.

 

 

megustaleer 23rd March 2006 08:11 AM

 

This is another one that I read years ago, but it did leave a greater impression on me than many of the books I've read.

 

Stevens is a wonderfully drawn character, and it is heart-wrenchingly poignant that we can see so clearly the life he is missing by his inability to relate on an emotional level with the people who care about him.

 

What does Miss Kenton see in him? The same as the reader, I guess.

 

I expect she thinks that 'the love of a good woman' would be the making of him, and thinks she could be just the woman. She probably could have been, too, but unsurprisingly, Stevens doesn't catch on until too late.

 

I loved this book, but the only other book by Ishiguru that I have read is 'An Artist Of The Floating World', which I found a little difficult to follow, but well worth the effort.

 

 

 

Starry 23rd March 2006 09:15 AM

 

I thought I had replied to this already, but looks like I haven't. This is another book that instantly leapt into my 10 favourite books list.

 

Stevens has a narrow view on life and I think this is what makes it so compelling as I was constantly trying to see past his words to what was really happening. I don't think I have ever read a book which has so fully described a character, I feel like I know Stevens better than I know my own father and every detail illuminated the whole. The writing is breathtaking and I know I will need to read it again and again.

 

 

 

Grammath 23rd March 2006 01:19 PM

 

I'd like to add my praise for this superb and subtle book and for Ishiguro's body of work - or what I've read of it (this, plus "When We Were Orphans" and in the very dim and distant past "An Artist of the Floating World". The rest are on the TBR mountain).

 

Its a neat literary trick to create a character who simultaneously appears to be in confessional mode and yet the reader learns as much about him through what he doesn't say about himself and his Lordship's activities as what he includes.

 

I've read other books in a similar mould (I'm thinking of "Lolita" and John Lanchester's "The Debt to Pleasure") both fine works in their own right but not in the same league as "The Remains of the Day".

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  • 2 months later...

I've not read Remains of the Day but have read another of Ishiguro's books, 'Never Let Me Go'. There should be a thread on here about it somewhere. It's very different by the sounds of it, but I loved it as it was so well written. I think it's definitely a love-it or hate-it book... see what you think!

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Remains of the Day is the only book I've read by this author. Can anyone recommend another book by him that would be worth reading?

I read 'An Artist Of The Floating World' ages ago and loved it. I also really enjoyed 'Never Let Me Go' as did Lady Lazarus and many of us here on BGO. All three books are very different from each other but equally well written.

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I read this years ago and remember that I was really moved by the beauty of the language - now I cannot remember exactly why, but I kept stopping at the end of a page just to admire the beauty of his style - a MUST read book.

 

The film (although it is amazing, and Hopkins given an excellently underplayed performance, pales in comparison).

 

A beautiful film, but an incredible book.

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  • 4 weeks later...

This was the first novel that I had read by Kazuo Ishiguro, and it has since become one of my favorites. The story, set in the early-to-mid part of the 20th century, centers around the life of Mr. Stevens, a butler in a large English house, and the events that go on over 30 years, as well as his relationships with the Lord of the manor and the housekeeper. The story is told in a series of flashbacks over six days as Stevens is motoring through the English countryside.

 

The narrative is smooth and formal, neither too detailed nor spare, but with a smaller than average amount of dialogue. It is such fascinating writing of a subject that would otherwise be very dull that I think he could make accounting seem exciting. It is told in a first person narrative, but, as the story develops, we are constantly having to remind ourselves that Stevens's view may not be the true opinion of events and how life works.

 

Using the sheltered life of Stevens and the allegory of a butler, Mr. Ishiguro treats us to discussions of tolerance/acceptance of others' opinions, political/social activism vs. passivism, personal relationships, emotional suppression, loneliness, duty, regret, fads, and, yes... love.

 

Clearly, Mr. Ishiguro had a purpose when he wrote this book, and his choice of time, place, and setting make his themes stand out clearly in our minds. We have the luxury to look at the opinions of Stevens and others with the knowledge of how things have eventually turned out, and this makes us look at our own opinions with skepticism as to how the future will play out for us, and it makes us think of what we will do with the remains of our day.

 

As I read this book, I couldn't help but think of Tuesdays With Morrie. The Remains of the Day is everything that Tuesdays with Morrie wasn't: it is intelligent, poignant, well-written, mature, non-preachy, and thought-provoking. I highly recommend it to anyone who hasn't yet read it.

 

I had seen the movie before reading the novel and, while the movie is good, it doesn't begin to scratch the surface of what's in this little novel. Also, the movie shifts the focus of the story a bit and, in at least one case, the meaning.

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The narrative is smooth and formal...

 

With only two exceptions. One, when he tries to rein in his emotions and the other when he drops a split infinitive toward the end that hints that already he may be about to go the same way as his father. Subtle, brilliant.

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It is told in a first person narrative, but, as the story develops, we are constantly having to remind ourselves that Stevens's view may not be the true opinion of events and how life works.

 

That is what I really love about first person perspectives; the main character describing the story can (when written well) have an effect of almost complete infallibility to the reader, even though when you start to piece evidence together logically you can work out the 'unbiased' account.

 

A great review Slow Rain, and you've encouraged me even more to get a hold of this book at first light!

 

Minxminnie: Thanks, Toothbrush is an interesting pseudonym, isn't it ;)

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I had seen the movie before reading the novel and, while the movie is good, it doesn't begin to scratch the surface of what's in this little novel. Also, the movie shifts the focus of the story a bit and, in at least one case, the meaning.

 

I have been watching the daily programmes on Sky Arts from Hay this week (nowhere near as good as actually being there!). There was an interview with the director Sir Richard Eyre the other day, who made the film version of "Notes from a Scandal".

 

He made the point that by definition, a film cannot capture the sense of an unreliable narrator, which both "Notes from a Scandal" and "The Remains of the Day" share, so he had to approach the story in a different way when it was adapted for the screen. The unreliable narrator is something that's unique to books and can't be achieved in another medium.

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There was an interview with the director Sir Richard Eyre the other day, who made the film version of "Notes from a Scandal".

 

He made the point that by definition, a film cannot capture the sense of an unreliable narrator, which both "Notes from a Scandal" and "The Remains of the Day" share, so he had to approach the story in a different way when it was adapted for the screen.

 

This is a very interesting point and I would certainly agree that a film cannot capture the same veiled effect of a narrator in the way in which a novel can. However, I cannot agree with the following comment:

 

The unreliable narrator is something that's unique to books and can't be achieved in another medium.

 

My reason is this film: The Usual Suspects (Bryan Singer)

 

I wont digress into details of this film, but if you watch the Usual Suspects you will understand why I disagree with the above quote. Singer's movie stands out in one way from just about every other film I have ever seen: his brilliant use of 'unreliable narrator' to deliver the story from beginning to end, and while doing so weaving a web of intelligent plot points, and false evidence.

 

Fortunately, if you haven't seen this movie I haven't ruined it for you by telling you about the unreliable narrator. No, the Usual Suspects use of unreliable narrator could not have been more deceitfully achieved in film, and a great achievement it is.

 

However, as I noted earlier, you can not surpass the descriptive freedom which flows so freely in novels, and the unreliable narrator on the page is definitely more beguiling than the one on the big screen.

 

PS My goodness! We both had the same idea at the same moment, Slow Rain. You just posted it before me... :)

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  • 6 months later...

Having just finished reading this, my first Ishiguro, I came here to read previous reviews. Thanks Stewart, David and Slow Rain for your excellend reviews.

 

I cannot add anything, except to say how much joy I got from this book. The pace is delightful, making this reader feel the pace of life that Stevens lived in. Some of the characters shone, despite Stevens viewpoint. I especially loved the people he met in Moscombe, who mistook him for someone he was not and the doctor who did not. Using an unreliable narrator always gives an edge to a book that makes the reader work at the task and for me that means double the pleasure. Ishiguro seems to me to be a master at this.

 

Having read through this thread, I will be trying more of his work. Thanks everyone.

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dammit, where did my post go?

 

What I was saying was, this is one of my favourite books. To me Ishiguro is one of the finest writers in English at the moment, and this book is a distillation of everything that is most important in his work - the sense of life that pulses outside of the story, that seems to come from the way Ishiguro conjures a world separate to the mind of his narrators and outside the words on the page, so that we feel we understand their lives better than they do. And each time, this leads us to contemplation about the human condition, and to his particular themes which seem to be the wonder of life's possibilities and the tragedy of missed opportunities. Love and loss, and never sentimental - no wonder he always makes me cry.

 

Sometimes I wonder which of the current writers will be regarded as classics to future generations. The names that most often come to mind are McEwan, Atwood, Updike, Roth and Ishiguro - and I think Ishiguro is absolutely the best of that group.

 

Of course, I expressed all this much better in the post that vanished after I hit the 'submit reply' button :rolleyes:

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the post that vanished after I hit the 'submit reply' button :rolleyes:

Or did you?

I have been known to spend ages crafting a long and well expressed post, then click on to 'Preview Post' to check it - and, satisfied with my composition, go back to the forum index under the mistaken impression that I had submitted it :o

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  • 1 year later...

I'd never considered reading any Ishiguro before, but a chance purchase from a charity shop based purely on the chapter titles and a vague notion that it had won an award yielded an unexpected treat.

 

I think the reviews earlier in this thread seem to sum up much of what I felt about this novel. The character of Stephens was brilliantly drawn and I loved the sense of his self-importance that came through, perfectly accompanying the first person perspective used. This isn't really the sort of book I'd normally read, but it must have left some kind of lasting impression as I went out and bought 'Never Let Me Go' as soon as I finished it.

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  • 8 months later...

As with the previous posts here I include my admiration and praise for this wonderfully poignant book. The other posts capture the essence and the brilliance of this novel so I won't bother adding anything further except to say that I don't think anyone mentioned some of the subtle humour that was 'hidden' away in the book.

 

One example being a comment Lord Darlington makes to Stevens

"Frenchmen. Really, I mean to say, Stevens, Frenchmen."

 

"Yes, Sir."

 

"And to think we have to be seen by the world to be arm-in-arm with them. One wishes for a good bath at the mere reminder."

 

With due apologies to any people of the French persuasion. :)

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  • 3 years later...

RG has been reading my old copy of Remains of the Day so I thought that I would revive this old thread before he finishes. I am very glad I did as some of the posts made have been great reading and have made me want to re-read the book in the near future. I especially liked the comment made by Calliope stating that we feel as if we understand the lives of the characters better than they do themselves. At times I almost wanted to shout out loud and point out the possibilities being missed (as I saw them obviously) to Stevens.

 

This was a book I loved when I read it a couple of years ago and although my memory is not great these days parts of this novel have stayed with me. I clearly remember some of the events surrounding the arrival of Stevens' Father at the house and Stevens' reaction to them. I found this part of the book really sad to read and as I say although it is some time since I read the book my memories of the descriptions of these events are still very vivid.

 

Having read the previous posts I do not feel that I can really add much to some of the comments made as one or two posts sum the book up well. I look forward to RG finishing and hearing his thoughts. This has been an unusual read for him - BGO has succeded where I have failed!

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Well, RG finished ROTD last night and conclusion is....thoroughly enjoyed it.  As I mentioned in "Currently Reading" yesterday this is a book I probably wouldn't have picked up a couple of months ago, a book I would have established pre-conceptions about without any real basis for doing so, just a perception that it would "not be for me".

 

However, I would venture that this is a beautifully-written book which conveyed the atmosphere of a time and place and way of life wonderfully.  I had previously seen the film with CP and therefore could only visualise Anthony Hopkins as Stevens, curiously though when visualizing Miss Kenton it wasn't Emma Thompson in my mind's eye but Miranda Hart's Chummy from Call The Midwife!!  :dunno:

 

While the book was written by a Japanese author, it is so very English.  The language of the book is very mannered and proper, as Stevens himself, and there is an emotional repression always at its core.  For Stevens it is duty and service above everything else, even when told that his father has just passed away he puts his duty to his employer and the house before going up to see him at rest. As CP mentioned above, there are moments when you want to shout at Stevens when there is clearly a sign of Miss Kenton's interest in him but he simply cannot or will not allow himself to recognise it.  I felt that they were both emotionally repressed, but her less so.  All she needed was some sort of opening but he never gave it.

The poignancy comes twenty years later as they go their separate ways at the bus stop, when she finally lets on about her thoughts of a life with Stevens, and he finally in some small way acknowledges that it has been a life of missed opportunity.

 

I found it quite amusing that a motoring holiday that essentially took him from Oxfordshire to Weymouth was approached as if he were travelling to Australia, or the moon! Even allowing for it being the 1930s he makes it sound at first as if he will be undertaking quite some trip, but then again I guess for him it was.

His efforts to master 'bantering' also bring a smile, as light-hearted repartee is so far outside his comfort zone that he simply cannot understand its qualities.

 

Interesting too that, after Lord Darlington's fall from grace as he basically became thought of as a Nazi sympathiser, there are moments during Stevens' trip when he discreetly seems to try and distance himself from that relationship, although there is always a sense that he longs for that time back again.

 

It is a gentle book, an atmospheric book and a poignant book and I would heartily recommend it, don't expect much to happen but therein lies its charm.  It is a book of beautifully drawn characterization, the reader feels as though they know Stevens better than he knows himself.

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      Nocturnes is a departure for Ishiguro - the form of the novel gives him the space to allow the reader to see under the narrator’s story and spot the threadbare areas, the parts where the story as related doesn’t quite fit. In the short story, Ishiguro has less space and time to develop the narrator. The unembellished, at times starkly plain prose therefore has to be taken on surface value. There are still times in this collection where Ishiguro does manage to convey that the narrator is not what he seems - for example, the egotistical, lazy sponger in Malvern Hills who presents himself as an undiscovered genius. There are hints of it elsewhere - for example, in Crooner, one wonders whether the narrator, Janeck, is paranoid in his conviction that Vittorio the gondolier badmouths him behind his back, and in Malvern Hills, the resentful narrator broods that an old school teacher asked him ‘in lessons exactly the question she sensed I wouldn’t be able to answer’, raising suggestions that he’s blaming her for his own shortcomings. But elsewhere, the enforced brevity of the short story form is an obstacle to Ishiguro working his trademark magic.
       
      Ishiguro’s writing is always a delight to read. His lack of unnecessary adornment means that his prose slips down like nectar. His narrat0rs are always intriguing and compelling, their stories related in informal language peppered with figures of speech like ‘As I say’, ‘Anyway’, ‘I guess’, ‘But here I am’ to make them echo the sprinkling of chatty phrases found in conversation. Because of this, the monologues capture the reader’s attention immediately; there is no sense of being talked at or lectured to. This immediate intimacy is so ubiquitous, however, that the narrators of the five stories sound similar to each other except when the reader is given insights into their personality, as with the would-be musician in Malvern Hills.
       
      The five stories all feature small-time musicians or lovers of music. The music is never the central topic, though - it acts as a backdrop to standard Ishiguro themes of unfulfilled promise or lost opportunities, damaged relationships and melancholic memories. In Crooner, a guitar player from a previously Communist country who now plays in the piazzas of Venice meets an old American musical idol of his mother’s, Tony Gardner. Gardner asks him for a favour. It is only later that we learn what is really going on. In Come Rain or Shine, a successful Londoner invites an old university pal of he and his wife’s to come and stay. The friend, Raymond, who scrapes a living teaching English in Spain, is delighted at this opportunity to visit, holding special memories as he does for the musical tastes he shares with the wife. But the true reason he has been asked quickly becomes apparent. In Malvern Hills, the inconsiderate amateur guitarist mentioned previously comes to stay with his older sister in the cafe she runs with her husband in the Malverns. He meets a Swiss tourist couple (the male of which, Tilo, is depicted beautifully as a generous, jolly soul). The guitarist’s initial dislike of the couple changes when they admire his music, and as facts about the couple are revealed, a poignancy is evoked. Nocturne features another unsuccessful musician. He embarks on plastic surgery to try and save his career and win back his wife and meets the wife of Tony Gardner from Crooner in the hotel where she too is recuperating after cosmetic surgery. Cellists is centred around the relationship between a classically trained cellist and a mentor he meets in Italy.
       
      My main cavil with these stories - and unfortunately it’s an insurmountable problem - is their implausibility. Ishiguro has always toyed with the improbable, and sometimes the reader puts the lack of feasibility down to the unreliability of the narrator. For example, in When We Were Orphans, the narrator returns from England to Japan where his parents disappeared twenty years previously, and tells us that the the powers-that-be pull out all the stops to help him search for his parents, even though neither he nor his parents have ever been particularly significant figures. He even says that resources are diverted from acute, violent ongoing problems to his long dead cause. In Never Let Me Go, the lack of plausibility of clones being raised in order to provide organs was an obstacle for me because it’s a risible idea that this would ever get past an ethics committee, but I told myself it might occur in places with less stringent human rights than the UK.
       
      But in Nocturnes, the implausibilities become a great stumbling block because in the limited space, there is less possibility to develop other strengths of the story. Thus in Crooner, the whole premise of the tale is ludicrous because the reason Tony Gardner gives for his action is just not true (he says he will only have a chance of a come-back if X occurs - yet the reader knows well that this is not the case). The only alternative is that Gardner is being dishonest - in which case the whole pathos of the piece is ruined because he is no longer a man for whom we feel sympathy.
       
      Similarly, in Come Rain or Shine, the whole farce depends on the reader believing the actions related could occur. That they’re preposterous is not the only problem - after all, much of farce is based on the unlikely. The other stumbling block is that surely once Ray has found out what his venal ‘friends’ think of him, he wouldn’t care a jolt about the small spontaneous act of vandalism that causes him to embark on his elaborate cover-up. The wife’s ‘concern’ is obviously a total sham and so Ray shouldn’t care about what she thinks - his act is understandable given what he has found out. It may be that Ishiguro intends the reader to think that the malevolent (and dishonest) husband was the one who wrote and planted the hurtful item that Ray finds, but this wouldn’t work because the wife would quickly find out and explanations would out.
       
      Nocturne uses a similar element of farce, but again, the way it comes about is so contrived as to rob the end scene of any real humour it may hold. A man is caught on stage with his hand up a turkey - but the reason this happens is frankly too unlikely to be plausible.
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