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The last chapter of Remains is entitled Weymouth. It begins with Mr. Stevens sitting on a pier, or boardwalk, by the sea, waiting for the evening lights to be turned on. Light and darkness as metaphor for revelation and repression play an important part in the story, and this is a fine example. He then recounts the content of his meeting two days prior with Miss Kenton, which in many ways is the climax of the book. James Phelan, in his book Living To Tell About It, presents a

Although Mr. Stevens spends considerable time reflecting on the past during his journey, he is at times confronted by people from the present who challenge his beliefs. On the afternoon of the second day of the trip, Mr. Stevens has car trouble and encounters a man identified as a servant or batman, who in the course of assisting Mr. Stevens, learns he was employed at Darlington Hall. “Then his voice changed noticeably as he inquired: “You mean you actually used to work for t

Remains has an interesting structure. As I have said, the novel is broken up into a prologue and seven chapters, each one identified by a geographic place and by time. Thus we have Prologue July 1956 Darlington Hall, followed by Day One Evening Salisbury, and so on to the last which is identified as Day Six Evening Weymouth. Each chapter begins and ends with at least a sentence or two in the story’s present—the summer of 1956 (which interestingly is the time of the Suez Canal

What is the plot in Remains? Well, what is plot? “The main events of a play, novel, movie, or similar work, devised and presented by the writer as an interrelated sequence.” But this definition leaves a lot out. Do these events flow from the actions of the characters or are they the work of an external entity, like fate? (or the implied author—heh, heh, heh!) Do the characters themselves transform or do they cope with the confines of living in a plot? Is the plot the work of

In a 1986 Guardian interview, (pre-Remains), Ishiguro writes that he was dissatisfied with his early novels because he judged them as being too much like screenplays with sections of dialogue followed by explanation. During an illness, he read the Combray section of Proust’s In Search of Lost Time, and saw how he could write in a less linear way by following the characters’ memories and thoughts to link together sections. At the risk of all sorts of legal trouble, I’m going t

Last week, I began our discussion of The Remains of the Day by saying that we’d sniffed out another unreliable narrator—Mr. Stevens, the butler of Darlington Hall—who is shown narrating the story of his six-day journey by car to the West of England in 1956. During the trip, he presents a labyrinthine tale of his days so far at Darlington Hall, employed in large part by Lord Darlington, a wealthy man, now deceased, who has been vilified as a traitor to Britain because of his a

This week, a new story, Kazuo Ishiguro’s 1988 The Remains of the Day. (Whiny voice: This week, a new story, Dr. Seuss’s The Cat in the Hat and—ow! Sounds of struggle, a crash. Something seems to strike a microphone, and feedback ensues). ‘Kay. Everyone settle down. I want to apologize—get him! Don’t let him get away!. (indistinct yelling). I first read Remains in 1995 when I was living in Chicago. My wife and I had seen the wonderful 1993 Merchant/Ivory film version starring