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Book: The Buried Giant, Kazuo Ishiguro
Publication date: 2015
WCRG meeting: 29 June 2016
Rating: 7
The feelings of Reading Group members were mainly positive when it came to Kazuo Ishiguro's latest novel,
The Buried Giant. However, there was still some division in the ranks, best exemplified by contrasting the comment of one member that it was 'one of the dullest books I've ever read; it was a struggle to keep going' with that of another reader who found it to be a 'wonderful, lyrical' piece of writing. One of our readers listened to the audio version of the book, which was, rather fittingly, read in a soft, West Country burr. As this reader explained, it is the story of a journey with various digressions and adventures experienced throughout. It is a story which takes place at the end of the main characters' lives and yet it is a book very much about life. Most felt that the novel had numerous nuances and pathways which could be explored, and that Ishiguro's story dwelt in a world of ambiguities and uncertainties. The novel describes a people who seek explanations for what they cannot explain and look to religion to provide the answers.
A number of themes were identified by readers - from war and a cycle of violence, to death and all the different guises people have dreamt up to make the thought of death easier to bear. Belief is another strong theme in the novel, as one sees Axl and Beatrice putting faith in God when they are afraid or facing the unknown. A few readers also identified the issue of ageism in the novel, as Beatrice and Axl are treated differently by their fellow villagers, not even trusted with a candle at night and considered as contributing less to the community. There are also lots of references to the departed Romans and what they have left behind in terms of customs and beliefs, but also in terms of the Roman imprint on the land. A few readers found Ishiguro's treatment of history and national identity particularly poignant given the current political climate: the novel certainly questions ideas of kinship and shared experiences.
One of the most intriguing aspects of the novel was felt to be the subject of memory. All were curious about the mysterious mist which has settled over the land and caused country-wide forgetfulness; only Axl and Beatrice at times appear to be fighting against this collective blank slate and hold on to the memory of their son throughout their journey. There was a lot of debate in the Group about what represents the truth in this story and it was interesting to observe readers trying to make sense of all the clues and details and piece them together into a cohesive narrative. It could be observed that this search for answers, for agreed upon versions of events, is precisely what Ishiguro was hoping to inspire with this novel.
One reader in particular was struck by Ishiguro's faithfulness to the fairytale genre and likened it to Irish fairy stories best told around the fire by a storyteller. The narrator's voice at the beginning of the novel, the meandering journey, the tests and encounters along the way, and the cast of creatures and strange individuals all represent the hallmarks of classic folklore. However, this kaleidoscopic mode of writing did not delight all present. Some readers were frustrated by the lack of cohesion and the unexplained appearances and disappearances. These readers felt that the novel failed to hold together as a single story, but was instead made up of multiple narrative strands that did not quite fit together. One reader wondered if the entire novel was allegorical and whether he should be reading meanings into every character and every event. Many were confused particularly by the ending and there was much discussion as to each reader's understanding of the text - it was remarked that each reader wrote their own version of the tale.
Those who loved the book were enchanted by the gentle, measured prose - a characteristic of Ishiguro's writing. These readers became completely absorbed in the world he created and were happy to wander through the landscape and follow the shifting narrative styles, from the ponderous opening chapters, to the encounter with creatures such as dragons and pixies, to the picaresque of the Gawain story. One reader memorably remarked that she loved the way the novel blew her 'preconceptions about people and meetings out of the water'; she 'couldn't rely on [her] nice, neat, little boxes, and that's lovely'. Many spoke of being challenged by the novel and forced to confront complex issues of memory and relationships and belief. Another reader commented on the delightful 'episodes of kindness' between people and also noted that the novel is an interesting experiment.
Some readers who have admired Ishiguro in the past were disappointed by his latest offering; they felt that the novel was not for the general reader and resembled a convoluted Anglo-Saxon verse in the mode of Beowulf. These readers appreciated the writing style, but the story and its characters left them cold and unmoved. Indeed, this detachment and artificial narratorial style was noticed by a number of the Group, but not all were discouraged by it. One reader saw it as a symptom of putting a fairytale into words - such stories only really gain life in the telling and this is missing for the solo reader.
The Buried Giant proved to be an excellent choice for the Reading Group, inspiring lots of debate and interesting observations. There were scores at both ends of the spectrum, but its largely positive reception saw it receiving an average score of 7 out of 10.
