Explore how Kazuo Ishiguro presents the relationship between Stevens and his father in 'The Remains of the Day'

The relationship between the protagonist of The Remains of the Day, Stevens, and his father, is presented as complex and distant by Kazuo Ishiguro in a variety of different ways. Formal and sparse dialogue in scenes between them is used to convey their emotional distance. Ishiguro also ensures that the two exclusively focus on the professional when talking to each other, conveying the extremely restrained character of their relationship. The Remains of the Day makes use of temporal disjunction, interspersing accounts of Stevens’ present journey with scenes from his past. Through the pace and tone of the stories that Stevens remembers about his father, Ishiguro suggests another aspect to their relationship; that Stevens was in awe of his father and respected him greatly. And in a one notable instance, Ishiguro presents Stevens crying about his father. Stevens' restraint seems to crumble at this point, and his true emotions of love and sadness are revealed. This episode marks a rare occasion during which Ishiguro has Stevens break his usual tightly controlled prose to reveal the great depth of feeling beneath. One important aspect of the relationship between Stevens and his father is an emotional distance between them. This is communicated by restraint with which Ishiguro infuses his description of Stevens hearing about his father’s death and seeing his body. . On hearing the news from Miss Kenton, Stevens simply remarks “I see”, and when Miss Kenton says that she wishes she had something to say Stevens replies “there’s no need Miss Kenton”. Stevens’ reaction is reserved and considered, and Ishiguro’s dialogue in this instance is sparse, with absolutely no excess of emotion. The sparseness of Stevens’ reaction is sustained when he enters his father’s sick room. On seeing his dying father, Stevens comments ‘this is most distressing. Nevertheless, I must return downstairs.’ The formal register of ‘distressing’ and ‘Nevertheless’, coupled with the desperation to escape inherent in the rigidity of ‘must’ build a sense of a man ill at ease, and ill- equipped to deal with his feelings. Ishiguro’s use of emotionless, pared back dialogue in Stevens’ reaction to his father’s illness and death is one aspect that contributes to his presentation of an unemotional relationship.