The film version of A Pale View of Hills, the Nobel-winner’s tale of loss, exile and a pregnant radioactive bride, is about to premiere at Cannes. The writer explains why this story is so personal to him
Kazuo Ishiguro still remembers where he was when he wrote A Pale View of Hills: hunched over the dining room table in a bedsit in Cardiff. He was in his mid-20s then; he is 70 now. “I had no idea that the book would be published, let alone that I had a career ahead of me as a writer,” he says. “[But] the story remains an important part of me, not only because it was the start of my novel-writing life, but because it helped settle my relationship with Japan.”
First published in 1982, A Pale View of Hills is a charged family story that connects England with Japan and the present with the past. Now along comes a film version to provide a new frame for the mystery, a fresh view of the hills. Scripted and directed by Kei Ishikawa, it is a splendidly elegant and deliberate affair; a trail of carefully laid breadcrumbs that link a mothballed home in early 80s suburbia with wounded, resilient postwar Nagasaki. Middle-aged Etsuko is long settled in the UK and haunted by the fate of her displaced eldest child. Her younger daughter, Niki, is a budding writer, borderline skint and keen to make a name for herself. Niki has a chunky tape-recorder and plenty of time on her hands. She says, “Mum, will you tell me about your lives before, in Japan?”
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