クッキーの詳細の閉じる

このサイトでは、クッキーの使用しています。 クッキーのついて詳しく説明します。

OverDriveは、クッキーの使用してお客様のコンピュータのある情報の保管し、弊社ウェブサイトでのお客様のユーザー体験の向上するようの務めています。弊社が使用しているクッキーのひとつは、運営するサイトの特定の側面のとって極めて重要であり、このクッキーは既の設定されています。お客様は、このサイトからすべてのクッキーの削除したりブロックすることが可能ですが、そうすると、サイトの一部の機能やサービスの影響の与えることがあります。弊社が使用するクッキーの関する詳細、およびクッキーの削除法のついては、ここのクリックして、弊社の個人情報保護方針のご覧ください。

お客様が続行の希望しない場合は、ここのクリックして、このサイトの終了してください。

通知の非表示のする

  メイン・ナビ
The Unconsoled
The Unconsoled の表紙
The Unconsoled
著者 Kazuo Ishiguro
借りる
From the universally acclaimed author of The Remains of the Day comes a mesmerizing novel of completely unexpected mood and matter—a seamless, fictional universe, both wholly unrecognizable and familiar. When the public, day-to-day reality of a renowned pianist takes on a life of its own, he finds himself traversing landscapes that are by turns eerie, comical, and strangely malleable.
From the universally acclaimed author of The Remains of the Day comes a mesmerizing novel of completely unexpected mood and matter—a seamless, fictional universe, both wholly unrecognizable and familiar. When the public, day-to-day reality of a renowned pianist takes on a life of its own, he finds himself traversing landscapes that are by turns eerie, comical, and strangely malleable.
提供可能なフォーマット-
  • OverDrive Read
言語:-
部数-
  • 貸出可能:
    1
  • 保管部数:
    1
レベル-
  • ATOSレベル:
  • Lexile指数:
  • 関心レベル:
  • 文章難易度:

あなたへのおすすめ

引用-
  • Chapter One

    The taxi driver seemed embarrassed to find there was no one-not even a clerk behind the reception desk-waiting to welcome me. He wandered across the deserted lobby, perhaps hoping to discover a staff member concealed behind one of the plants or armchairs. Eventually he put my suitcases down beside the elevator doors and, mumbling some excuse, took his leave of me.

    The lobby was reasonably spacious, allowing several coffee tables to be spread around it with no sense of crowding. But the ceiling was low and had a definite sag, creating a slightly claustrophobic mood, and despite the sunshine outside the light was gloomy. Only near the reception desk was there a bright streak of sun on the wall, illuminating an area of dark wood panelling and a rack of magazines in German, French and English. I could see also a small silver bell on the reception desk and was about to go over to shake it when a door opened somewhere behind me and a young man in uniform appeared.

    'Good afternoon, sir,' he said tiredly and, going behind the reception desk, began the registration procedures. Although he did mumble an apology for his absence, his manner remained for a time distinctly off-hand. As soon as I mentioned my name, however, he gave a start and straightened himself.

    'Mr Ryder, I'm so sorry I didn't recognise you. Mr Hoffman, the manager, he was very much wanting to welcome you personally. But just now, unfortunately, he's had to go to an important meeting.'

    'That's perfectly all right. I'll look forward to meeting him later on.'

    The desk clerk hurried on through the registration forms, all the while muttering about how annoyed the manager would be to have missed my arrival. He twice mentioned how the preparations for 'Thursday night' were putting the latter under unusual pressure, keeping him away from the hotel far more than was usual. I simply nodded, unable to summon the energy to enquire into the precise nature of 'Thursday night'.

    'Oh, and Mr Brodsky's been doing splendidly today,' the desk clerk said, brightening. 'Really splendidly. This morning he rehearsed that orchestra for four hours non-stop. And listen to him now! Still hard at it, working things out by himself.'

    He indicated the rear of the lobby. Only then did I become aware that a piano was being played somewhere in the building, just audible above the muffled noise of the traffic outside. I raised my head and listened more closely. Someone was playing a single short phrase-it was from the second movement of Mullery's Verticality-over and over in a slow, preoccupied manner.

    'Of course, if the manager were here,' the desk clerk was saying, 'he might well have brought Mr Brodsky out to meet you. But I'm not sure . . .' He gave a laugh. 'I'm not sure if I should disturb him. You see, if he's deep in concentration . . .'

    'Of course, of course. Another time.'

    'If the manager were here . . .' He trailed off and laughed again. Then leaning forward, he said in a low voice: 'Do you know, sir, some guests have had the nerve to complain? About our closing off the drawing room like this each time Mr Brodsky requires the piano? It's amazing how some people think! Two different guests actually complained to Mr Hoffman yesterday You can be sure, they were very quickly put in their place.'

    'I'm sure they were. Brodsky, you say.' I thought about the name, but it meant nothing to me. Then I caught the desk clerk watching me with a puzzled look and said quickly: 'Yes, yes. I'll look forward to meeting Mr Brodsky in good time.'

    'If only the manager were here, sir.'

    'Please don't worry. Now if that's all, I'd very much appreciate . . .'

    'Of course,...

著者について-
  • Kazuo Ishiguro is the 2017 winner of the Nobel Prize in Literature. His work has been translated into more than 40 languages. Both The Remains of the Day and Never Let Me Go have sold more than 1 million copies, and both were adapted into highly acclaimed films. Ishiguro's other work includes The Buried Giant, Nocturnes, A Pale View of the Hills, and An Artist of the Floating World.
レビュー-
  • Publisher's Weekly

    Starred review from October 2, 1995
    With this stunning new novel, cast in the form of a postmodern nightmare, Ishiguro tells a powerful story in which he once again exploits a narrator's utter lack of self-knowledge to create a devastating deadpan irony. A celebrated concert pianist identified only as Mr Ryder arrives at an unnamed European (seemingly Germanic) city not only to give a concert but also, it seems, to address the townspeople and help them surmount a communal sense of crisis that stems from the city's inability to nurture a musical artist of outstanding creative talent. Strangely, the economic, social and psychic health of the community depends on its regaining its self-image in the wake of a dreadful past mistake, when the city fathers lionized a musician with the ``wrong'' artistic values. Ryder intuits this situation gradually, for he is curiously disoriented; he can't really remember what he's supposed to be doing there. In fact, through Ryder's confused perceptions, the reader is immediately plunged into a surrealistic landscape that has the eerie unpredictability, claustrophobic atmosphere and strange time sequences of a dream. Everyone in this town presents a false image to the world. Each person Ryder meets addresses him with fawning obsequiousness and asks him for a small favor which turns out to be an egregious intrusion into his time. Yet Ryder, infused with an inflated sense of mission, feels a need to console them: ``People need me. I arrive in a place and find terrible problems, and people are so grateful I've come.'' Although he initially thinks he's a stranger in the city, it slowly becomes obvious that he's been here before. In fact, he has been the lover of a woman called Sophie whose little boy, Boris, in many ways replays the pivotal events of Ryder's own life. With dream logic, many of Ryder's childhood friends from England turn up in this inhospitable place, and it becomes obvious that most events are replicas of ones that have occurred before or that fulfill Ryder's fears about the future. As in Ishiguro's previous books (The Remains of the Day, etc.), almost every turn of the plot concerns a failure of communication and a stifling of emotional responses. Children are profoundly wounded by their self-absorbed and insensitive parents; lovers alienate each other across an emotional abyss. The culture-obsessed inhabitants of the city don't recognize true talent when it appears; they disapprove of creativity when it doesn't fit their expectations. Sustaining the nightmarish atmosphere of this tale--its tone alternately sinister and farcical--for more than 500 pages is a tricky business, especially since all the characters express themselves in long, dense monologues. Yet, so adroit is Ishiguro in maintaining suspense that one is as ensnared in the nightmare as is Ryder. The story seems to be a journey through life: its purpose never entirely clear, its events capricious and inexplicable, its destination undoubtedly ``the vast, dark, empty space'' of the soul's extinction. 75,000 first printing; BOMC and QPB selections.

  • The New Yorker "A work of great interest and originality.... Ishiguro has mapped out an aesthetic territory that is all his own...frankly fantastic [and] fiercer and funnier than before."
作品情報+
  • 出版社
    Knopf Doubleday Publishing Group
  • OverDrive Read
    配信開始日(新しい順):
デジタル著作権の情報+
  • 印刷またはコピーを制限・禁止するために、出版業者が要求する著作権保護(DRM)がこの作品に適用される場合があります。ファイルの共有や転送は禁止されています。この教材へのアクセス権は、貸出期間の終了時に失効します。このコンテンツに適用される条件については、著作権保護された教材に関する重要なお知らせをご覧ください

Status bar:

貸し出し制限の達しました

本棚 ページの移動して、作品の管理してください。

Close

この作品は既の貸し出しています

本棚の移動しますか?

Close

推薦制限の達しました

お客様が一度の推薦可能な作品数の達しました。推薦可能な作品は、1 日ごとの99冊までです。

Close

この作品のリクエストするためのサインインする

デジタルコレクションのこの作品の追加検討するよう、あなたの図書館へのリクエストする

Close

詳細情報

Close
Close

貸し出しの制限

利用状況は、図書館の予算の合わせて毎日変化します。

は、 日間貸し出しが可能です。.

再生が開始されると、 時間作品の表示条件ことができます。

Close

権限

Close

オーバードライブのブのブのブ リード形式のこの電子ブックは、ブラウザで読書中のプロのナレーターが読み上げます。詳細はここの参照してください

Close

貸出待ち

貸出待ち人数:


Close

制限付き

いくつかのフォーマットオプションが無効となりました。 このネットワーク外で追加のダウンロードオプションがあるかもしれません。

Close

貸出冊数の上限になりました。

この作品を借りるには、 本棚からどれか他の作品を返却する必要があります。

Close

貸し出し制限の上限の達しました

集中的の多くの作品が貸し出し及び返却されています。

数日後の改めてお試しくださいサポートのご連絡ください.

Close

あなたはこの作品のすでの借りています。 アクセスするのは、本棚 ページの戻ってください。

Close

この作品はお客様のカードタイプのは対応しておりません。不具合が発生したと思われた場合はサポートのご連絡ください

Close

予期せぬエラーが発生しました

この問題が続く場合は サポートのご連絡ください.

Close

Close

注記: バーンズ・アンド・ノーブルはデバイスのリストの随時変更する場合があります。

Close
今すぐ購入する
図書館のクレジット取得に協力する。
The Unconsoled
The Unconsoled
Kazuo Ishiguro
この作品をお客様ご自身で購入する際の小売業者を下から選択してください。
この購入の一部が、あなたの図書館をサポートします.
Close
Close

この号は貸し出しできません。新しい号が発行された時の借りるようのしてください。

Close
Barnes & Noble Sign In |   サインイン

次のページのあるお客様のライブラリアカウントのサインインするようの指示されます。

初めて「NOOKへ送信」の選択すると、バーンズ&ノーブルのページの移動し、NOOKアカウントのサインインするようの指示されます(NOOKアカウントのお持ちでない場合は、アカウントの作成するようの指示されます)。NOOKアカウントのサインインすると、NOOKアカウントとお客様のライブラリアカウントがリンクされます。その後「NOOKへ送信」の選択すると、定期刊行物が自動的のNOOKアカウントの送信されます。

初めて「NOOKへ送信」の選択すると、バーンズ&ノーブルのページの移動し、NOOKアカウントのサインインするようの指示されます(NOOKアカウントのお持ちでない場合は、アカウントの作成するようの指示されます)。NOOKアカウントのサインインすると、NOOKアカウントとお客様のライブラリアカウントがリンクさられます。この後「NOOKへ送信」の選択すると、定期刊行物は自動的のNOOKアカウントの送信されます。

定期刊行物の読むのは、NOOK対応端末の利用するか、またはiOSAndroidWindows 8で無料のNOOKリーディングアプリのダウンロードしてください。

受諾して続行キャンセル