Seminar paper from the year 2009 in the subject English Language and Literature Studies - Literature, grade: 2,0, University of Würzburg, language: English, abstract: In Kazuo Ishiguro ́s The Remains of the Day the first person narrator Stevens, a butler on the verge of retirement, undertakes a journey to meet – for what is likely the last time in their lives – his former coworker and love interest Miss Kenton. At the same time, he tries to come to terms with his past by reexamining his memories of his life at Darlington Hall, the choices he made and the values he had. Throughout his account it becomes increasingly obvious that Stevens ́s narration cannot be trusted completely. His comments on, and interpretation of, past events in his life and his portrayal of himself and others in his tale expose him as an unreliable narrator. However, his attempts to deceive himself and others are possibly the most interesting and telltale aspect of the narrative. After all, “the use of an unreliable narrator draws attention to a character ́s psychology.” Paradoxically, the narrator reveals most about himself and his life when he is trying to obscure the truth.

BOOKER PRIZE WINNER • From the winner of the Nobel Prize in Literature, here is “an intricate and dazzling novel” (The New York Times) about the perfect butler and his fading, insular world in post-World War II England. This is Kazuo Ishiguro's profoundly compelling portrait of a butler named Stevens. Stevens, at the end of three decades of service at Darlington Hall, spending a day on a country drive, embarks as well on a journey through the past in an effort to reassure himself that he has served humanity by serving the "great gentleman," Lord Darlington. But lurking in his memory are doubts about the true nature of Lord Darlington's "greatness," and much graver doubts about the nature of his own life.

Seminar paper from the year 2008 in the subject English Language and Literature Studies - Literature, grade: 1,75, University of Frankfurt (Main), 10 entries in the bibliography, language: English, abstract: This text examines the concept of unreliable narration in Kazuo Ishiguro's "The Remains of the Day". Against the background of the novel's plot the questions arises to what extent the reader can trust the first person narrator Stevens, who is recalling events that have taken place almost 30 years ago. Is he always telling nothing but the truth or does he deliberately leave out important facts that might cast a slur at him or other persons in the novel or perhaps might destroy his self-image as a professional butler. Stevens pretends to be an honourable butler but how far can he be regarded to be honest to the reader respectively the narratee whome he addresses explicitly (Ishiguro 2005: 8 “Nevertheless, I think you will understand [...]”)? In this context it is even more important to question his honesty towards himself; does he relentlessly tell the truth or does he betray even himself? In order to answer these evolving questions it is first of all necessary to give a brief outline of the literal terms point of view and unreliable narration in general. Being familiar with these expressions the next step that leads to a better understanding of the protagonist’s character is the analysis of the narrative structure in “The Remains of the Day”. This chapter includes the examination of the novel’s language as well as the point of view and the (un)reliability of the narrator. As far as the question of (un)reliability is answered it is mandatory to consider Stevens’ blindness and to ask if in the end a possible insight can be detected. This chapter has to be subdivided which means it has to be regarded in either an ideological /political context as well as in a private /social context. Finally, in the conclusion the findings will be summarized in order to answer the question: To what extent can self-deception and insight be detected with the (un)reliable narrator Stevens in Kazuo Ishiguros Novel “The Remains of the Day”?

From the winner of the Nobel Prize in Literature and author of the Booker Prize–winning novel The Remains of the Day comes this stunning work of soaring imagination. Born in early twentieth-century Shanghai, Banks was orphaned at the age of nine after the separate disappearances of his parents. Now, more than twenty years later, he is a celebrated figure in London society; yet the investigative expertise that has garnered him fame has done little to illuminate the circumstances of his parents' alleged kidnappings. Banks travels to the seething, labyrinthine city of his memory in hopes of solving the mystery of his own painful past, only to find that war is ravaging Shanghai beyond recognition—and that his own recollections are proving as difficult to trust as the people around him. Masterful, suspenseful and psychologically acute, When We Were Orphans offers a profound meditation on the shifting quality of memory, and the possibility of avenging one’s past.

Seminar paper from the year 2002 in the subject English Language and Literature Studies - Literature, grade: 1,5 (A), University of Cologne (Philosophy Faculty), language: English, abstract: Kazuo Ishiguro was born in 1954 in Nagasaki, Japan, and moved to Great Britain in 1960 where he grew up. The Remains of the Day is his third novel after A Pale View of Hills (1982) and An Artist of the Floating World (1986), for which he won the Booker Prize in 1989. The film with Anthony Hopkins also won an award. The Remains of the Day describes the journey of an old-fashioned British butler named Stevens, who undertakes a motoring trip through Britain in 1956 intending to visit Miss Kenton. He received a letter from her and because of staffing problems at Darlington Hall, where he is still employed, he hopes to gain her back as the housekeeper. During his trip, Stevens not only remembers the time he and Miss Kenton worked together, but also the historical events that took place in Darlington Hall between the wars, when Lord Darlington, its former owner, organized several meetings of intellectuals from different nations to discuss the political situation in Europe. While Stevens tells his memories, it becomes clear that he completely gave himself up for his intention to be a great butler and to serve the right man, Lord Darlington. But he presents Lord Darlington as an honourable man that he has not always been, and at last Stevens leads an unhappy and unfulfilled life and does not know what to make out of it because he never allowed himself to live his own life. Stevens is one of Ishiguro′s characters that tragically shows how people who have tried to do something good and useful in their lives can suddenly find that they have misplaced their efforts. Not only have they perhaps wasted their talent and their energy, but also they may have contributed, unknowingly, to something that was evil, all the time thinking they were doing something good. (Bigsby 1990: 26)

From the winner of the Nobel Prize in Literature and author of the Booker Prize–winning novel The Remains of the Day In the face of the misery in his homeland, the artist Masuji Ono was unwilling to devote his art solely to the celebration of physical beauty. Instead, he put his work in the service of the imperialist movement that led Japan into World War II. Now, as the mature Ono struggles through the aftermath of that war, his memories of his youth and of the "floating world"—the nocturnal world of pleasure, entertainment, and drink—offer him both escape and redemption, even as they punish him for betraying his early promise. Indicted by society for its defeat and reviled for his past aesthetics, he relives the passage through his personal history that makes him both a hero and a coward but, above all, a human being.

"[A] definitive work of millennial literature . . . wretchedly riveting." —Jia Tolentino, The New Yorker “Girls + Office Space + My Year of Rest and Relaxation + anxious sweating = The New Me.” —Entertainment Weekly I'm still trying to make the dream possible: still might finish my cleaning project, still might sign up for that yoga class, still might, still might. I step into the shower and almost faint, an image of taking the day by the throat and bashing its head against the wall floating in my mind. Thirty-year-old Millie just can't pull it together. She spends her days working a thankless temp job and her nights alone in her apartment, fixating on all the ways she might change her situation--her job, her attitude, her appearance, her life. Then she watches TV until she falls asleep, and the cycle begins again. When the possibility of a full-time job offer arises, it seems to bring the better life she's envisioning within reach. But with it also comes the paralyzing realization, lurking just beneath the surface, of how hollow that vision has become. "Wretchedly riveting" (The New Yorker) and "masterfully cringe-inducing" (Chicago Tribune), The New Me is the must-read new novel by National Book Foundation "5 Under 35" honoree and Granta Best Young American novelist Halle Butler. Named a Best Book of the Decade by Vox, and a Best Book of 2019 by Vanity Fair, Vulture, Chicago Tribune, Mashable, Bustle, and NPR