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what Ishiguro borrows from Kafka above all else is his oneiric geography, at once bizarre and strangely familiar.

The vapid bucolia of Roxy's Avalon

Tom experiences his nothingness in classic existentialist terms, feeling himself to be inchoate, a void, unresolved, unreal.

Everything we see of Sweet is focalized through his chauffeur-factotum, Neil Fontaine.

Miners were inveigled into identifying with their own terrirory rather than with the industry as whole