{"id":175952,"date":"2026-11-01T10:00:10","date_gmt":"2026-11-01T15:00:10","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=175952"},"modified":"2026-11-02T12:16:08","modified_gmt":"2026-11-02T17:16:08","slug":"kazuo-ishiguros-worst-book","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2026\/11\/01\/kazuo-ishiguros-worst-book\/","title":{"rendered":"Kazuo Ishiguro, Unlocked: The Butler as Metaphor"},"content":{"rendered":"
\"\"

Kazuo Ishiguro in 2017. Photograph by Frankie Fouganthin, courtesy of Wikimedia Commons.<\/p><\/div>\n

Each week,\u00a0<\/em>The Paris Review unlocks stories, poems, and interviews from our archive for our readers. <\/em>This week, we\u2019ve unlocked Kazuo Ishiguro\u2019s Art of Fiction<\/a> interview, selected from the archive by Angie Sijun Lou, whose story \u201cBubble<\/a>\u201d appears in our recent Fall issue.<\/em><\/p>\n

The first book I tried to read by Kazuo Ishiguro was The Remains of the Day<\/em>. I was disturbed by how convincingly Ishiguro adopts the voice of a midcentury English butler: politely deferential, with tediously long descriptions of his pleasant, unremarkable days. Stevens\u2019s curated inner life made him feel like a mirage of a person.<\/p>\n

Years later, a friend lent me his copy of The Unconsoled<\/em>, a five-hundred-page anxiety dream about a pianist, Ryder, who travels to a quasi-mystical town to play a career-defining concert only to be stymied by a web of endless errands. Ryder is asked to mediate feuds between people he barely knows and gets lost every time he leaves his hotel, perpetually failing to rehearse for his recital as he navigates an elusive and shifting schedule of appointments. Many critics panned the book as among the worst they\u2019d ever read, but I was obsessed with its sense of refusal. \u201cIt\u2019s never my intention to be willfully obscure,\u201d Ishiguro tells Susannah Hunnewell in his Art of Fiction<\/a> interview. \u201cThe novel was as clear as I could make it.\u201d<\/p>\n

What I couldn\u2019t stand in The Remains of the Day<\/em> was exactly what I loved about The Unconsoled<\/em>: too often a writer creates a character who is a tepid translation of themselves, but Kazuo Ishiguro inhabits his characters as if there were no true Kazuo Ishiguro to be known. It comes as no surprise, reading the interview, that he has lived several lives. After he failed to become a musician, he hitchhiked up the Pacific Coast Highway and train-hopped from Washington to Montana, living on a dollar a day. He has worked as a baby-food packager and a grouse beater for the Queen Mother, a job in which he marched through the moorlands at Balmoral Castle, flushing birds from the heather to be shot.<\/p>\n

His work shifts chameleonically across genre, time, and space. Klara and the Sun<\/em> takes place in an undefined future, and The Buried Giant<\/em> in post-Arthurian Britain. His settings might be elastic, but his characters fall prey to the same flimsy and enduring fiction: that we have agency over our fates. \u201cIn so many of your novels, the main character seems tragically to miss his or her chance at love by seconds,\u201d Hunnewell says. \u201cI don\u2019t know if they miss it by seconds,\u201d Ishiguro responds. \u201cIn a way they\u2019ve missed it by miles.\u201d<\/p>\n

\u2014Angie Sijun Lou<\/em><\/div>\n

INTERVIEW
\n<\/small>The Art of Fiction No. 196<\/strong><\/span><\/a>
\nKazuo Ishiguro<\/em><\/span><\/p>\n

\n

INTERVIEWER<\/p>\n

How did the English setting come about for The Remains of the Day<\/em>?<\/p>\n

ISHIGURO<\/p>\n

It started with a joke that my wife made. There was a journalist coming to interview me for my first novel. And my wife said, Wouldn\u2019t it be funny if this person came in to ask you these serious, solemn questions about your novel and you pretended that you were my butler? We thought this was a very amusing idea. From then on I became obsessed with the butler as a metaphor.<\/p>\n

From issue no. 184 (Spring 2008)<\/p>\n<\/blockquote>\n

 <\/p>\n

Sign up for the\u00a0Redux<\/a> newsletter to receive these pieces in your inbox every Sunday morning.<\/em><\/p>\n

Angie Sijun Lou\u2019s stories have appeared in <\/em>BOMB,<\/em> ZYZZYVA,<\/em> Joyland, and\u200a <\/em>Fence. She is at work on a novel.\u00a0<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cKazuo Ishiguro inhabits his characters as if there were no true Kazuo Ishiguro to be known.\u201d<\/p>\n","protected":false},"author":2720,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[31006],"tags":[68952,67827,68922,10759,31384,5572,68974],"class_list":["post-175952","post","type-post","status-publish","format-standard","hentry","category-redux","tag-angie-sijun-lou","tag-featured","tag-issue-257","tag-kazuo-ishiguro","tag-redux","tag-the-remains-of-the-day","tag-the-unconsoled"],"acf":[],"yoast_head":"\nKazuo Ishiguro\u2019s Art of Fiction, Unlocked<\/title>\n<meta name=\"description\" content=\"Kazuo Ishiguro\u2019s Art of Fiction interview, selected from the archive by Angie Sijun Lou, whose story \u201cBubble\u201d appears in our Fall issue.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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