39 pages • 1 hour read
Kazuo IshiguroA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
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While in Nagasaki, Etsuko remembers gazing out of her window at the view of pale hills in the distance to fill the emptiness of her afternoons. Another distraction comes in the form of her visits to Sachiko throughout the summer.
Etsuko suspects that even though Sachiko received an invitation from her relatives to return, she does not plan to live with them. Etsuko has gathered from their conversations that the uncle in question is a wealthy widower living with his daughter and a maid in a large, empty house in Tokyo.
The narrator mentions one more thing that stands out in her memory: A series of child murders in Nagasaki preoccupies the community. The latest victim is a girl found hanging from a tree.
One day Sachiko, Mariko, and Etsuko go on an outing to the hilly area overlooking the harbor. They ride the cable car, where they meet another Japanese woman with her son and her American friend. The two children do not get along because the boy feels he is superior to Mariko. When she climbs a tree and he attempts to follow, she steps on his fingers, causing the boy to fall down.
On the way home, Sachiko, Mariko, and Etsuko stop at a game booth. Mariko insists on playing to try to win a basket for her kittens. She does not win a basket, but on her third attempt, she wins a vegetable box. On the tram, a woman keeps looking at Mariko, and Sachiko seems briefly worried about her attention.
Etsuko eventually finds out the real reason behind Ogata-san’s visit. The older man keeps reminding Jiro about Shigeo’s article and requesting that Jiro write to him. Jiro does not want to get involved and becomes frustrated with his father’s requests. While they play chess one evening, Jiro becomes angry after Ogata-san insists they continue playing after the younger man loses. Ogata-san believes his son should be more persistent and not give up after the first several moves. Jiro claims he has more important things to think about and demonstratively turns to his newspaper. The father continues talking to his son and offering to show him how he could have won the chess game. Jiro angrily stands up, but in his attempt to overturn the chess board, he kicks the teapot, spilling liquid on the floor. He retreats to the bedroom, leaving Etsuko to clean up the mess. Ogata-san says that Jiro behaved in a similar way as a child, adding that even when people grow up, they do not change.
The following day, Etsuko and her father-in-law visit Nagasaki. They go to an art gallery, then to the new “Peace Park,” and finally decide to head to Mrs. Fujiwara’s shop. On the way there, they pass by the Matsuda house, from which they see Shigeo exit.
Ogata-san approaches Shigeo, and, after exchanging some pleasantries, he confronts Shigeo about the article. The young man confirms that what he wrote is his own opinion. He does not doubt that Ogata-san was hardworking and diligent, but he believes the older generation was misguided and taught children terrible things that led to Japan’s loss in WWII. Ogata-san claims that Japan lost because there was a shortage of weapons, not because of a moral failing.
After the confrontation, Etsuko and her father-in-law continue on to Mrs. Fujiwara’s noodle shop. Ogata-san is at first reluctant to visit the shop because he believes the old woman would be embarrassed to serve him, but Etsuko says that Mrs. Fujiwara is proud to have a business of her own. While they have lunch at the noodle shop, Mrs. Fujiwara asks about teachers who worked under Ogata-san and taught one of her deceased sons.
One day, as she watches out of her window, Etsuko sees a foreign car drive away from Sachiko’s cottage. Soon after, a thin woman arrives and goes into the cottage. Etsuko puts on her shoes and heads to the cottage, where she sees an unknown older woman sitting with Mariko. It is Sachiko’s cousin, who has come to confirm Sachiko’s plans to move back to her uncle’s house. However, Sachiko is absent.
When Etsuko returns in the evening, Sachiko is packing because Frank arranged for them to move to Kobe and, after that, to America. Mariko insists on bringing the kittens along, but Sachiko is upset and repeats that they are simply animals, not the girl’s children. She puts the kittens into the vegetable box and takes them outside to the river. Sachiko kneels by the water, takes one of the animals out of the box, and submerges it under the water. Sachiko looks back and sees Mariko up on the bank looking down at the two women. Sachiko takes the kitten out of the water but realizes it is still alive. She then puts it back in the box and submerges it, holding it down with her hands. The box floats away, and Mariko runs after it along the bank. Sachiko and Etsuko go back to the cottage.
The two friends continue their conversation. Sachiko reveals more of her plan to Etsuko: Frank will leave for America on his own on a cargo ship, but he will supposedly send money back for Sachiko and Mariko to follow him to America. Sachiko repeats that he arranged everything, and she will be patient.
As it gets dark, Etsuko decides to go out and search for the girl. She crosses the small wooden bridge and spots Mariko sitting between the rails. Mariko confesses she does not want to leave and calls Frank a pig. Etsuko angrily forbids her to talk in such a manner and claims that Frank is fond of her and everything will work out. Etsuko begins speaking in the first person, reassuring the girl that if the two of them do not like it there, they can come back, but they need to try. The conversation regresses and echoes the conversation from an earlier scene, when the two met by the river and Etsuko’s foot became tangled in a rope. Mariko becomes scared and runs away.
As Etsuko wakes up in her English home, she thinks she hears steps outside her door and a noise from Keiko’s room. She quickly realizes the sounds are coming from downstairs. Niki, unable to sleep, has already made coffee.
While talking over breakfast, Niki confesses she believes her father’s treatment of Keiko was not entirely fair because he largely ignored his stepdaughter. Etsuko explains that he was an idealist and believed they could make Keiko happy in England. In contrast, Etsuko says she always knew Keiko would not be happy in a foreign place but decided to immigrate regardless. Niki attempts to console her mother and absolve her of any blame.
After breakfast, Niki receives a call and decides to return to London. She requests a picture of Japan because a friend of hers is writing a poem about Etsuko and her life. The narrator finds an old calendar image of the Nagasaki harbor and mentions that it brings back a happy memory of an outing with Keiko when they rode the cable car.
As they say their goodbyes, Etsuko mentions the idea of selling the country house because it is too big for her, but Niki is against the idea. As the young woman walks away, she turns back and sees her mother at the door.
Part 2 of A Pale View of Hills focuses on Sachiko. Her way of speaking and the biographical facts she reveals highlight that she comes from a well-to-do family. Because of her upbringing, she believes that she is above her current situation, particularly the need to work for a living. This seems to be the primary motivator behind her obsession with immigrating to America: Life in the US presents an opportunity to return to her former lifestyle and achieve self-realization. Sachiko’s story is one of a desperate desire to escape the status quo, even at the sacrifice of her own daughter.
Being a single mother is just another obstacle to Sachiko’s dream of immigrating and reassuming her former lifestyle. When Sachiko kills her daughter’s beloved kittens, the scene represents her forbidden urge to also rid herself of her daughter. Sachiko’s treatment of Mariko is also an expression of her internalized misogyny. While A Pale View of Hills focuses largely on relationships between women, Sachiko does not find solace or hope in sisterhood or motherhood; instead, she chooses a man, Frank, despite his perpetual mistreatment of her. She despises women’s position in Japanese society but is unable to defy it. Sachiko believes she needs a man to help her, rather than seeking support from the women who are willing to help her: Etsuko finds her work and gives her money; Mrs. Fujiwara provides her with a job and allows her to bring her daughter along; her cousin-in-law welcomes her back into her uncle’s household. Despite the strong, supportive network of women around her, Sachiko still invests in the idea of a supportive man, despite Frank’s blatant unreliability and deceit.
Part 2 also amplifies the enigmatic atmosphere prevalent throughout the story. Keiko’s life frames the narrative: her impending birth at the chronological beginning and her recent death at the chronological end. However, she herself is absent both from the story—as she does not appear directly in the narrative and her memory is always filtered through other people’s perceptions—as well as literally, through her self-imposed isolation during life. Our perception of Keiko is perpetually and intentionally hazy.
It's this cloudiness that shrouds all the characters, who seem to always say one thing and mean another. Sachiko claims to despise traditional Japanese gender roles, even as she adheres to them. Etsuko claims to care for Mariko, even as she ignores the child’s attempts to connect through communication. It’s a theme of disconnection that’s prevalent within all the characters: Etsuko and her compatriots are haunted by all their losses, both communal and personal, from WWII. Although rarely mentioned, these losses clearly left ruptures in their lives and caused trauma that still affects them today. The war reduced large families to one or two members, forcing people, such as Ogata-san and Mrs. Fujiwara, to either sell their family homes or live in them alone and to seek new families by incorporating people like Etsuko or Sachiko into their fold. But as both Etsuko and Sachiko prove, while others may attempt to connect and provide for them, those attempts are not fruitful. Instead, the characters maintain distance—from their peers and from the reader—as a protective measure and symptom of their trauma.
This obscurity and indirectness crescendos when Sachiko and Mariko simply disappear at the novel’s end without any resolution to their story, while Etsuko’s narrative disintegrates. In addition to amplifying the enigmatic and mysterious nature the novel presented from the outset, this also suggests that Etsuko is either misremembering or superimposing. This raises the question, retrospectively, of just how unreliable Etsuko is as a narrator—how much of what she reports is real, especially her one-on-one interactions with Mariko. Such a supposition undermines the entire narrative.
A sense of foreboding, presented in different ways throughout Part 2, amplifies the disconcerting mystery of the novel. Etsuko explicitly mentions feeling this way in relation to Mariko. There are also several side stories which Etsuko mentions seemingly in passing that are logically unrelated but raise uncomfortable concepts of infanticide, suicide, and murder. Etsuko’s recollections of the murdered girls, the woman drowning her baby, and Sachiko’s disposal of the kittens maintain the presence of death within the narrative, while never developing a concrete connection to death in Etsuko’s life. As a narrator, Etsuko intentionally incorporates these stories into her own narrative, despite their seeming irrelevance, which implies that death is of notable significance to her. Knowing from the beginning that Keiko hanged herself, all these indirect references to the death of girls and daughters provide an uneasy and disturbing undercurrent to the entire story. As with so many matters in Etsuko’s life, she says one thing but means another: When she shares the stories of all these deaths, she references the death of her own daughter.
By Kazuo Ishiguro