“You’ve long set your heart against it, Axl, I know. But it’s time now to think on it anew. There’s a journey we must go on, and no more delay…”
The Buried Giant begins as a couple set off across a troubled land of mist and rain in the hope of finding a son they have not seen in years.
Sometimes savage, often intensely moving, Kazuo Ishiguro’s first novel in nearly a decade is about lost memories, love, revenge, and war.
Reading Kazuo Ishiguro’s latest novel The Buried Giant, a fablelike quest story set in the decades after King Arthur’s reign, I was struck by a desire for something I never wanted to see again after receiving my high school diploma: a reading guide. I wanted an old-fashioned English class worksheet full of questions that used to make me rage (What does the titlesymbolize? Can we describe the novel as a modern-dayallegory? Why or why not?). This vintage wish is not masochistic but simply necessary: there is allegory and symbolism and motifs and all sorts of nitty-gritty literary stuff to unpack here, so much so that I needed a guide. Or maybe just a fellow reading discussion partner to accompany me.
Alone, as a piece of storytelling, The Buried Giant fails. As a motor of thought, however, as a tool to provoke meditation, it succeeds. Which, using my personal calculator, says that as a literary work, it fails overall. The problem here is that the story doesn’t stand up. Essentially, Axl and Beatrice set off on a journey to find their son’s village. Along the way they meet a Saxon knight and start to grapple with the “mist,” no mere British meteorological phenomenon but a dastardly (or beneficent?) haze that fades the memories of all the medieval inhabitants. There’s also a dragon, of course.
Normally I’d be quite keen on any “literary” author’s attempt to retell legend, but the result here is flat, from the plot to the dialogue. (Brace yourself: one of the protagonist’s repeatedly calls his wife “princess.” And by repeatedly I mean every.single.time he has dialogue.) There’s excellent and timely stuff here about grudges and forgiveness, both after a lover’s quarrel or a bloody war, and if moving on really means moving forward, which means leaving the past firmly in the past. But the dull story inches toward an ending that we can predict, even if the final pages are on par with other masterful Ishiguro endings à la Never Let Me Go and The Remains of the Day.
The Buried Giant is evidence of Ishiguro’s continued fascination with memory. Is memory valuable or nefarious? Does it push us onward or pull us backward? Are we the lives we’re living or merely the lives we’ve lived? He’s normally a maestro with these topics, but it didn’t shine through here. With Ishiguro, however, my memory is merciful and short.