Tours, retours et détours sont l'estampille de l'œuvre de Kazuo Ishiguro. Cette étude se propose d'explorer l'hétérogénéité des rétrofictions de Kazuo Ishiguro Dans une perspective narrative, psychanalytique, ontologique, culturelle, historique, linguistique et littéraire. La première partie examine les diachronies, les ambigui͏̈tés et les stratégies de diversion/subversion inhérentes au genre de la confession. La seconde partie constitue un inventaire pathologique des traumatismes et des troubles du comportement liés au deuil de l'enfance. La troisième partie est consacrée à l'aimantation qu'exerce le passé sur Kazuo Ishiguro, sous diverses facettes : l'exil, la nostalgie, la problématique de l'histoire et l'intertextualité. Kazuo Ishiguro ne se contente pas de revisiter et de réviser le passé, mais il chine son double héritage anglais et japonais en une partition perpetuum mobile, à la fois singulière et plurielle.

‘I have in vain tried to recover the lines from the palimpsest tablet of my memory.’Samuel Taylor Coleridge In several interviews, Kazuo Ishiguro has indicated the preservation of his early childhood memories as the umbilical key to his fiction: ‘I never properly said goodbye to Japan, only a temporary goodbye. For a long time, I simply assumed that we would return. Maybe, had they known it was forever, there would have been a more conscious holding on to Japan. Or a proper bereavement. But a...

Two roads diverged in a wood, and I —I took the one less traveled by,And that has made all the difference.Robert Frost, “The Road not Taken” We have all gone away;There is no one to tell our story. Now there is only leftgreat land, wounded. No bird may fly above ituntil our return.Cheran, “Apocalypse” Unlike rebuilding which merely designates the act of restoring or replacing what has been damaged or destroyed, reconstruction is a more comprehensive and complex transformative process combinin...

A sense of exile, of Joss of one’s home, homeland or birthplace is the hallmark of Kazuo Ishiguro’s works. These retrofictions in which orphaned protagonists keep turning and returning to the past to rake up its embers echo Kobayashi Hideo’s admission of homelessness: ‘lt is not so much that I do not know the country as I do not understand the notion of “birthplace,” or “first home””, or a “second home”—indeed, what home of any kind in fact is—where there is no memory there is no home. If a p...