β
There was another life that I might have had, but I am having this one.
β
β
Kazuo Ishiguro
β
Memories, even your most precious ones, fade surprisingly quickly. But I donβt go along with that. The memories I value most, I donβt ever see them fading.
β
β
Kazuo Ishiguro (Never Let Me Go)
β
Sometimes I get so immersed in my own company, if I unexpectedly run into someone I know, it's a bit of a shock and takes me a while to adjust.
β
β
Kazuo Ishiguro (Never Let Me Go)
β
I keep thinking about this river somewhere, with the water moving really fast. And these two people in the water, trying to hold onto each other, holding on as hard as they can, but in the end it's just too much. The current's too strong. They've got to let go, drift apart. That's how it is with us. It's a shame, Kath, because we've loved each other all our lives. But in the end, we can't stay together forever.
β
β
Kazuo Ishiguro (Never Let Me Go)
β
We took away your art because we thought it would reveal your souls. Or to put it more finely, we did it to prove you had souls at all.
β
β
Kazuo Ishiguro (Never Let Me Go)
β
What I'm not sure about, is if our lives have been so different from the lives of the people we save. We all complete. Maybe none of us really understand what we've lived through, or feel we've had enough time.
β
β
Kazuo Ishiguro (Never Let Me Go)
β
All children have to be deceived if they are to grow up without trauma.
β
β
Kazuo Ishiguro (Never Let Me Go)
β
It was like when you make a move in chess and just as you take your finger off the piece, you see the mistake you've made, and there's this panic because you don't know yet the scale of disaster you've left yourself open to.
β
β
Kazuo Ishiguro (Never Let Me Go)
β
You have to accept that sometimes that's how things happen in this world. People's opinions, their feelings, they go one way, then the other. It just so happens you grew up at a certain point in this process.
β
β
Kazuo Ishiguro (Never Let Me Go)
β
Indeed β why should I not admit it? β in that moment, my heart was breaking.
β
β
Kazuo Ishiguro (The Remains of the Day)
β
You say youβre sure? Sure that youβre in love? How can you know it? You think love is so simple?
β
β
Kazuo Ishiguro (Never Let Me Go)
β
The evening's the best part of the day. You've done your day's work. Now you can put your feet up and enjoy it.
β
β
Kazuo Ishiguro (The Remains of the Day)
β
She always wanted to believe in things.
β
β
Kazuo Ishiguro (Never Let Me Go)
β
I half closed my eyes and imagined this was the spot where everything I'd ever lost since my childhood had washed up, and I was now standing here in front of it, and if I waited long enough, a tiny figure would appear on the horizon across the field and gradually get larger until I'd see it was Tommy, and he'd wave, and maybe even call.
β
β
Kazuo Ishiguro (Never Let Me Go)
β
If you are under the impression you have already perfected yourself, you will never rise to the heights you are no doubt capable of.
β
β
Kazuo Ishiguro (The Remains of the Day)
β
The problem, as I see it, is that you've been told and not told. You've been told, but none of you really understand, and I dare say, some people are quite happy to leave it that way.
β
β
Kazuo Ishiguro (Never Let Me Go)
β
It never occurred to me that our lives, until then so closely interwoven, could unravel and separate over a thing like that. But the fact was, I suppose, there were powerful tides tugging us apart by then, and it only needed something like that to finish the task. If we'd understood that back then-who knows?-maybe we'd have kept a tighter hold of one another.
β
β
Kazuo Ishiguro (Never Let Me Go)
β
Because maybe, in a way, we didn't leave it behind nearly as much as we might once have thought. Because somewhere underneath, a part of us stayed like that: fearful of the world around us, and no matter how much we despised ourselves for it--unable quite to let each other go.
β
β
Kazuo Ishiguro (Never Let Me Go)
β
I can't even say I made my own mistakes. Really - one has to ask oneself - what dignity is there in that?
β
β
Kazuo Ishiguro (The Remains of the Day)
β
After all, what can we ever gain in forever looking back and blaming ourselves if our lives have not turned out quite as we might have wished?
β
β
Kazuo Ishiguro (The Remains of the Day)
β
As a writer, I'm more interested in what people tell themselves happened rather than what actually happened
β
β
Kazuo Ishiguro
β
What is the point of worrying oneself too much about what one could or could not have done to control the course one's life took? Surely it is enough that the likes of you and I at least try to make our small contribution count for something true and worthy. And if some of us are prepared to sacrifice much in life in order to pursue such aspirations, surely that in itself, whatever the outcome, cause for pride and contentment.
β
β
Kazuo Ishiguro (The Remains of the Day)
β
Poor creatures. What did we do to you? With all our schemes and plans?
β
β
Kazuo Ishiguro (Never Let Me Go)
β
There was something very special, but it wasn't inside Josie. It was inside those who loved her.
β
β
Kazuo Ishiguro (Klara and the Sun)
β
I keep thinking about this river somewhere, with the water moving really fast. And these two people in the water, trying to hold onto each other, holding on as hard as they can, but in the end itβs just too much. The currentβs too strong. Theyβve got to let go, drift apart.
β
β
Kazuo Ishiguro (Never Let Me Go)
β
What is pertinent is the calmness of beauty, its sense of restraint. It is as though the land knows of its own beauty, its own greatness, and feels no need to shout it.
β
β
Kazuo Ishiguro (The Remains of the Day)
β
I saw a new world coming rapidly. More scientific, efficient, yes. More cures for the old sicknesses. Very good. But a harsh, cruel, world. And I saw a little girl, her eyes tightly closed, holding to her breast the old kind world, one that she knew in her heart could not remain, and she was holding it and pleading, never to let her go.
β
β
Kazuo Ishiguro (Never Let Me Go)
β
It had never occurred to me that our lives, which had been so closely interwoven, could unravel with such speed.
β
β
Kazuo Ishiguro
β
Until recently, I didnβt think that humans could choose
loneliness. That there were sometimes forces more powerful than the wish to avoid loneliness.
β
β
Kazuo Ishiguro (Klara and the Sun)
β
I do not think I responded immediately, for it took me a moment or two to fully digest these words of Miss Kenton. Moreover, as you might appreciate, their implications were such as to provoke a certain degree of sorrow within me. Indeed- why should I not admit it? - at that moment, my heart was breaking.
β
β
Kazuo Ishiguro (The Remains of the Day)
β
We all complete. Maybe none of us really understand what we've lived through, or feel we've had enough time.
β
β
Kazuo Ishiguro (Never Let Me Go)
β
You need to remember that. If youβre to have decent lives, you have to know who you are and what lies ahead of you, every one of you.
β
β
Kazuo Ishiguro (Never Let Me Go)
β
You're always in a rush, or else you're too exhausted to have a proper conversation. Soon enough, the long hours, the traveling, the broken sleep have all crept into your being and become part of you, so everyone can see it, in your posture, your gaze, the way you move and talk.
β
β
Kazuo Ishiguro (Never Let Me Go)
β
It had never occurred to me that our lives, which had been so closely interwoven, could unravel with such speed. If Iβd known, maybe Iβd have kept tighter hold of them, and not let unseen tides pull us apart.
β
β
Kazuo Ishiguro (Never Let Me Go)
β
Memory is quite central for me. Part of it is that I like the actual texture of writing through memory...
β
β
Kazuo Ishiguro (Never Let Me Go)
β
But then again I wonder if what we feel in our hearts today isn't like these raindrops still falling on us from the soaked leaves above, even though the sky itself long stopped raining. I'm wondering if without our memories, there's nothing for it but for our love to fade and die.
β
β
Kazuo Ishiguro (The Buried Giant)
β
But then, I suppose, when with the benefit of hindsight one begins to search one's past for such 'turning points', one is apt to start seeing them everywhere.
β
β
Kazuo Ishiguro (The Remains of the Day)
β
Hope,β he said. βDamn thing never leaves you alone.
β
β
Kazuo Ishiguro (Klara and the Sun)
β
Your life must now run the course that's been set for it.
β
β
Kazuo Ishiguro (Never Let Me Go)
β
As with a wound on one's own body, it is possible to develop an intimacy with the most disturbing of things
β
β
Kazuo Ishiguro (A Pale View of Hills)
β
A part of us stayed like that: fearful of the world around us, and-no matter how much we despised ourselves for it-unable quite to let each other go.
β
β
Kazuo Ishiguro (Never Let Me Go)
β
But in the end, stories are about one person saying to another: This is the way it feels to me. Can you understand what Iβm saying? Does it feel this way to you?
β
β
Kazuo Ishiguro
β
Sometimes,β she said, βat special moments like that, people feel a pain alongside their happiness. Iβm glad you watch everything so carefully, Klara.
β
β
Kazuo Ishiguro (Klara and the Sun)
β
That was the only time, as I stood there, looking at that strange rubbish, feeling the wind coming across those empty fields, that I started to imagine just a little fantasy thing, because this was Norfolk after all, and it was only a couple of weeks since Iβd lost him. I was thinking about the rubbish, the flapping plastic in the branches, the shore-line of odd stuff caught along the fencing, and I half-closed my eyes and imagined this was the spot where everything I'd ever lost since my childhood had washed up, and I was now standing here in front of it, and if I waited long enough, a tiny figure would appear on the horizon across the field, and gradually get larger until I'd see it was Tommy, and he'd wave, maybe even call. The fantasy never got beyond that --I didn't let it-- and though the tears rolled down my face, I wasn't sobbing or out of control. I just waited a bit, then turned back to the car, to drive off to wherever it was I was supposed to be.
β
β
Kazuo Ishiguro (Never Let Me Go)
β
Perhaps it is indeed time I began to look at this whole matter of bantering more enthusiastically. After all, when one thinks about it, it is not such a foolish thing to indulge in - particularly if it is the case that in bantering lies the key to human warmth.
β
β
Kazuo Ishiguro (The Remains of the Day)
β
I think of my pile of old paperbacks, their pages gone wobbly, like they'd once belonged to the sea.
β
β
Kazuo Ishiguro (Never Let Me Go)
β
When you are young, there are many things which appear dull and lifeless. But as you get older, you will find these are the very things that are most important to you.
β
β
Kazuo Ishiguro (An Artist of the Floating World)
β
An artist's concern is to capture beauty wherever he finds it.
β
β
Kazuo Ishiguro (An Artist of the Floating World)
β
Perhaps all humans are lonely. At least potentially.
β
β
Kazuo Ishiguro (Klara and the Sun)
β
What is pertinent is the calmness of that beauty, its sense of restraint.
β
β
Kazuo Ishiguro (The Remains of the Day)
β
The rest of my life stretches out as an emptiness before me.
β
β
Kazuo Ishiguro (The Remains of the Day)
β
One is not struck by the truth until prompted quite accidentally by some external event.
β
β
Kazuo Ishiguro (The Remains of the Day)
β
And so we stood together like that, at the top of that field for what seemed like ages, not saying anything, just holding each other, while the wind kept blowing and blowing at us, tugging our clothes, and for a moment, it seemed like we were holding onto each other because that was the only way to stop us from being swept away into the night.
β
β
Kazuo Ishiguro (Never Let Me Go)
β
It was like there was some parallel universe we all vanished off to where we had all this sex.
β
β
Kazuo Ishiguro (Never Let Me Go)
β
What do you think dignity's all about?'
The directness of the inquiry did, I admit, take me rather by surprise. 'It's rather a hard thing to explain in a few words, sir,' I said. 'But I suspect it comes down to not removing one's clothing in public.
β
β
Kazuo Ishiguro (The Remains of the Day)
β
Even the solitude, I've actually grown to quite like... I do like the feeling of getting into my little car, knowing for the next couple of hours I'll have only the roads, the big gray sky and my daydreams for company.
β
β
Kazuo Ishiguro (Never Let Me Go)
β
Perhaps there are those who are able to go about their lives unfettered by such concerns. But for those like us, our fate is to face the world as orphans, chasing through long years the shadows of vanished parents. There is nothing for it but to try and see through our missions to the end, as best we can, for until we do so, we will be permitted no calm.
β
β
Kazuo Ishiguro (When We Were Orphans)
β
When we lost something precious, and we'd looked and looked and still couldn't find it, then we didn't have to be completely heartbroken. We still had that last bit of comfort, thinking one day, when we grow up, and we were free to travel around the counry, we would always go and find it in Norfolk...And that's why years and years later, that day Tommy and I found another copy of that lost tape of mine in a town on the Norfolk coast, we didn't just think it pretty funny; we both felt deep down some tug, some old wish to believe again in something that was once close to our hearts.
β
β
Kazuo Ishiguro (Never Let Me Go)
β
There is certainly a satisfaction and dignity to be gained in coming to terms with the mistakes one has made in the course of oneβs life
β
β
Kazuo Ishiguro (An Artist of the Floating World)
β
But what is the sense in forever speculating what might have happened had such and such a moment turned out differently? One could presumably drive oneself to distraction in this way. In any case, while it is all very well to talk of 'turning points', one can surely only recognize such moments in retrospect. Naturally, when one looks back to such instances today, they may indeed take the appearance of being crucial, precious moments in one's life; but of course, at the time, this was not the impression one had. Rather, it was as though one had available a never-ending number of days, months, years in which to sort out the vagaries of one's relationship with Miss Kenton; an infinite number of further opportunities in which to remedy the effect of this or that misunderstanding. There was surely nothing to indicate at the time that such evidently small incidents would render whole dreams forever irredeemable.
β
β
Kazuo Ishiguro (The Remains of the Day)
β
Why, Mr Stevens, why, why, why do you always have to pretend?
β
β
Kazuo Ishiguro (The Remains of the Day)
β
Memory, I realize, can be an unreliable thing; often it is heavily coloured by the circumstances in which one remembers.
β
β
Kazuo Ishiguro
β
When it was too late for rescue, it was still early enough for revenge.
β
β
Kazuo Ishiguro (The Buried Giant)
β
She might be a great person, but life's so much bigger than just loving someone.
β
β
Kazuo Ishiguro (Nocturnes: Five Stories of Music and Nightfall)
β
Maybe from as early as when you're five or six, there's been a whisper going at the back of your head, saying: βOne day, maybe not so long from now, you'll get to know how it feels.β So you're waiting, even if you don't quite know it, waiting for the moment when you realise that you really are different to them; that there are people out there, like Madame, who don't hate you or wish you any harm, but who nevertheless shudder at the very thought of you β of how you were brought into this world and why β and who dread the idea of your hand brushing against theirs. The first time you glimpse yourself through the eyes of a person like that, it's a cold moment. It's like walking past a mirror you've walked past every day of your life, and suddenly it shows you something else, something troubling and strange.
β
β
Kazuo Ishiguro (Never Let Me Go)
β
Donβt you wonder sometimes, what might have happened if you tried?
β
β
Kazuo Ishiguro (Never Let Me Go)
β
What can we ever gain in forever looking back and blaming ourselves if our lives have not turned out quite as we might have wished? The hard reality is, surely, that for the likes of you and I, there is little choice other than to leave our fate, ultimately, in the hands of those great gentlemen at the hub of this world who employ our services. What is the point in worrying oneself too much about what one could or could not have done to control the course oneβs life took? Surely it is enough that the likes of you and I at least try to make our small contribution count for something true and worthy. And if some of us are prepared to sacrifice much in life in order to pursue such aspirations, surely that is in itself, whatever the outcome, cause for pride and contentment.
β
β
Kazuo Ishiguro (The Remains of the Day)
β
They fought as though the most important thing was to damage each other as much as possible.
β
β
Kazuo Ishiguro (Klara and the Sun)
β
Who knows what will come when quick-tongued men make ancient grievances rhyme with fresh desire for land and conquest?
β
β
Kazuo Ishiguro (The Buried Giant)
β
But God will know the slow tread of an old coupleβs love for each other, and understand how black shadows make part of its whole.
β
β
Kazuo Ishiguro (The Buried Giant)
β
That's most interesting. But I was no more a mind-reader then than today. I
was weeping for an altogether different reason. When I watched you dancing that day, I saw something else. I saw a new world coming rapidly. More
scientific, efficient, yes. More cures for the old sicknesses. Very good. But a
harsh, cruel world. And I saw a little girl, her eyes tightly closed, holding to her breast the old kind world, one that she knew in her heart could not
remain, and she was holding it and pleading, never to let her go. That is what I saw. It wasn't really you, what you were doing, I know that. But I saw you and it broke my heart. And I've never forgotten.
β
β
Kazuo Ishiguro (Never Let Me Go)
β
Everything might scatter. You might be right. I suppose it's something we can't easily get away from. People need to feel they belong. To a nation, to a race. Otherwise, who knows what might happen? This civilisation of ours, perhaps it'll just collapse. And everything scatter, as you put it.
β
β
Kazuo Ishiguro (When We Were Orphans)
β
And I saw a little girl, her eyes tightly closed, holding to her breast the old kind of world, one that she knew in her heart could not remain, and she was holding it and pleading, never to let her go.
β
β
Kazuo Ishiguro (Never Let Me Go)
β
For a great many people, the evening is the most enjoyable part of the day. Perhaps, then, there is something to his advice that I should cease looking back so much, that I should adopt a more positive outlook and try to make the best of what remains of my day. After all, what can we ever gain in forever looking back and blaming ourselves if our lives have not turned out quite as we might have wished?
β
β
Kazuo Ishiguro (The Remains of the Day)
β
Memory, I realize, can be an unreliable thing; often it is heavily coloured by the circumstances in which one remembers, and no doubt this applies to certain of the recollections I have gathered here.Β
β
β
Kazuo Ishiguro (A Pale View of Hills)
β
And if these incidents now seem full of significance and all of a piece, it's probably because I'm looking at them in the light of what came later...
β
β
Kazuo Ishiguro (Never Let Me Go)
β
Its was one of those events which at a crucial stage in one's development arrive to challenge and stretch one to the limit of one's ability and beyond, so that thereafter one has a new standard by which to judge oneself.
β
β
Kazuo Ishiguro (The Remains of the Day)
β
He chose a certain path in life, it proved to be a misguided one, but there, he chose it, he can say that at least. As for myself, I cannot even claim that. You see, I trusted. I trusted in his lorship's wisdom. All those years I served him, I trusted I was doing something worthwhile. I can't even say I made my own mistakes. Really - one has to ask oneself - what dignity is there in that?
β
β
Kazuo Ishiguro (The Remains of the Day)
β
It's all right. I'm not upset. After all, they were just things. When you've lost your mother and your father, you can't care so much about things, can you?
β
β
Kazuo Ishiguro (When We Were Orphans)
β
Sometimes,β she said, βat special moments like that, people feel a pain alongside their happiness.
β
β
Kazuo Ishiguro (Klara and the Sun)
β
But then suppose you stepped into one of those rooms,β he said, βand discovered another room within it. And inside that room, another room still. Rooms within rooms within rooms. Isnβt that how it might be, trying to learn Josieβs heart? No matter how long you wandered through those rooms, wouldnβt there always be others youβd not yet entered?
β
β
Kazuo Ishiguro (Klara and the Sun)
β
Mr Capaldi believed there was nothing special inside Josie that couldnβt be continued. He told the Mother heβd searched and searched and found nothing like that. But I believe now he was searching in the wrong place. There was something very special, but it wasnβt inside Josie. It was inside those who loved her.
β
β
Kazuo Ishiguro (Klara and the Sun)
β
It was like being given a maths problem when your brain's exhausted, and you know there's some far-off solution, but you can't work up the energy even to give it a go. Something in me just gave up.
β
β
Kazuo Ishiguro (Never Let Me Go)
β
How can old wounds heal while maggots linger so richly?
β
β
Kazuo Ishiguro (The Buried Giant)
β
How is it possible to hate so deeply for deeds not yet done?
β
β
Kazuo Ishiguro (The Buried Giant)
β
The giant, once well buried, now stirs. When soon he rises, as surely he will, the friendly bonds between us will prove as knots young girls make with the stems of small flowers.
β
β
Kazuo Ishiguro (The Buried Giant)
β
Are you still there, Axl?β
βStill here, princess.
β
β
Kazuo Ishiguro (The Buried Giant)
β
Perhaps one day, all these conflicts will end, and it won't be because of great statesmen or churches or organisations like this one. It'll be because people have changed. They'll be like you, Puffin. More a mixture. So why not become a mongrel? It's healthy.
β
β
Kazuo Ishiguro (When We Were Orphans)
β
Youβve got to enjoy yourself. The eveningβs the best part of the day. Youβve done your dayβs work. Now you can put your feet up and enjoy it. Thatβs how I look at it. Ask anybody, theyβll all tell you. The eveningβs the best part of the day.
β
β
Kazuo Ishiguro (The Remains of the Day)
β
β¦Itβs hard to appreciate the beauty of a world when one doubts its very validityβ¦.But Iβve long since lost all such doubts, Ono,β he continued. βWhen I am an old man, when I look back over my life and see I have devoted it to the task of capturing the unique beauty of that world, I believe I will be well satisfied. And no man will make me believe Iβve wasted my time.
β
β
Kazuo Ishiguro (An Artist of the Floating World)
β
When we lost something precious, and we'd looked and looked and still couldn't find it, then we didn't have to be completely heartbroken. We still had that last bit of comfort, thinking one day, when we were grown up, and we were free to travel the country, we could always go and find it again in Norfolk.
β
β
Kazuo Ishiguro (Never Let Me Go)
β
Look at all the Eastern writers who've written great Western literature. Kazuo Ishiguro. You'd never guess that The Remains of the Day or Never Let Me Go were written by a Japanese guy. But I can't think of anyone who's ever done the reverse-- any Westerner who's written great Eastern literature. Well, maybe if we count Lawrence Durrell - does the Alexandria Quartet qualify as Eastern literature?"
"There is a very simple test," said Vikram. "Is it about bored, tired people having sex?"
"Yes," said the convert, surprised.
"Then it's western.
β
β
G. Willow Wilson (Alif the Unseen)
β
And what made these heart-to-hearts possible--you might even say what made the whole friendship possible during that time--was this understanding we had that anything we told each other during these moments would be treated with careful respect: that we'd honor confidences, and that no matter how much we rowed, we wouldn't use against each other anything we'd talked about during those sessions.
β
β
Kazuo Ishiguro (Never Let Me Go)
β
A man who aspires to rise above the mediocre, to be something more than the ordinary, surely deserves admiration, even if he fails and loses a fortune on account of his ambitions
(...)
if one has failed only where others have not had the courage or will to try, there is consolation - indeed, deep satisfaction - to be gained from his observation when looking back over one's life.
#Page no.134
β
β
Kazuo Ishiguro (An Artist of the Floating World)
β
Our generation still carry the old feelings. A part of us refuses to let go. The part that wants to keep believing thereβs something unreachable inside each of us. Something thatβs unique and wonβt transfer. But thereβs nothing like that, we know that now. You know that. For people our age itβs a hard one to let go.
β
β
Kazuo Ishiguro (Klara and the Sun)
β
A few minutes later, he said suddenly: 'Kath, can we stop? I'm sorry, I need to get out a minute.'
...I could make out in the mid-distance, near where the field began to fall away, Tommy's figure, raging, shouting, flinging his fists and kicking out. I caught a glimpse of his face in the moonlight, caked in mud and distorted with fury, then I reached for his failing arms and held on tight. He tried to shake me off, but I kept holding on, until he stopped shouting and I felt the fight go out of him. Then I realised he too had his arms around me. And so we stood together like that, at the top of the field, for what seemed like ages, not saying anything, just holding each other, while the wind kept blowing and blowing at us, tugging our clothes, and for a moment, it seemed like we were holding onto each other because that was the only way to stop us being swept away into the night.
β
β
Kazuo Ishiguro (Never Let Me Go)
β
Yet are you so certain, good mistress, you wish to be free of this mist? Is it not better some things remain hidden from our minds?"
"It may be for some, father, but not for us. Axl and I wish to have again the happy moments we shared together. To be robbed of them is as if a thief came in the night and took what's most precious from us."
"Yet the mist covers all memories, the bad as well as the good. Isn't that so, mistress?"
"We'll have the bad ones come back too, even if they make us weep or shake with anger. For isn't it the life we've shared?
β
β
Kazuo Ishiguro (The Buried Giant)
β
But that doesn't mean to say, of course, there aren't occasions now and then - extremely desolate occasions - when you think to yourself: 'What a terrible mistake I've made with my life.' And you get to thinking about a different life, a better life you might have had. For instance, I get to thinking about a life I may have had with you, Mr. Stevens. And I suppose that's when I get angry about some trivial little thing and leave. But each time I do, I realize before long - my rightful place is with my husband. After all, there's no turning back the clock now. One can't be forever dwelling on what might have been. One should realize one has as good as most, perhaps better, and be grateful.
β
β
Kazuo Ishiguro (The Remains of the Day)
β
In any case, while it is all very well to talk of 'turning points', one can surely only recognise such moments in retrospect. Naturally, when one looks back to such instances today, they may indeed take the appearance of being crucial, precious moments in one's life; but of course, at the time, this was not the impression one had. Rather, it was as though one had available a never-ending number of days, months, years in which to sort out the vagaries of one's relationship with Miss Kenton; an infinite number of further opportunities in which to remedy the effect of this or that misunderstanding. There was surely nothing to indicate at the time that such evidently small incidents would render whole dreams forever irredeemable.
β
β
Kazuo Ishiguro (The Remains of the Day)
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It is sometimes said that butlers only truly exist in England. Other countries, whatever title is actually used, have only manservants. I tend to believe this is true. Continentals are unable to be butlers because they are as a breed incapable of the emotional restraint which only the English race are capable of. Continentals - and by and large the Celts, as you will no doubt agree - are as a rule unable to control themselves in moments of a strong emotion, and are thus unable to maintain a professional demeanour other than in the least challenging of situations. If I may return to my earlier metaphor - you will excuse my putting it so coarsely - they are like a man who will, at the slightest provocation, tear off his suit and his shirt and run about screaming. In a word, "dignity" is beyond such persons. We English have an important advantage over foreigners in this respect and it is for this reason that when you think of a great butler, he is bound, almost by definition, to be an Englishman.
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Kazuo Ishiguro (The Remains of the Day)