Published Paper Details:

Kazuo Ishiguro is renowned for his preoccupation with the fallibility of human memory. This paper examines how Ishiguro employs narrative unrealiability to explore the theme of guilt, trauma and identity in An Artist of the Floating World and When We Were Orphans. By analysing the protagonist Masuji Ono and Christopher Bank this study argues that Ishiguro uses the structure of "detective quest" and the "reminiscent diary" not to uncover objective truth but to illustrate the psychological mechanism of self- deception and the impossibility of fully reconciling personal history with collective national trauma. This research paper explores the intricate narrative technique of Nobel Laureate Kazuo Ishiguro, focusing on his use of unreliable first person narration , ''the texture of memory" and the blurring of historical reality in "An Artist of the Floating World(1986) and When We were Orphans (2000). This research paper provides a comprehensive analysis of the sophisticated narrative strategies employed by Nobel laureate Kazuo Ishiguro in his novels, An Artist Of the Floating World (1986) and When We were Orphans (2000). At the heart of Ishiguro's literary project is an obsession with the fallibility of human memory and psychological mechanism of self- shielding. The study argues that Ishiguro uses "unreliable - person narration" not merely as a structural trope, but as a profound exploration of how individual navigate the intersection of personal guilt and collective national trauma. By examining the protagonist Maxy Ono and Christopher Bank, the paper demonstrates how Ishiguro subverts established literary genres- the "reminiscent diary" and the "detective quest" to illustrate the impossibility of getting objective truth. The analysis delves into the technical nuances of Ishiguro's prose, specifically his use of a particular technique, a stylized, formal distance and cultural displacement. In An Artist of the Floating World, the narrative focus on the "texture of memory" where digression and rhetorical hesitation serve to obscure wartime culpability. In contrast, When we were orphan utilizes a shift from Victorian realism to hallucinatory surrealism to depict the disintegration of the traumatized psyche. Ultimately, this paper highlights that Ishiguro's narrative technique forces the reader to move beyond the text's literal meaning to engage with the underlying meaning of the "silence' and "blind spots'' of the narrator. Through this comparative study, it is revealed that for Ishiguro character, storytelling is a s defensive act of survival- a way to construct a "floating world" or a "heroic myth" that portrays the self from the unbearable weight of reality.