Dear Students,

I have recently been blessed with a most incredible experience: James Joyce, Virginia Woolf, and Kazuo Ishiguro recently all attended the 5th View restaurant in Waterstone’s Piccadilly for lunch at the same time as me. Like any other sensible person would, I eavesdropped on the trio. It proved most rewarding indeed. In the beginning they were just exchanging pleasantries, then Joyce turns to Ishiguro and inquires about one of his more popular books, Remains of the Day. Joyce comments how his own book, Dubliners, and Woolf’s Mrs. Dalloway are very similar, to an extent, to each other in writing styles, structures, and messages. However, there were some differences in the way they shared their fiction with the modern world and how they told their stories. When Ishiguro asked Joyce to elaborate, the lunch table became a battle ground, not unlike Mr. Stevens’ parlor or Clarissa’s meeting with Peter in her drawing-room. Every question was a jab, and every answer was a block of a shield. None of the authors relented in their stance, and suddenly it hit me to write down everything they are saying as to aid my young scholars for their paper exams next month. I hope you will read this post with an open mind and absorbed the words of the great writers of literature. I have taken the liberty of skipping their initial pleasantries and instead skipped to the good stuff, starting right when Joyce inquires about Ishiguro’s book.

Enjoy,

Mr. Nigro

Joyce: Kazuo, I am very impressed with how versatile you can be with your writing. To write in a different genre each time is impressive. I was especially intrigued by Remains of the Day. Flipping through the pages felt like a scavenger hunt. I saw hints and symbolisms very close to my own book, Dubliners, and Mrs. Dalloway as well, Virginia.

Ishiguro: Is that so James? Looking at Virginia’s expression, I can see you have grabbed both of our interests. Do you mind elaborating a bit more on this?

Joyce: Why, certainly! You see, all of our books seem to have a theme connected in some way to the culture of a certain period, the confines of it, and how people either struggle to conform to it, or attempt to break free from it. There is also a connection of paralysis within our books. However, mine seem more obvious than you all’s. Don’t you agree Virginia?

Woolf: I do. In my story, Septimius had many instances where he experienced physical paralysis in the wake of his mental illness. The fear and confusion quite often stopped him in his tracks, very similarly to that one character in your book. What was her name again? You know, the young women who could not decide between an old or new prison.

Joyce: My goodness, are you speaking of Eveline? What an incredibly bleak way of describing her. I’m impressed. It’s quite accurate.

Woolf: Yes, yes. That’s the one. I am also realizing now how Kazuo’s book also contains paralysis. It seems that Mr. Stevens experiences mental paralysis. He can’t seem to leave his comfortable prison. He is afraid of showing his true self, so he hides behind his butler demeanor and role. Very similarly to Clarissa, Mr. Stevens, as you so beautifully wrote, felt that he “always [had] to pretend” (154).

Ishiguro: You are exactly right Virginia! Our books do seem similar in that sense, however, even though one of our themes are similar, our intent seems to be from different angles.

Woolf: Is that so? Well, I think it stems from our idea of the purpose of fiction is in this modern world. For instance, I believe that its purpose is to remind people of the different perspectives in life. There is never one side of a story, that is why I used a stream of consciousness narrative in a third person point of view.

Joyce: Very true my dear, however, I used the third person internal monolog for a different reason. I believe the purpose of fiction is to have readers encounter and live through different experiences throughout the story. To yes, get different perspectives not just through their interpretations, but by putting oneself in their shoes for a chapter.

Ishiguro: Both are very admirable goals.

Joyce: Oh, do you not feel the same?

Ishiguro: To an extent I do, but I would say I believe its role is to evoke such strong emotions from readers that it causes a change in their life. I try to do this by diving deep into a character’s story by examining every aspect through a first-person narrative.

Woolf: And how would you say you accomplish your goal using these elements? If you don’t mind me asking?

Joyce: Oh! Please use references to Remains of the Day since it is the book I have read most recently.

Ishiguro:  I don’t mind one bit! My goal was for readers to finish Remains of the Day with a sense of freedom. That a person’s life was their own and should be lived for themselves. I tried to stress this by have the book be told in the point of view of Mr. Stevens, a British butler who only lived to serve his master. Late in his life he realizes that his master had many faults that hurt many people, and Stevens had just devoted a lifetime to that man. I utilized flashbacks as he reflected on his past, and how the decisions made there resulted in his current situation. I used a lot of symbolism to support this theme. For example, I often had characters look at their hands before making major decision or when looking back at their life. Like when Mr. Stevens Sr. was dying, he looked “at his hands as though he were faintly irritated by them” (97). The hands represent the person’s life and the work they did throughout it. Mr. Steven’s father regretted how he spent his life as it was ending. He was not proud of how devotedly he worked and how he pressured that same devotion onto his son.

Woolf: So, you used hands to convey the message to live a better life?

Ishiguro: Not quite. More so to impress the importance of not making your work everything. Miss Kenton did a better job of showing this when on page 215 I wrote, that as Miss Kenton was contemplating leaving her job for the married life “[s]he glanced down a second at her hands, but then almost immediately her gaze returned” to Mr. Stevens. She was really struggling with the decision to leave the profession, especially because she did not want to leave Mr. Stevens, but she knew that if she stayed her life would have been nothing but work and the occasional half-hearted connection. She chose a life more centered around her happiness because she would not get that opportunity again.

Joyce: Ah yes, this scene was a tearjerker. Mr. Stevens just could not seem to look at the bigger picture. He really just looked right through every hint that Miss Kenton gave of her true feelings, or every indication of his master’s faulty ambitions. Almost like something was inhibiting him.

Woolf: Like a cloud? Or a fog?

Ishiguro: More like a shadow. I included that imagery throughout my book as well. I used the distinctions between light and darkness to highlight to readers when Mr. Stevens was realizing something, or completely missing it. For instance, on page 78 I wrote that during a particularly important event he had crossed through the shadowed back corridor and “had [he] not recognized Miss Kenton’s footsteps on the boards as she came towards [him], [he] would have been able to identify her only from her outline”. He then proceeded to comment on an area he believed her to be lacking on. She then blew up at him as he stood dumbfounded. The shadows represent how he could not see the stress she was in over the whole affair. It later shows Miss Kenton moving into the light as he realizes just how pressured she felt. I also put some of this imagery in the scenes where Miss Kenton tries to share deep feelings with Mr. Stevens, but she is shrouded in darkness because he refuses to do the same, loosing the fragile connection he already has with her. That is also why he is gazing at a sunset as he has his epiphany.

Joyce: Well said, well said. That epiphany was a good one. Although, I feel like he’s tied with Gabriel as of now. Virginia, could you pass the milk please?

Woolf: I am sorry James, it seems we have cleaned the tea, milk, and sugar out at our table. Also, I believe Clarissa Dalloway blows both Gabriel and Mr. Steven out of the water.

Joyce: Ah, what a shame. I guess that means we should continue on our journey. I think this conversation was quite fruitful. Now if you don’t mind, shall we make our way back to the Ford to continue our trip up north for the People’s Story Museum liked we planned. I am dying to try their haggis I have heard so much about!