The Remains of the Day

by Kazuo Ishiguro (石黑一雄)

The Remains of the Day by Kazuo Ishiguro (石黑一雄)

Contents

Re-read at the end of Eastertide, 2023. I enjoyed it and understood it a lot more than when I had read it as a teenager.

First published in 1989.

One idea I thought about early on in this reading was the idea of service/butlerhood as a kind of secular monasticism, in that it is as if he’s taken a vow of stability to a place, of service to one lord, and in the process forsaken all earthly relationships and experiences.

His master, despite his good intentions (and we know where they can lead), is flawed. He set out with noble principles but was tricked and used by foes cleverer than he. Does that mean Stevens’ years of dedicated service were in vain? Has he wasted his life? If he makes the most of the “remains of his day” is he redeemed? I think that the decisions they make early on are defensible. One certainly has sympathy for them, reading Stevens’ account of them. Lord Darlington is upset by the brutality of the Treaty of Versailles and its effect on Germany and on his friend Herr Karl-Heinz Bremann. He has to make a great effort to do his duty as a gentleman and stand up for his German friends, which runs contrary to his natural retiring and conformist personality. Stevens is aware and very troubled by the fact that his father is dying, but he believes he is doing the right thing and what his father would have wanted by doing his duty , waiting on his master and the guests, instead of waiting at his father’s bedside. We know that Stevens’ father is someone who did his duty even when it was deeply humiliating for him. But Ishiguro goes on to take us down the slippery slope that leads to Lord Darlington’s downfall and Stevens' disillusionment.

The sexual tension building up between Stevens and Miss Kenton’s is interesting and well done: the way they have their cocoa together after work, the way they misunderstand each other, the way they deliberately do things to wind each other up (Miss Kenton getting engaged was originally an elaborate way of annoying Stevens, Stevens incessant criticisms of her work after her aunt died seems similar), and of course the moment she catches him reading the sentimental romance novel.

Many similarities with Klara and the Sun (and possibly also An Artist of the Floating World, though this latter is not very fresh in my mind). They both concern a servant, both very polite and devoted to their masters, but they are limited in certain ways, both unreliable narrators to some degree, sometimes awkward and robotic in their dealings with normal people. Both novels are concerned with the pace of change of modernity. Both touch on authoritarian/fascism vs. liberal democracy, or perhaps we could say more masculine vs. feminine modes of society.

Day One — Evening — Salisbury

Day Two — Morning — Salisbury

Day Two — Afternoon — Mortimer’s Pond, Dorset

Day Three — Morning — Taunton, Somerset

Day Three — Evening — Moscombe, near Tavistock, Devon

Interviewer: “I’m really interested about this idea of how you like to take genre and play with it and to try and do something different with each book. This book I suppose would fit in, I suppose you could say, with sort of science fiction, speculative fiction, something like that. But I think, I get the sense, that you’re not a great respecter of genre, or you don’t even really like the idea of genre definitions. You’re more trying to find new ways of exploring consistent themes in your work. Is that a fair assessment?”

 

Ishiguro: “I think that is fair. I don’t really see many boundaries between the genres. Maybe, you know, if you’re a bookseller then you are more conscious of these things ‘cause, you know, you have to put things in shelves. But as a writer I don’t really see these boundaries very much and I take what I need. And I’ve actually been rather passionate, I’ve been a kind of fan of different genres, the kind of worlds they open up to me. And actually, I mean, alright: I have to confess, I mean, it’s also a kind of a ploy on my part, because actually I usually repeat myself quite a lot in my novels. Some novels are just kind of rewrites of the previous book, because I wanted to revisit that same terrain and explore it a little bit more, or slightly differently, or there was something not quite right about the last book and I wanted to do it again. But people don’t really notice this very much because I do it in a different genre or different setting, you know. And people think, oh, he’s moved on, he’s quite brave, he keeps moving on. So it’s a good disguise because people are very literal-minded. And so, yes, it might look like Klara and the Sun is a companion book to Never Let Me Go, and it is in many ways, you know. And there is a relationship between those two books. But the genre that I was really conscious of is the one I told you about. The one of the picture books for young children. That fascinated me, not just because it gave me an idea for a kind of a narrator like that, you know, a non-human narrator, which is very common in those kinds of books. You have teddy bears and soft toys and dolls, you know, and animals, often as your protagonist. But it’s not just at that level. I find those books for children, the illustrations as much as the stories, quite poignant, you know. You can see the wish on the part of adults to shelter the children who will be reading these books from what’s coming up. So the world is presented as this kind of much kinder place. But at the same time you can see a kind of tension there, because you can see that often the adults who’ve created that book don’t want to lie to the children, and they feel a kind of need to drop little hints about, particularly about sadness and death or something dark that might be awaiting them, without really rubbing it in their faces. So you often see this in the drawings and in the stories themselves. So I wanted a lot of that to go into Klara and the Sun, you know. I wanted that spirit. I wanted that kind of small child’s logic. And even visually I wanted the thing to have the atmosphere of those illustrations, you know. Bright sun. The field. And these big sky colours, you know. And Klara to some extent has the understanding and the vision of a young child, who doesn’t understand very much about the world but is learning really fast. That’s how she is at the beginning, and then she starts to change, you know. She learns more.”

Day Four — Afternoon — Little Compton, Cornwall

Day Six—Evening—Weymouth