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Editorial Note

Kazuo Ishiguro is a writer who both invites superlative assessments and confounds them. His stories have been regularly described as "heartbreaking"; his prose is acclaimed for its "breathtaking style" and "beauty"; and yet, with regard to the works published since The Remains of the Day at least, such adjectives seem inconsequential. For all the proliferating unhappiness in his novels, it is not evident that they can confidently be described as "sad"; nor that his "style" is anything other than the effect of an attempt to deflate all forms of sentiment. If there is pathos in Ishiguro's works, it seems to exist in the gap between his characters' mostly laudable intentions and their results; ...

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