Kazuo Ishiguro's literary reputation was established by three novels published over seven years: A Pale View of Hills won the Royal Society of Literature's Winifred Holtby Prize for the best first novel of 1982; An Artist of the Floating World won the...

"When I write a novel perhaps some part of me wants to offer in a book an experience that you can't get easily sitting in front of a cinema screen or a television screen," novelist Kazuo Ishiguro told Linda Richards in an interview for January magazine...

Never Let Me Go, by Kazuo Ishiguro. Alfred A. Knopf, 288 pages, $24.In prose as bland as institutional pudding, Kazuo Ishiguro has compiled an unsettling horror story. It's so constructed, or rigged, that it's only in the last 20 or so pages (with a rather...

'Tis the season for budding talent-just ask Jonathan Safran Foer, whose second novel, Extremely Loud and Incredibly Close (Houghton Mifflin), can't be far off and won't be quietly received: The adoring profile in the Feb. 27 New York Times Magazine raised the curtain on a...

Monica Ali is not a subscriber to the guest-worker school of fiction, the vaguely held assumption that what was born abroad should stick with and to its own kind. Like the rest of Europe, the pale Britannia Ms. Ali moved to as a child from...

Monica Ali is not a subscriber to the guest-worker school of fiction, the vaguely held assumption that what was born abroad should stick with and to its own kind. Like the rest of Europe, the pale Britannia Ms. Ali moved to as a child from...

In the following interview, which was conducted on April 2, 1990, Ishiguro discusses Japanese and British culture, perceptions of himself in each country, and how these perceptions have helped and hindered his career as a writer. Questions are posed by Vorda unless otherwise noted.

In the interview below, which was conducted on December 8, 1986, Ishiguro discusses Japanese and Western influences on his writing, his characters, and the writing process in his first two novels.

In the review below, Annan argues that in Ishiguro's first three novels he has brilliantly portrayed characters who are unable to see their own faults, evoking condemnation and pity.