The Buried Giant by Kazuo Ishiguru

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GIANTThe Buried Giant by Kazuo Ishiguru features themes of memory and forgetting playing out against the type of vague backdrop so beloved of the author.

A great mist has descended on the populace of ancient Britain obscuring the memories of the indigenous Britons and their Saxon neighbours alike.

The novel follows the fortunes of a pair of pilgrims, Beatrice and Axl. Both native Britons are haunted by their lack of memories.

They inhabit a dreamlike post-Roman Britain which is populated by half-imagined monsters such as ogres, pixies and an amnesia inducing dragon.

Determined to regain their past, the pair resolve to undertake a journey to their son’s village where they hope they will be welcomed and find refuge from the mist.

Along the way the couple cross paths with some fellow wayfarers, an exiled Saxon boy who carries a terrible wound, a warrior whose skilful swordplay is matched only by his impeccable politeness, and an aged knight in rusting armour accompanied by his clapped out steed.

These characters, seemingly drawn together by chance, are niggled by a sense that they may know each other. As is often the case with quests, the journey soon evolves into something beyond the characters’ original intentions.

Much controversy, and of course publicity, has greeted Ishiguru’s disavowal of the fantasy genre, with heavy-weights like Ursula Le Guin giving their two cents about the author’s perceived sniffiness towards fantasy.

While I do find more ‘literary writers’ resistance to being identified as having produced genre fiction amusing and somewhat precious, this time I feel myself siding with Ishiguru.

The Buried Giant is not a fantasy novel. Readers of the novel can, and will, argue the toss endlessly, but one particular point disqualified The Buried Giant as fantasy for me. That was the seemingly intentional unreality of its supernatural beings.

To my mind, fantasy seeks to convince us of the literal reality of its monsters. Not that monsters in fantasy are necessarily without a metaphorical dimension, but that the metaphorical dimension functions alongside a sense of the reality of the monster within the text.

When the Nazgûl were hunting Frodo in The Lord of The Rings I could feel them breathing, if ring-wraiths do indeed breathe, down the back of my neck as they mercilessly sought their quarry. The danger they represented in and of themselves seemed very real to me as a reader. In The Buried Giant the fantastical beings are more hallucinatory and less consequential than in fantasy novels.

Some readers have reacted with frustration at the marginal role which Ishiguru has granted the supernatural creatures, perhaps agreeing with Chekhov’s maxim regarding guns:

“Remove everything that has no relevance to the story. If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off. If it’s not going to be fired, it shouldn’t be hanging there.” The rifles being ogres in this instance.

I for one found these creatures all the more intriguing for their elusiveness and lack of consequence in the story.The monsters in the novel act as beautiful scenery which helps to construct a pleasing  phantasmagoria for the characters to inhabit. I found it liberating to walk by ogres, admiring them in passing, without dwelling too much on them.

The Buried Giant borrows some of the clothing of the fantasy genre but underneath its surface lies a very different beast.

The fantasy elements are a backdrop for the human drama central to the story. Of course fantasy can feature human drama, but in The Buried Giant the novel is almost exclusively concerned with its themes of collective memory, psychic repression and the nature of love and forgiveness. The dragons and sword fights really don’t matter much at all, whereas in fantasy proper, for better or worse, they do.

Literary references ranging from The Canterbury Tales and Sir Gawain and the Green Knight to Greek myth are interspersed throughout the tale. These references and fragments contribute to building the novel’s peculiar  kaleidoscopic atmosphere.

I am a big fan of Kazuo Ishiguru’s work and enjoyed The Buried Giant. Perhaps my familiarity with his previous work inoculated me against the disappointment others may have felt with the book.

I never expected balls to the wall fantasy from Mr.Ishiguru, but rather restrained melancholic prose and bitter-sweet musings on memory and forgetting. All of which I found present in abundance.

While The Buried Giant is certainly not the author’s strongest novel, it still has enough going on in it to warrant a reader’s attention. It seems to be a novel which pushed the writer outside of his comfort zone.  The result is this wilfully odd genre bender which is hard to pigeon-hole, and as such worth a look.

I’ve included the link to the original article which sparked the fantasy/not fantasy furore below: http://www.nytimes.com/2015/02/20/books/for-kazuo-ishiguro-the-buried-giant-is-a-departure.html?_r=0