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Ishiguro

The Three Musketeers

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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!

Joyce

Crossroads

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James Joyce made a statement to publisher Grant Richards, connecting his book of short stories, titled Dubliners, to paralysis. One of the short stories, “Eveline”, perfectly represents Joyce’s point. This is because within “Eveline”, both mental and physical paralysis occurs. Eveline experiences the mental paralysis of being torn between duty and desire. She also experiences metal paralysis when she cannot decide whether leaving her hard and familiar life for a new, unknown one is worth it. Eveline experiences physical paralysis when she cannot bear to leave her childhood home. Another example is when she seems physically frozen on the dock between her home and a boat bound for a faraway place.

Eveline has a strong sense of responsibility to her family. She provides for them as a mother, housekeeper, and source of income. On page 28 Eveline remarks that, “Strange that it should come that very night to remind her of the promise to her mother, her promise to keep the home together as long as she could” (Joyce, “Eveline”). Eveline grew up surrounded by her family, they are all she has ever known. She takes care of them in the absence of her mother. She feels a certain obligation and responsibility to take care of them because of her promise. She thinks that if she leaves, she is breaking her last promise with her mother. However, on page 28, Eveline also said that “She must escape! Frank would save her. He would give her life, perhaps love too. But she wanted to live. Why should she be unhappy? She had a right to happiness” (Joyce, “Eveline”).  Eveline desires nothing more than to leave her current life behind. She wants to escape from her father and the possibility of living out her mother’s life. She wants to discover something more for her life. Eveline is stuck between these two strong emotions. She can’t decide which is the right way to go, to live out her duty or pursue her desires. The equal pull of both prevents her from moving forward with her life.

A second crossroads that paralyzes Eveline from making the decision to go or stay, was the choice between a difficult life she always knew, or a new life full of good and bad possibilities. Her yearning to stay in illustrated on page 25, which says,

“She looked round the room, reviewing all its familiar objects which she had dusted once a week for so many years … Perhaps she would never see again those familiar objects from which she had never dreamed of being divided” (Joyce, “Eveline”).

She explains that her life is extremely difficult in many ways: they have little money, she is the caretaker over two young children, and her father is abusive. However, she has found a way to survive despite her unpleasant circumstances. It may not be perfect, but it is something she knows she could handle. Frank wants her to follow him back to Buenos Ayres. A distant place in a country she has never been to. To live out a life she has never experienced before. She believes that leaving would give her a chance at a better life, but nothing is guaranteed. Eveline is caught between the known and unknown. She can’t decide whether it is worth it for her to leave her old life behind for the possibility of a better one.

Most of the story takes place within Eveline’s house and her memories that emerge there. Even though she and Frank have a boat to catch that afternoon, she lingers in her house, reliving the memories of her childhood. It is almost like she is stalling and does not want to leave. On page 28, Eveline remarks,

“Her time was running out but she continued to sit by the window, leaning her head out against the window curtain, inhaling the odour of dusty cretonne. Down far in the avenue she could hear a street organ playing … she remembered the last night of her mother’s illness; she was again in the close dark room at the other side of the hall and outside she heard a melancholy air of Italy” (Joyce, “Eveline”)

The thought of leaving behind her old life to start a new one hurt her in a way. The thought of leaving behind her childhood, family, and familiarity of the place gives her pause. She can not seem to move from her position within the house. She continuously allows memories to engulf her mind and inhibit her from leaving for the docks. As she remembers her old life and both the good and bad memories in Dublin, she starts to question whether she can really leave the life she knows.

The second and most obvious time Eveline demonstrates physical paralysis is when she is on the docks about to board the night boat to Buenos Ayres. As Frank leads her to the boat by hand, the weight of Eveline’s decision starts baring down on her. Her mind to flips between her two paths she can take. According to page 29,

“She answered nothing. She felt her cheek pale and cold and, out of a maze of distress, she prayed to God … It was impossible. Her hands clutched the iron [railing] in a frenzy. Amid the seas she sent a cry of anguish” (Joyce, “Eveline”).

Even in the final moments, Eveline has yet to make her decision. She thought she chose to live a new life, but when it is time to leave, she freezes. Her life has such a strong pull on her that she is unable to leave it behind forever.

Despite everything, Eveline can not decide what she wants. She loves her family but hates her life. She wants to be free of everything, while also caring for her responsibilities. Paralysis overtakes her mind as she weighs her duties and desires, and reflects on a familiar life in the face of unknown territory. Her body gives into paralysis as she allows her memories of the past to occupy her mind. She also lets her panic freeze her body in the final moments before the decision is made. If her memories and responsibilities hold enough power to paralyze her, I do believe that it resulted in Eveline staying in Dublin.

Satrapi

Marji is Hilarious!

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Reading the “comic book”, Persepolis, was truly a joy. It was both engaging and enlightening. Even though the book was filled with many darker subjects, I am going to focus on the more lighthearted ones.

For example, Marji’s attitude cracked me up. She was such a funny kids. Because of how her parents acted as activist, she has little respect for those higher up the hierarchy. She is not afraid to speak her mind to them and demonstrate her disapproval of them despite the dangers her actions entail. Also, her attempts to get out of trouble always made me giggle. For instance, the panels on page 134 were my favorite out of part 1. Marji attempts to lie to the women’s branch of the Guardians of the Revolution. She came up with such a ridiculous lie and popped out some tears to try and convince them to let her off with a warning. Try as she might, Marji had no effect on the woman. The Guardian’s stern face didn’t change the whole time. Honestly, I would not be surprised if the woman let her go because she assumed she would see Marji out of protocol again very soon and could just arrest her then. It also make me wonder that if that did happen, would Marji accidently make up  a whole new story?

Another aspect of the story that I loved was that it really did feel like the story was being told by a little girl. There were many instances were Marji would misinterpret adult conversations or fail to sense the urgency of a situation. Although, there was one aspect that I was not a hundred percent sure about. In the story, Marji started to become aware of the struggles, pain, and hypocrisy that comes with war at the age of 12. At first, I had believed that she was too young to understand and that it was the adult Marji showing through. After some thought, I realized that it would be surprising if she did not become aware because of how it was effecting her daily life.

Another aspect is her imagination. Little Marji had full blown conversations with God. She imagined and felt Him cradling and comforting her. I also used to imagen a figure rapping me up in a comforting hug when I felt distressed and overwhelmed. Although, I believed it was the Holy Spirit. Also, for me, he was gold and shiny. Which brings me to the point of God’s image. Why did God look like a giant, marshmallowy Baymax from the movie Big Hero Six? The only main different in my mind is that Baymax did not have any hair.

Lastly, I want to talk about Marji’s parents. I have to say they were not my favorite. They were very “do as I say, not as I do”. To me it just seemed very hypocritical. Also, it took them so long to finally accept that their home was too dangerous for young Marji. They refused to leave because they did not want to lose the wealth they had.  They put their social standing over the safety of their family. What good is wealth when your dead?

Garcia-Marquez

People are weird.

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This book was very thought invoking and funny. I enjoyed reading it and discovering the hidden lessons within it. But there were some things that just felt unfinished. To Garcia-Marquez, they are funny, little jokes. To me, they are stay up late pondering about them questions that will never be answered.

My biggest issue is with Angela and Bayardo. He threw me in such a loop! First Angela doesn’t want to give Bayardo a time of day, then she pines after him for half a lifetime. I understand it’s a power move to get back into society, but I could not seem to completely rap my brain around it. She had seemed like the type of person not to be bothered by that stuff. What’s crazier is that Bayardo came back! All because he felt guilty about barring her from society and marriage, not for love. It makes me wonder if they will even last. I feel like they are equally match in spirit, Angela with her masked hatred and Bayardo with his gigantic ego. I would buy and read a second book to find out who wins! Although, maybe not because Garcia-Marquez might just use it as another opportunity to create more unanswered questions.

Another thing I felt cheated on was the years in between Baryardo leaving the sinful town and him eventually reuniting with Angela. What was he doing that made him deteriorate so much? Does he still have money or was he pretending? Why did he never try to remarry? With the double standard for men in the book, along with his good looks and money, I’m sure he could have gotten another acceptable marriage.

The Mayor got on my nerves a lot. He was basically useless. Even Father Amador called him a “barbarian” and his orders “stupid” (Garcia-Marquez 72). When he found out about the coming murderer, he practically gave them a slap on the wrist. He took their knives and sent them to bed. When he found out that they got knew knives and were trying to track Santiago Nasar down and kill him, Colonel Aponte decided to finish planning a domino game before dealing with it! By the time he was finished, the killing was over. After all that, he still stayed the mayor. I was very confused by that. He may have shown his strength through war, but was not his failure to prevent the murder enough to get him removed from office? Why would the people of the town continue to follow a spineless leader?

The Angela’s mother, Pura Vicario, was very puzzling. For a mother that supposedly loved her family very much, she had a funny way of showing it. She literally beat Angela to a bloody pulp. Also, she raised her daughters to never dream about anything in life except marriage. But, maybe the way she raised them was a sign of love in her own way. She raised her daughters so that they would be good wives that could easily marry into rich families.

Now I did not write this whole blog post to drag Chronicles of a Death Foretold through the mud. There were just some elements that rubbed me the wrong way. All in all, I enjoyed this book a lot and it’s probably one of my favorites out of the books we read together.

McEwan

Is it young Briony that I don’t like … or the parts of myself I see in her?

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When I was first reading Atonement, I thought I hated Briony. In part one, there were many moments where I wanted to throw the evil book at the wall. She was very infuriating. Everything had to be all about her. Then in part three, I felt that she had redeemed herself a bit. Her guilt and attempts at atonement reminded me that she is only a child. Nevertheless, the way she acted as a kid was really a reflection of her upbringing. Since finishing the book, I have been on the search for the reason behind why I seemed to dislike Briony so much. Minus the fact that she sent innocent James McAvoy,  I mean Robbie, to jail.  I realized that the root of the problem is that I seemed to relate to her since the very beginning.

The main thing I related to was her imagination. As a child (and maybe a little bit now), I allowed my imagination to run wild and create stories in my head. I had millions of stories going on, both ones I created, and established stories I continued the way I wanted them to. But unlike Briony I would never write them down. Also, I would never really allow myself to get lost in worlds of my creating when I was interacting with others. I saw her as another child with a gift of imagination. But she soon became obnoxious with her stories and allowed them to take over her life. It made me fearful of having such stories in my head, like it was a possibility that I could make a mistake like that. It made me resent her, and her out of control mind.

Another thing that rubbed me the wrong way was that we both grew up in a similar manner. Briony was excessively sheltered. She lived in a little bubble of her own world. I too was a bit sheltered as a child. But unlike Briony, I was introduced to the world little by little. That way nothing was exposed too early and I was never overwhelmed. Briony’s sheltered world came crashing down all within a few hours. I guess I assumed she would be mature enough to handle it properly. I thought she would choose integrity over attention. It just goes to show that it is impossible hold others to your own expectations (quote Mr. Nigro).

There is one thing I will give her some slack on, the fact that she misunderstood the situation. She was not raised in the world to be desensitized to things. To see something and not just have a rock hard opinion of what it meant and instead think rationally using common sense. She is the perfect example of why some say eyewitnesses are sometimes unreliable. They make their own assumptions without knowing the situation. I also don’t understand everything people say or do in public settings (probably because of how I was raised), but I also know that I can’t assume anything about others.

All in all, I would just say Briony is complicated and human. And that definitely is something I can relate to. She made a mistake, she tried to atone for it, and she inflicts pain on herself through guilt. I do the same, but unlike Briony, I have people to turn to and help pull me out of it. That is probably why I turned out the way I am. I wonder how she would have turned out if she had someone to turn to when the guilt began to crush her.