This chapter addresses two works set in post-war Japan: Kazuo Ishiguro’s short story ‘The Summer After the War’ (1983) and novel An Artist of the Floating World (1986). It begins with a survey of various forces (legal, social, and political) which convinced contemporary commentators that moral sense had been left bewildered and judgements rendered ephemeral by the events of the Second World War and early Cold War, and then goes on to trace how this crisis of faith influenced the style and ethical consciousness of Ishiguro’s early fiction. Together ‘The Summer After the War’ and An Artist of the Floating World display a powerful interest in those Japanese citizens who flourished in a society operating with transient and ultimately dangerous values, and whose lives were threatened and emptied of meaning following their nation’s defeat. The chapter contains close readings of both texts and shows how subtle stylistic features contribute to their presentation of individuals endeavouring, through imaginative acts of narration, to attain absolution and stability in the face of changing moral norms and shifting geopolitical alliances.

This chapter considers the question of Ishiguro and Japan by discussing the author’s engagement with Japanese history in An Artist of the Floating World. Ishiguro says that he is not interested in documenting detailed history in his novels: rather, history is little more than a general background against which characters’ psychological dramas are staged. Set in Japan immediately after the end of the Pacific War, Ishiguro’s second novel is intended to be no exception. However, in view of the way that the novel thematizes such a sensitive issue as artists’ war responsibility, it is important to know about the historical reality and to understand how Ishiguro adapts and fictionalizes it. The chapter focuses on the way artists’ war responsibility was debated in post-war Japan and places Masuji Ono, the narrator Ishiguro created, in that historical context. In the process, Ishiguro’s particular concerns are thrown into relief. This kind of historical reading is necessary not least because problems of the period depicted by the novel haunt the Japanese even now.

While not typically considered a postcolonial writer, Ishiguro’s work often engages with the question of British and Japanese imperialism and colonialism, either directly in works such as An Artist of the Floating World, When We Were Orphans, and the Ishiguro-scripted film The White Countess, or through subtle allusion to the American post-war occupation of Japan in A Pale View of Hills or the Suez Crisis in The Remains of the Day. Writing from the ‘inside’, from the perspective of individuals who are unwittingly complicit in the structures of oppression entailed by colonial rule, Ishiguro offers complex and unsettlingly sympathetic depictions of the psychological denials and displacements that allow individuals to operate within these regimes. Focusing on An Artist of the Floating World, When We Were Orphans, and The White Countess, this chapter responds to the ways in which Ishiguro’s fiction attends to the relationship between individual and collective responsibility and historico-political forces.

This chapter considers the place of Ishiguro’s work within the novel tradition. It traces Ishiguro’s dialogue with the novel form, as this extends from Artist of the Floating World to Klara and the Sun, in order to examine the means by which he adapts the tradition to his own ends. The chapter begins and concludes with a reading of Klara and the Sun that focuses on the role of imitation. How far can Klara, the ‘artificial friend’, be regarded as a copy of an existing form of life, and how far does she manifest a new mode of being? And how does Ishiguro adapt the apparatuses of the novel in order to explore the difference, between the imitation of an existing life and the creation, in prose, of an unprecedented one, a fictional life without a model in the world?