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From the winner of the Nobel Prize in Literature and author of the Booker Prize–winning novel The Remains of the Day comes an inspired sequence of stories as affecting as it is beautiful.
With the clarity and precision that have become his trademarks, Kazuo Ishiguro interlocks five short pieces of fiction to create a world that resonates with emotion, heartbreak, and humor. Here is a fragile, once famous singer, turning his back on the one thing he loves; a music junky with little else to offer his friends but opinion; a songwriter who inadvertently breaks up a marriage; a jazz musician who thinks the answer to his career lies in changing his physical appearance; and a young cellist whose tutor has devised a remarkable way to foster his talent. For each, music is a central part of their lives and, in one way or another, delivers them to an epiphany.
From the winner of the Nobel Prize in Literature and author of the Booker Prize–winning novel The Remains of the Day comes an inspired sequence of stories as affecting as it is beautiful.
With the clarity and precision that have become his trademarks, Kazuo Ishiguro interlocks five short pieces of fiction to create a world that resonates with emotion, heartbreak, and humor. Here is a fragile, once famous singer, turning his back on the one thing he loves; a music junky with little else to offer his friends but opinion; a songwriter who inadvertently breaks up a marriage; a jazz musician who thinks the answer to his career lies in changing his physical appearance; and a young cellist whose tutor has devised a remarkable way to foster his talent. For each, music is a central part of their lives and, in one way or another, delivers them to an epiphany.
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En raison de restrictions imposées par l'éditeur, la bibliothèque n'est pas en mesure d'acheter des exemplaires supplémentaires de ce titre et nous vous présentons toutes nos excuses si la liste d'attente est longue. N'oubliez pas de regarder s'il existe d'autres exemplaires, car d'autres éditions sont peut-être disponibles.
The morning i spotted Tony Gardner sitting among the tourists, spring was just arriving here in Venice. We’d completed our first full week outside in the piazza—a relief, let me tell you, after all those stuffy hours performing from the back of the cafe, getting in the way of customers wanting to use the staircase. There was quite a breeze that morning, and our brand-new marquee was flapping all around us, but we were all feeling a little bit brighter and fresher, and I guess it showed in our music.
But here I am talking like I’m a regular band member. Actually, I’m one of the “gypsies,” as the other musicians call us, one of the guys who move around the piazza, helping out whichever of the three cafe orchestras needs us. Mostly I play here at the Caffè Lavena, but on a busy afternoon, I might do a set with the Quadri boys, go over to the Florian, then back across the square to the Lavena. I get on fine with them all—and with the waiters too—and in any other city I’d have a regular position by now. But in this place, so obsessed with tradition and the past, everything’s upside down. Anywhere else, being a guitar player would go in a guy’s favour. But here? A guitar! The cafe managers get uneasy. It looks too modern, the tourists won’t like it. Last autumn I got myself a vintage jazz model with an oval sound-hole, the kind of thing Django Reinhardt might have played, so there was no way anyone would mistake me for a rock-and-roller. That made things a little easier, but the cafe managers, they still don’t like it. The truth is, if you’re a guitarist, you can be Joe Pass, they still wouldn’t give you a regular job in this square.
There’s also, of course, the small matter of my not being Italian, never mind Venetian. It’s the same for that big Czech guy with the alto sax. We’re well liked, we’re needed by the other musicians, but we don’t quite fit the official bill. Just play and keep your mouth shut, that’s what the cafe managers always say. That way the tourists won’t know you’re not Italian. Wear your suit, sunglasses, keep the hair combed back, no one will know the difference, just don’t start talking.
But I don’t do too bad. All three cafe orchestras, especially when they have to play at the same time from their rival tents, they need a guitar—something soft, solid, but amplified, thumping out the chords from the back. I guess you’re thinking, three bands playing at the same time in the same square, that would sound like a real mess. But the Piazza San Marco’s big enough to take it. A tourist strolling across the square will hear one tune fade out, another fade in, like he’s shifting the dial on a radio. What tourists can’t take too much of is the classical stuff, all these instrumental versions of famous arias. Okay, this is San Marco, they don’t want the latest pop hits. But every few minutes they want something they recognise, maybe an old Julie Andrews number, or the theme from a famous movie. I remember once last summer, going from band to band and playing “The Godfather” nine times in one afternoon.
Anyway there we were that spring morning, playing in front of a good crowd of tourists, when I saw Tony Gardner, sitting alone with his coffee, almost directly in front of us, maybe six metres back from our marquee. We get famous people in the square all the time, we never make a fuss. At the end of a number, maybe a quiet word will go around the band members. Look, there’s Warren Beatty. Look,...
Au sujet de l’auteur-
Kazuo Ishiguro is the author of six previous novels, including Never Let Me Go and The Remains of the Day, which won the Booker Prize and was adapted into an award-winning film. Ishiguro’s work has been translated into forty languages. In 1995 he received an Order of the British Empire for service to literature, and in 1998 was named a Chevalier de l’Ordre des Arts et des Lettres by the French government.
Critiques-
Each of the stories in Kazuo Ishiguro's first collection is told by a musician, and each explores the theme of music's idealism and life's harsh reality. This production uses four narrators to great effect: Mark Bramhall reads the first and last stories, deftly moving between the Eastern European and American accents of the characters. Kirby Heyborne's youthful voice is ideal for "Malvern Hills," which is told by a young guitarist-songwriter hoping to make it in London. The masterful Simon Vance shows again that he one of the best at moving into the register of female voices, while Lincoln Hoppe's languid delivery captures the humor of the title story without letting it slide into absurdity. This collection is brilliantly arranged, like a symphony in five movements. D.B. Winner of AudioFile Earphones Award (c) AudioFile 2010, Portland, Maine
July 27, 2009 This suite of five stories hits all of Ishiguro's signature notes, but the shorter form mutes their impact. In “Crooner,” Tony Gardner, a washed-up American singer, goes sloshing through the canals of Venice to serenade his trophy wife, Lindy. The narrator, Jan, is a hired guitar player whose mother was a huge fan of Tony, but Jan's experience playing for Tony fractures his romantic ideals. Lindy returns in the title story, which finds her in a luxury hotel reserved for celebrity patients recovering from cosmetic surgery. The narrator this time is Steve, a saxophonist who could never get a break because of his “loser ugly” looks. Lindy idly strikes up a friendship with Steve as they wait for their bandages to come off and their new lives to begin. In the final story, “Cellists,” an unnamed saxophonist narrator who, like Jan, plays in Venice's San Marco square, observes the evolving relationship of a Hungarian cello prodigy after he meets an American woman. The stories are superbly crafted, though they lack the gravity of Ishiguro's longer works (Never Let Me Go ; Remains of the Day ), which may leave readers anticipating a crescendo that never hits.
Frank Kermode, London Review of Books
"A brilliant new book . . . Art, its dangers, its pains and its gaiety [are] all topics seriously considered in this accomplished book."
Observer
" "Spellbinding . . . Each of these stories is heartbreaking in its own way, but some have moments of great comedy, and they all require a level of attention that, typically, Ishiguro's writing rewards . . . The final story [is] exquisite."
The Times
"By now it is clear that this exquisite stylist is serious in his pursuit of a minimal--perhaps even universal--mode of expression for the emotional experiences that define our lives as human. Nocturnes is a set of poised and playful reflections on the falling away of sentiment . . . These stories recall Ishiguro's best known novel, The Remains of the Day. In their surreal touches they resonate with The Unconsoled. And in their deceptively simple exploration of love and loss, they build on the achievement of Never Let Me Go."
Sunday Telegraph
"It is hardly surprising that a writer as resonant, and as emotionally pitch-perfect, as Kazuo Ishiguro should be so keen on music . . . [The title story's] set-up is so beautifully engineered that it left me simultaneously gasping in admiration and shaking with laughter."
Evening Standard
"These stories come up on you quietly, in Ishiguro's strangely weightless style [and] haunt you for days . . . A nocturne is a piece of music inspired by, or evocative of, the night . . . These little pieces could only be the work of a great composer."
Glasgow Herald
"Chopin is the composer most associated with the form [of the nocturne], bringing to it grace and beauty, fragility and poise, qualities conspicuous in this diverting collection of five stories by Kazuo Ishiguro . . . Serious as Ishiguro's intentions surely are, in these well-tempered, witty and droll stories he is more playful than he has ever been."
Daily Telegraph
"Ishiguro's volume has the quality of a song cycle, with recurring themes developed in different guises . . . They resonate long after the book is set aside."
The Irish Times
"It's hardly surprising that the arrival of a new Ishiguro book makes a reader eager to pounce on it . . . The quintet consists of first person narratives and each one is likeable, original and succeed in sustaining the reader to the final word . . . There are echoes of Somerset Maugham. But Ishiguro, the most literary of writers, is seldom derivative. [He is] a canny writer who is cool, poised and well capable of shifting directions and shaping surprises . . . Somehow he manages to say a great deal about the business of being alive."
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Each of the stories in Kazuo Ishiguro's first collection is told by a musician, and each explores the theme of music's idealism and life's harsh reality. This production uses four narrators to great effect: Mark Bramhall reads the first and last stories, deftly moving between the Eastern European and American accents of the characters. Kirby Heyborne's youthful voice is ideal for "Malvern Hills," which is told by a young guitarist-songwriter hoping to make it in London. The masterful Simon Vance shows again that he one of the best at moving into the register of female voices, while Lincoln Hoppe's languid delivery captures the humor of the title story without letting it slide into absurdity. This collection is brilliantly arranged, like a symphony in five movements. D.B. Winner of AudioFile Earphones Award (c) AudioFile 2010, Portland, Maine
