Monday, December 29, 2014

Kazuo Ishiguro, The Art of Fiction No. 196

[ed. One of my favorite authors has a new book coming out in March: The Buried Giant.]

The man who wrote The Remains of the Day in the pitch-perfect voice of an English butler is himself very polite. After greeting me at the door of his home in London’s Golders Green, he immediately offered to make me tea, though to judge from his lack of assurance over the choice in his cupboard he is not a regular four P.M. Assam drinker. When I arrived for our second visit, the tea things were already laid out in the informal den. He patiently began recounting the details of his life, always with an amused tolerance for his younger self, especially the guitar-playing hippie who wrote his college essays using disembodied phrases separated by full stops. “This was encouraged by professors,” he recalled. “Apart from one very conservative lecturer from Africa. But he was very polite. He would say, Mr. Ishiguro, there is a problem about your style. If you reproduced this on the examination, I would have to give you a less-than-satisfactory grade.”

Kazuo Ishiguro was born in Nagasaki in 1954 and moved with his family to the small town of Guildford, in southern England, when he was five. He didn’t return to Japan for twenty-nine years. (His Japanese, he says, is “awful.”) At twenty-seven he published his first novel, A Pale View of Hills (1982), set largely in Nagasaki, to near unanimous praise. His second novel, An Artist of the Floating World (1986), won Britain’s prestigious Whitbread award. And his third, The Remains of the Day (1989), sealed his international fame. It sold more than a million copies in English, won the Booker Prize, and was made into a Merchant Ivory movie starring Anthony Hopkins, with a screenplay by Ruth Prawer Jhabvala. (An earlier script by Harold Pinter, Ishiguro recalls, featured “a lot of game being chopped up on kitchen boards.”) Ishiguro was named an Officer of the Order of the British Empire and, for a while, his portrait hung at 10 Downing Street. Defying consecration, he surprised readers with his next novel, The Unconsoled (1995), more than five hundred pages of what appeared to be stream-of-consciousness. Some baffled critics savaged it; James Wood wrote that “it invents its own category of badness.” But others came passionately to its defense, including Anita Brookner, who overcame her initial doubts to call it “almost certainly a masterpiece.” The author of two more acclaimed novels—When We Were Orphans (2000) and Never Let Me Go (2005)—Ishiguro has also written screenplays and teleplays, and he composes lyrics, most recently for the jazz chanteuse Stacey Kent. Their collaborative CD, Breakfast on the Morning Tram, was a best-selling jazz album in France.

In the pleasant white stucco house where Ishiguro lives with his sixteen-year-old daughter, Naomi, and his wife, Lorna, a former social worker, there are three gleaming electric guitars and a state-of-the-art stereo system. The small office upstairs where Ishiguro writes is custom designed in floor-to-ceiling blond wood with rows of color-coded binders neatly stacked in cubbyholes. Copies of his novels in Polish, Italian, Malaysian, and other languages line one wall. (...)

INTERVIEWER

You had success with your fiction right from the start—but was there any writing from your youth that never got published?

KAZUO ISHIGURO

After university, when I was working with homeless people in west London, I wrote a half-hour radio play and sent it to the BBC. It was rejected but I got an encouraging response. It was kind of in bad taste, but it’s the first piece of juvenilia I wouldn’t mind other people seeing. It was called “Potatoes and Lovers.” When I submitted the manuscript, I spelled potatoes incorrectly, so it said potatos. It was about two young people who work in a fish-and-chips cafĂ©. They are both severely cross-eyed, and they fall in love with each other, but they never acknowledge the fact that they’re cross-eyed. It’s the unspoken thing between them. At the end of the story they decide not to marry, after the narrator has a strange dream where he sees a family coming toward him on the seaside pier. The parents are cross-eyed, the children are cross-eyed, the dog is cross-eyed, and he says, All right, we’re not going to marry.

INTERVIEWER

What possessed you to write that story?

by Susannah Hunnewell, Paris Review | Read more:
Image: Matt Carr/Getty Images