Quotes by: Kazuo Ishiguro
The world is crawling with authors touring now. They're like performance artists.
Screenplays I didn't really care about, journalism, travel books, getting my writer friends to write about their dreams or something. I just determined to write the books I had to write.
Now when I look back to the Guildford of that time, it seems far more exotic to me than Nagasaki.
I was a little concerned that a lot of people thought I wrote Merchant Ivory movies. I also thought if I was ever going to write something strange and difficult, that was the time.
I couldn't speak Japanese very well, passport regulations were changing, I felt British, and my future was in Britain. And it would also make me eligible for literary awards. But I still think I'm regarded as one of their own in Japan.
Memory is quite central for me. Part of it is that I like the actual texture of writing through memory. I like the atmospheres that result if episodes are narrated through the haze of memory.
I discovered that my imagination came alive when I moved away from the immediate world around me.
To some extent, at least, you have to shield children from what you know and drip-feed information to them. Sometimes that is kindly meant, and sometimes not.
I'm very fortunate in that I don't have money problems. I have lunch with my wife at home. I don't have to commute, so I have much more time with my family.
I spent ages figuring out things like viewpoint, how you tell the story, and so on.
There's something peculiar about writing fiction. It requires an interesting balance between seeing the world as a child and having the wisdom of a middle-aged person. The further you get from childhood and the experience of the teenage years, the greater the danger of losing that wellspring.
There's something very misleading about the literary culture that looks at writers in their 30s and calls them 'budding' or 'promising', when in fact they're peaking.
Why would somebody just read a novel when they can see it on TV or in the cinema? I really have to think of the things fiction can do that film can't and play to the strengths of the novel. With a novel, you can get right inside somebody's head.
Our family arrived in England in 1960. At that time I thought the war was ancient history. But if I think of 15 years ago from now, that's 1990, and that seems like yesterday to me.
I had the sense when I looked back over my life I would actually see a mess of decisions, a few of which I had thought about, some of which I had sort of stumbled on and many that I had no control over whatsoever.
I've always had a great fondness for English detective fiction such as Agatha Christie and Dorothy Sayers.
I work very regular hours, roughly 9 to 5:30. I think I have it much easier than a lot of parents. I just sit at home, I have a very flexible timetable, and I'm very fortunate in that I don't have money problems. I have lunch with my wife at home. I don't have to commute, so I have much more time with my family.
I don't hang out with the glitteringly successful people; I hang out with people who've been friends for many years, and to some extent I feel my worldly success is a bit uncomfortable for them.
If you look at my last songs and first short stories, there is a real connection between them.
I started as a songwriter and wanted to be like Leonard Cohen. I've always seen my stories as enlarged songs.
This is the big question that we all have about our children: How much, how soon, do we tell our children the less comfortable facts about the world they're going to inherit?
When you become a parent, or a teacher, you turn into a manager of this whole system. You become the person controlling the bubble of innocence around a child, regulating it.
I like the fact that by mimicking the way memory works, a writer can actually write in a fluid way - one solid scene doesn't have to fall on another solid scene, you can just have a fragment that then dovetails into another one that took place 30 years apart from it.