While not typically considered a postcolonial writer, Ishiguro’s work often engages with the question of British and Japanese imperialism and colonialism, either directly in works such as An Artist of the Floating World, When We Were Orphans, and the Ishiguro-scripted film The White Countess, or through subtle allusion to the American post-war occupation of Japan in A Pale View of Hills or the Suez Crisis in The Remains of the Day. Writing from the ‘inside’, from the perspective of individuals who are unwittingly complicit in the structures of oppression entailed by colonial rule, Ishiguro offers complex and unsettlingly sympathetic depictions of the psychological denials and displacements that allow individuals to operate within these regimes. Focusing on An Artist of the Floating World, When We Were Orphans, and The White Countess, this chapter responds to the ways in which Ishiguro’s fiction attends to the relationship between individual and collective responsibility and historico-political forces.