Kazuo Ishiguro's Quotes

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'm always trying to make something that is impossible to film. 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.

I'm interested in memory because it's a filter through which we see our lives, and because it's foggy and obscure, the opportunities for self-deception are there. In the end, as a writer, I'm more interested in what people tell themselves happened rather than what actually happened.

I'm not at all interested in the brave who fight against the odds and win. I am interested in those who accept their lot, as that is what many people in the world are doing. They do their best in ghastly conditions.

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.

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.

My friends and I took songwriting very, very seriously. My hero was and still is Bob Dylan, but also people like Leonard Cohen and Joni Mitchell and that whole generation.

My wife is the most savage critic. She doesn't feel intimidated by my reputation. As far as she's concerned, she's just criticising a boyfriend who'd recently had a go at fiction. She can tell me to abandon whole novels.

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.

People aren't quite sure what it means when a book is a Booker Prize winner. They're not quite sure what is being recommended, what literary values it stands for, because every year it stands for something different.

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.

The book was at a reasonably high position on the New York Times... before I was in the country. I thought it would be an interesting experiment to see if my presence here would push it up or down.

There's a practical problem about time and energy, and a more subtle problem of what it does to a writer's head, to continually analyze why they write, where it all comes from, where it's going to.

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.

What is difficult is the promotion, balancing the public side of a writer's life with the writing. I think that's something a lot of writers are having to face. Writers have become much more public now.

When I got to 40 or so... 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.

When I write a novel, I want it to be completely different from a screenplay. I'm very conscious of the difference, and I want novels to work purely as novels. Otherwise I don't see how they'll survive - why don't we just all go to the movies or watch television.

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.

All children have to be deceived if they are to grow up without trauma.

There are things I am more interested in than the clone thing. How are they trying to find their place in the world and make sense of their lives? To what extent can they transcend their fate? As time starts to run out, what are the things that really matter?

As a writer, I'm more interested in what people tell themselves happened rather than what actually happened.

I like novelists who can create other interesting worlds.

I started as a songwriter and wanted to be like Leonard Cohen. I've always seen my stories as enlarged songs.