This chapter considers the formal and thematic legacy of Dostoevsky, Proust, Kafka, and Beckett on Kazuo Ishiguro’s late-modernist work. Situating Ishiguro’s lengthiest, most digressive, most formally challenging and funniest novel within the European modernist tradition, the chapter analyses its marked formal experimentation in the light of its idiosyncratic and often highly disturbing blend of humour and mishap, of comedy and adversity. The chapter proposes that The Unconsoled can be considered not only Ishiguro’s but also one of late-modernism’s great comic novels. As such, Ishiguro’s novel may be said successfully to resist the major consolation of meaning-making, parting company with narrative as a calmative and leaving behind the affirmations of consolation and solace.

This chapter begins by describing some of the main lines of influence on Coetzee, including major literary figures, philosophical and theological traditions, and a range of South African writers and thinkers. It distinguishes the psychoanalytic and philosophical registers in which the concept of intertextuality has been discussed by such figures as Roland Barthes and Julia Kristeva, as well as (more implicitly) by writers including Fyodor Dostoevsky and Samuel Beckett. Most broadly, it develops an argument that Coetzee was not simply influenced by this way of thinking about the nature and value of literature. Instead, his fiction can be understood as a complex engagement with both the imaginative power and the moral problems that it generates.