Tag Archives: Kazuo Ishiguro

2000 Books You Must Read: 5. The Remains of the Day by Kazuo Ishiguro

Remains of the Day by Kazuo Ishiguro There are some books that get hidden. That are clouded and perhaps you do not hear many people speak of them. The Remains of the Day is one book that does not get spoken about as much as its movie counterpart. It is Ishiguro’s third published work and it is a delicately told tale from the point of view of Stevens – the English butler, told in his diary, as he works for Lord Darlington and his relationship with the housekeeper, Miss Kenton.

The book goes back and forth – past and present to give the reader the complete view. A lot of social conventions, graces, manners, are spoken of and also the hypocrisy surrounding all of them. The writing is simply beautiful and very elegant, despite bringing to fore the ugliness sometimes.

The Remains of the Day is one of my favourite books and I strongly recommend it.

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Top 20 Favourite Books of Nadeem Aslam

I have loved and enjoyed reading Nadeem Aslam’s books. I have always been curious as to what authors read and what compels them to perhaps classify what they read as their favourite reads over time. With this, I start this series with Nadeem Aslam’s favourite 20 books published within his lifetime, each of which he has read at least twice.

The list is amazing and might I add extremely compelling. You would want to pick up each book and read it at least once. Here goes the list. From here on, every word and emotion is that of Nadeem Aslam’s. Thank you Nadeem for this list.

1982 – Chronicle of a Death Foretold by Gabriel Garcia Marquez

Chronicle of a Death Foretold

In just over 100 pages Marquez tells us everything about men, women, love, hatred, corruption and fate. It includes the great line: ‘Life resembles bad literature.’ After Jude the Obscure it is quite possibly the most despairing novel I know. And it is brilliant.

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1986 – An Artist of the Floating World by Kazuo Ishiguro

An Artist of the Floating World

An old man looks back over his life – and Ishiguro builds up an indelible picture of his fears and anxieties through everyday conversations with his daughters, grandson, people in the neighbourhood. There is very little description and yet you imagine each scene vividly.

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1987 – The Enigma of Arrival by VS Naipaul

The Enigma of Arrival

A book full of long rich sentences that recall Proust, and anticipate Sebald. It made me look deeply at the English countryside I live in. I believe mercy is greater than justice; and so I do not agree with Naipaul’s political outlook, but having read everything he has ever published I think this is one of his enduring works.

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1987 – Love in the Time of Cholera by Gabriel Garcia Marquez

Love in the Time of Cholera

A story about love and other diseases of the flesh. A book full of nouns – river, parrot, ship, almonds… This is the master at the height of his powers, naming the world into being. Everything Marquez touches becomes magical: if he were to remove the frame from around a mirror, the mirror would most certainly flow down the wall like water.

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1987 – Beloved by Toni Morrison

Beloved

There are subjects on which the world maintains a silence closely resembling sin. Beloved speaks about one such sin. It is a terrifying book, and yet it makes rapturous eloquent use of the sky and land and tree and food and clothing. Beyond everything else it’s a book about how people talk: the dialogue is musical, elastic, by turns funny and serious. Dazzling.

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1988 – The Collected Poems of Czeslaw Milosz

The Collected Poems of Czeslaw Milosz

In any crisis I turn to Milosz. What to do when you have to accept a savage emotional wound? Where to find the courage to trust another human being after betrayal? When you want to know how you deserve such a fate? Milosz’s verses address something that remains mysteriously inconsolable within me.

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1990 – Omeros by Derek Walcott

Omeros

Walcott – one of the greatest poets in the English language – relocates Homer to the Caribbean, because the past belongs not just to those who created it – it belongs to everyone, everywhere. So the Greek heroes become poor fishermen and Helen is a servant girl. It is profound, beautiful and endlessly inventive. It’ll even break your heart.

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1992 – The English Patient by Michael Ondaatje

The English Patient

The first 120 pages of this book are the holiest pages I know – prose whose beauty eases the poverty of the world; startling images; and characters you care about like your family. The book speaks of love and lovelessness, about the acceptance of loss, and how compared with love almost everything in life is easy.

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1993 – All The Pretty Horses by Cormac McCarthy
1994 – The Crossing by Cormac McCarthy

The Border Trilogy

Most people behave badly because they ask too little of themselves. In these books McCarthy – who is one of my great loves – writes about very young men hurled into unknown landscapes, a world frequently absent of radiance. They survive or they die – but they hold onto their integrity, because only the gentle are ever really strong. And McCarthy’s prose is the closest thing I know to an electric shock. It is energy made visible; what Saul Bellow called ‘life giving and death dealing sentences.’

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1995 – Sabbath’s Theatre by Philip Roth

Sabbath's Theater

From the first sentence on this is a funny, serious, and frightening book – the story of a man at the end of his tether. Dirty, ugly, fearing the loss of his sexual prowess, Sabbath wanders around New England and New York like Shakespeare ranting at street corners, screaming the song of the land.

1997 – American Pastoral by Philip Roth

American Pastoral

A book about a man whose daughter is a terrorist, and how he tries to hold onto the ideas of justice and dignity when the smell of blood is in the air and it’s the age of prominent madmen. I disagree strongly with the political stance of this book, but as a novel it contains some of the most intense dramatic scenes in recent years.

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1997 – Taoos Chaman ki Mynah by Naiyer Masud

Taoos Chaman Ki Myna

A novella from the Urdu master of Lukhnow. A man steals a bird from his employer’s menagerie for his little daughter. This is a hear-quickening tale. I don’t think I understand all of its mysteries but perhaps that is how it should be; if you see a statue of a veiled maiden, you mustn’t try to chisel off the veil in the hope of uncovering the face underneath.

1997 – The God of Small Things by Arundhati Roy

The God of Small Things

The key text about all of India’s yesterdays and todays. It is almost elemental. There are a 100,000 miles of blood vessels in a human body, and every drop of blood in mine is grateful to Arundhati Roy for having written this. By turns sorrowing and ecstatic, it possesses a touch that has a sting of starlight to it.

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1997 – Brokeback Mountain by Annie Proulx

Brokeback Mountain

Not only a painful love story, but also a fierce attack on the economic disparities within the USA. From its astonishing and brilliant first paragraph onwards, Proulx tells us that the two lovers are foredoomed not solely because they are homosexual in an unforgiving landscape, but because that they are poor, men who cannot really afford luxuries like love. The need to make a living and support their families is also what keeps the two men from coming together.

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2001 – My Name is Red by Orhan Pamuk

My Name is Red

The greatest book by the one of the very greatest novelists of our time. A murder mystery, a monograph on miniature painting, a love story, a rich and subversive inquiry into the past. Its heroine, Shekure, is one of the best portraits of a woman from the Islamic word that I know.

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2004 – Gilead by Marilynne Ronbinson

Gilead

The letter an old priest writes to his very young son, who will not read it until long after the priest is dead. Every single paragraph of this book is full of quiet wisdom – as though a form of music has been found to express silence.

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2004 – An End to Suffering by Pankaj Mishra

An End to Suffering

Pankaj Mishra’s writing is what I turn to first when I need to make sense of the world. And this book is one of the loveliest and most serious meditations on what Buddha brought into the world.

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2007 – The Collected Stories of Intizar Hussein

Exactly 50 years’ worth of stories from the Pakistani master. Read sequentially, these stories chart every single social, historical and cultural event Pakistan has been through in the last half century. Magnificent.

2008 – 2666 by Roberto Bolano

2666

The third world novel as it should be written today – post Naipaul, post Marquez. Part 4 of this book alone should ensure Bolano’s place among the immortals. Please read it.

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An Interview with Shehryar Fazli

When I first read Invitation, I was mindblown by the writing. I got in touch with the publicity representative and she in turn got me in touch with the author and here is the interview for you readers. Hope you enjoy it. You can read the review of the book here

1. Could you tell me a little more about the inception of the title for the book?

 

The novel went through several working titles, but none of them actually worked. It was quite tedious. But ‘Invitation’ was the title of one of the sections, and when it came time to decide on a final title when the manuscript was going out, I thought about ‘Invitation’ and asked myself if this title captured some essence of the book. I decided that it did.

2. Invitation is a book with many layers. Did you start off by ideating so many layers for the book?

You know, in fact, the challenge throughout was actually getting rid of several layers. This may be something that first-time novelists are especially vulnerable to – the urge to fill the book with everything, as if this is the only chance you have. Throughout, I realized that I was writing many parallel stories that may have worked individually, but not within the architecture of this novel – there were some major characters, who I loved, who I eventually had to give the boot. Hopefully I can resurrect them in later work. There was also a lot more about Shahbaz’s past in Paris. Now you see his past selectively, through a filter, and I think that works much better in this case since this is not your big bildungsroman. So, yes, I was always writing a big book, because it’s big books that have influenced me. It remains, as you say, multi-layered, but I actually see it as far tighter than it was in earlier drafts.

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3. With so many Pakistani writers in the limelight, how difficult or easy was it for you to make your presence felt or your voice heard?

On the one hand, Pakistani writers are getting unprecedented attention, which of course is productive and allows someone like me to reach a large audience. On the other hand, it’s a little awkward as well. I have a few friends from the U.S. and elsewhere trying to get their work published, and they often tease me and say, “You’re lucky you’re a Pakistani writer.” The suggestion is that you owe your success as much to this interest in the phenomenon of ‘Pakistani writing’ as to individual talent. This sounds unfair, and yet there may be some truth to it. A mild concern I have is that the attention sometimes shifts from a discussion of the individual book, towards this phenomenon of ‘Pakistani writing’ so that we’re talking about a historical or cultural event rather than the novels themselves. But, ultimately, if your book is strong, it will be the story, the characters, and the language that people will remember long after their interest in this little ‘boom’ subsides.

4. Why is this presumption that Pakistani writers will churn out “a certain kind of story, “the certain kind of novel”? When do you think this will stop?

Well, the most welcome aspect of this whole Pakistani boom or renaissance, or whatever you want to call it, is that the work is so different. Kamila Shamsie’s work is very different to Daniyal Mueenuddin’s, which is very different to Nadeem Aslam’s, which is very different to Mohammad Hanif’s, which is very different to H.M. Naqvi’s… I could keep going. I think you’re right in that there seems to be an expectation that a Pakistani writer will address the major concerns like terrorism, gender inequality, tradition and custom, but I think there are similar expectations for writers everywhere. If you’re writing about New York, for example, you’d have to make a very conscious decision not to address the events of 9/11. If you were a German writer writing after World War II, you couldn’t not address the Nazi experience in some way. So, yes, people will expect to see this theme or that theme in the literature coming out of a particular time or place, but it’s important for writers not to bother about that, not to service those expectations. So far, it’s refreshing to see such varied work out of the Pakistani experience.

5. What role does “the sexual” play in your book considering that it is out there and for all to read and imagine?

A basic fact about the sex in this novel is that it’s certainly not good sex. On the contrary, it’s seedy and demeaning – and by that, I mean demeaning for Shahbaz. It’s not there to titillate and it’s not gratuitous, but reveals much more about Shahbaz, a guy who hasn’t figured out how to engage with women, or how to express masculinity. You have this character who is, throughout, unable to take action, who keeps everything bottled up, who remains silent when he should speak up, who’d prefer not to know and not to reveal too much. But where he is completely naked, figuratively and often literally, is in his dealings with women, whether it’s Malika the dancer, or the many prostitutes he pays for. For him, sex provides solace, in some cases a sense of power… but above all I think the scenes reveal his contempt towards himself and his own situation.

6. How does the cover capture the essence of your book? This was one thing I was struggling to understand…

I wanted something to capture the cabaret, one of the central venues in the story. We toyed with a couple of options, all very striking, but this one also conveyed a sense of mystery, of the hidden or not-quite-revealed, that I thought was apt.

7. Shehryar’s Top 10 All-time favourite books

How about 5 (after that it gets a little tough)?

  1. Herzog (Bellow); 2. Waiting for the Barbarians (Coetzee); 3. Midnight’s Children (Rushdie); 4. Remains of the Day (Ishiguro); 5. In a Free State (Naipaul)

8. So how did it feel when you finally finished writing the book?

I forget who originally said it, but he’s quoted in John Banville’s The Sea: a work of art is never finished, only abandoned. It was a great feeling to get the first draft done, in that the story now had a beginning and end. But what happens in between was always shifting, being reworked, and I don’t know how many ‘final’ drafts there were. I have to confess that I still think of it as an evolving thing, that in subsequent editions, this or that may be tweaked. I don’t know if I actually will, but the mere possibility keeps the book alive in my head. Also, even when you’ve finished work on the text, the project is still unfinished, in that now the book’s got to get out there, be read, be talked about. I go through spells of excitement and of vulnerability, because it remains a very personal work, a big part of me, that is now public property in a sense. But, overall, it’s a great feeling for the story to be a thing in the world — and an addictive one, which may be why I’m going through the torture all over again in writing a second novel.  

9. Why did you pick the 70’s as the backdrop for your book?

Originally, and for some time, this story didn’t have a specific setting, even a time period, but it did involve the narrator’s return from West to East, and about his very idiosyncratic pursuit of a sense of citizenship. At the same time – and this was when I was still in college – I was learning more about this very fascinating period in Pakistan’s history when popular protests in the late 60s were in large part responsible for the end of a military regime and the country’s first democratic transition. In a moment like that, people end up questioning the basics – what it means to be a citizen, what it means to be a nation, what one’s responsibilities are to the state and to fellow citizens, and what the state’s responsibilities are to the citizen. This was the perfect backdrop to Shahbaz’s story, and once I put him in that clutter, I decided I liked the results.  Also, I’ve always been a close reader of the State-of-the-Nation novel, and have always wanted to take on big public events in a literary way. In Pakistan, two of those events, the lessons of which still haunt us, are the country’s breakup in 1971 because of a failure to honor diversity and democracy, and the hanging of the country’s first elected prime minister, Zulfiqar Ali Bhutto, in 1979. In retrospect, I think it was inevitable that I would use them in my first novel.

10. Your advice to both writers and readers…

To both: keep reading. Read enormous amounts. If a book is not working for you, don’t feel obliged to finish because there are too many great books to read and there’s no time to waste on a book you’re not enjoying. But, at the risk of contradicting myself, read challenging stuff. Read books that expand your vocabulary (literal and figurative), your way of examining human life, your appetite for life, books that show you what all is possible in literature. I have similarly simple advice just for writers: write! Get the words on the page, treat it like something mechanical rather than something mystical – don’t wait for that state of grace, that inspiring moment when the words just gush. There’s no such thing. Give yourself a daily word target, and then treat it like a job, don’t get up until it’s done. Even if what comes out if drivel that you’ll later discard, the point is to enter a regular rhythm, get pages piled up, and worry about making it good later.

 You can also purchase the book here