Kazuo Ishiguro, from “Come Rain or Come Shine” inside Nocturnes: Five Stories of Music and Nightfall
Faber and Faber, UK, 2009

Also from this book: Crooner

“You know, Emily, Charlie’s a decent guy. A very decent guy. And he loves you. You won’t do better, you know.”

Emily shrugged and drank some more wine.

“You’re probably right. And we’re hardly young any more. We’re as bad as one another. We should count ourselves lucky. But we never seem to be contented. I don’t know why. Because when I stop and think about it, I realise I don’t really want anyone else.”

For the next minute or so, she kept sipping her wine and listening to the music. Then she said: “You know, Raymond, when you’re at a party, at a dance. And it’s maybe a slow dance, and you’re with the person you really want to be with, and the rest of the room’s supposed to vanish. But somehow it doesn’t. It just doesn’t. You know there’s no one half as nice as the guy in your arms. And yet … well, there are all these people everywhere else in the room. They don’t leave you alone. They keep shouting and waving and doing daft things just to attract your attention. ‘Oi! How can you be satisfied with that?! You can do much better! Look over here!’ It’s like they’re shouting things like that all the time. And so it gets hopeless, you can’t just dance quietly with your guy. Do you know what I mean, Raymond?” I thought about it for a while, then said: “Well, I’m not as lucky as you and Charlie. I don’t have anyone special like you do. But yes, in some ways, I know just what you mean. It’s hard to know where to settle. What to settle to.” “Bloody right. I wish they’d just lay off, all these gatecrashers. I wish they’d just lay off and let us get on with it.”

p.84

Kazuo Ishiguro, from “Crooner” inside Nocturnes: Five Stories of Music and Nightfall
Faber and Faber, UK, 2009

Also from this book: Come Rain or Come Shine

To be honest, I was now beginning to wonder what I’d got myself into, what this whole serenade thing was about. And these were Americans, after all. For all I knew, when Mr. Gardner started singing, Mrs. Gardner would come to the window with a gun and fire down at us.

p.16

“Let me tell you a little secret,” Mr. Gardner said suddenly. “A little secret about performance. One pro to another. It’s quite simple. You’ve got to know something, doesn’t matter what it is, you’ve got to know something about your audience. Something that for you, in your mind, distinguishes that audience from the one you sang to the night before. Let’s say you’re in Milwaukee. You’ve got to ask yourself, what’s different, what’s special about a Milwaukee audience? What makes it different from a Madison audience? Can’t think of anything, you just keep on trying till you do. Milwaukee, Milwaukee. They have good pork chops in Milwaukee. That’ll work, that’s what you use when you step out there. You don’t have to say a word about it to them, it’s what’s in your mind when you sing to them. These people in front of you, they’re the ones who eat good pork chops. They have high standards when it comes to pork chops. You understand what I’m saying? That way the audience becomes someone you know, someone you can perform to. There, that’s my secret. One pro to another.”

p.17

And like all the best American singers, there was that weariness in his voice, even a hint of hesitation, like he’s not a man accustomed to laying open his heart this way. That’s how all the greats do it.

p.27