Abstract
The world of Ishiguro's The Unconsoled is caught in a strange stasis where history is both too present and absent altogether, and where the narrator-protagonist is both father and son, and also neither at the same time. This essay examines Ishiguro's use of tropes of filiation and patrimony, and argues that these frustrated genealogies allude to the long history of the novel genre and allegorize the impossibility of taking up this legacy in the wake of modernism and associated traumatic European histories.
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