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Posted May 11, 2000
This was a very nice book, presenting a uniquely surreal and intriging view of Japanese life pre- and post-WW2. I was deeply troubled by this book, however, as it is far too similar to his previous work in 'The Remains of the Day' and 'A Pale View of the Hills.' Both previous works have a character trying to overcome denial through recounting tales of important espisodes from their past leading up to the second world war. Same with this one. The only major difference is that while the previous works take place in England, this one is set in Japan. If it wasn't for the saving grace of incorporating his cultural heritage so vividly into this book, I would have hated it for being almost EXACTLY like his previous two in character development and plot. On its own, it's an intriguing and deeply satisfying work, and worth reading even if you've read his older books. But please, can we move on to something new, Ishiguro?
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Posted March 19, 2013
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To read the blurb on the back of this novel you'd think this was
To read the blurb on the back of this novel you'd think this was a book about a man coming to terms with his past. And it is. But that's not all it is, nor is it even the main thrust of the novel. Ono is an artist who once employed his talents toward a vision of a stronger Japan. A vision which would eventually lead Japan into WWII. Now, some years after the war, Ono reminisces about his younger days, and while he is able to admit his vision was ultimately wrong for Japan, he is still proud of the will which drove him. Even if his vision was a mistake, he takes pride in standing for, and working toward, a goal he believed in; which is more than most people ever do. Framing this history is the story of Ono's current negotiations to arrange a marriage for his younger daughter, Noriko. Noriko however belongs to the emerging generation which is looking to cast off the old ways of traditional Japan. Caught somewhere in the middle is Ono's elder daughter, Setsuko, who although still acts the subservient daughter, clearly shares her sister's outlook. Ono is a man clinging desperately to outmoded traditions, while the world around him rapidly modernizes. Willfully blind to his own failings, both past and present, he is at once both pathetic and sympathetic. This really isn't a novel about a man coming to terms with his past, but more a novel about a man coming to terms with the future.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.
Posted June 26, 2000
east is east
Ishiguro writes well, and it's curious because I know very few about Japanese people except his electronic goods and cars. From where come all this? I find the personnage of the painter Ono is very acquiescent while he tell us another japanese people killed themselves. For the occidental it seems it hasn't no place for intermediate gestures. Yet it's surprising a plastic artist should play so important place in the preparation of war with propagandistic pictures, draws, etc. I think in Spain, neither Picasso was considered so important about the civil war. Writers, I think are different. Ishiguro says this was so in Japan, but this is the case there was another people as ex- generals and military people affected by a kind of amnesia and directing the new entreprises of the post - war Japan. Curiously, Ono has a moment of doubt after a big success- the Sigheta prize- because inexplicably he doesn't attain to see to Mori- San, his old master in the Floating, ligth world of sake, sweet nigths and women. The author doesn't explain why he does so and after arrtiving by railway he only rests eating some oranges; indeed we are authorized to think Ono at last wasn't no so sure of his merits in getting close to war japanese politics of thirties.
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Posted September 24, 2009
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