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86 pages 2 hours read

Kazuo Ishiguro

Klara and the Sun

Fiction | Novel | Adult | Published in 2021

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Part 3Chapter Summaries & Analyses

Part 3 Summary

Josie and Chrissy are both colder toward Klara than they were before the trip to Morgan’s Falls. Josie gets sicker and is no longer able to come downstairs for breakfast in the morning. Dr. Ryan visits frequently, and Josie stops her virtual classes. Believing that the sun has healing capabilities because of her misconception about the beggar and his dog, Klara wonders why the sun hasn’t helped Josie, concluding that “it might be necessary to draw his attention to Josie’s situation in some particular and noticeable way” (116).

Rick starts visiting, and Melania instructs Klara to stay in Josie’s room while Rick is over to ensure “no hanky-panky” (118). Rick and Josie play “the bubble game,” in which Josie draws figures with blank thought and speech bubbles, and Rick fills in the words. They both enjoy the game, operating intuitively with little conversation, and it raises Josie’s spirits. Eventually, Rick’s visits grow tense. He doesn’t finish a drawing of an “eyeball tribe” (123) that he finds disturbing, and Josie thinks his caption of a drawing of “Water Blob Person” (123) is strange. After Rick leaves one day, Josie tells Klara that Rick doesn’t want her to change and “gets accusing when [she’s] any way he doesn’t like” (126). Rick also references the portrait Josie has been sitting for, saying he is suspicious of the artist, Mr. Capaldi. Klara senses that “their bubble game was filled with danger” (127). On one visit, the game devolves into a barbed conversation. Josie disparages Rick’s mother, and Rick writes a cruel caption and leaves. His visits stop. Klara offers to play the bubble game in Rick’s place, but Josie turns her down. A few weeks later, Josie draws a picture and puts it in a large envelope. Klara offers to take the drawing to Rick, suggesting they apologize to each other, and Josie agrees.

Klara leaves for Rick’s. She has to concentrate hard in order to navigate the terrain: “the ground soon became hard to predict, a soft step often coming straight after a hard one” (136). Rick’s house is shabby. He invites Klara in when she arrives and apologizes for the smell in the living room. He opens the envelope and reads the caption Josie wrote: “Rick and Josie forever” (138). They talk about Rick coming back to Josie’s; Rick thinks Josie ought to apologize to him and tells Klara that Josie sometimes treats him unfairly.

Because she believes that the sun rests every night in Mr. McBain’s barn, Klara asks Rick if there is a path to it. Rick offers to help Klara get there, but Klara thinks she has to go alone. Helen, Rick’s mother, comes downstairs, and eventually greets Klara. She is kind to Klara but blunt, and Rick feels embarrassed. Helen tells Klara about Atlas Brookings, the one university that accepts unlifted students, albeit a very small number. Helen hopes that Rick is accepted. She asks Klara if she might tutor Rick and also tries to get Klara to ask Josie to persuade Rick to try hard on his application. She tells Klara about her upbringing in England and recounts a strange story, in which she witnessed Chrissy struggling outdoors with a girl who resembled Sal, years after Sal’s death. Klara leaves, and Rick says he might come to see Josie.

Before sunset, Klara walks down to Mr. McBain’s barn. She has more difficulty with the terrain, but Rick sees her and carries her to the barn. When they arrive, Klara tells Rick to leave, believing that privacy might be important for her bargaining with the sun. Inside, Klara sees hay bales and shelving. As the sun sets, and orange light passes through the barn, Klara prays silently, forming the words in her mind: “Please make Josie better. Just as you did Beggar Man” (163). She remembers the bull at Morgan’s Falls, “staring angrily, as though [she’d] had no right to be passing before his field,” and worries that the sun may be insulted by her presumptions. Klara offers to do something to please the sun in exchange for healing Josie, suggesting that she find the Cootings Machine and “put an end to its Pollution” (164). The sun sets, and Klara feels a “friendly darkness” (164), which she takes as a sign that the sun heard and approved of her offer. She finds Rick outside upon leaving the barn and relays Helen’s hope that Rick might put more effort into his Atlas Brookings application.

The next day, Rick comes to visit. Rick and Josie are friendly toward each other, and Josie apologizes for the things she said about his mother. Josie asks Klara to leave her room. Klara ponders how to destroy the Cootings Machine and is presented with an opportunity: Chrissy tells her that she will be going into town with Josie to sit for her portrait again and that she’d like Klara to come. Mr. Capaldi, she adds, “takes a special interest in AFs” (171).

The following Sunday, Rick and Helen visit. Rick says he will try harder to get into Atlas Brookings, and Helen mentions her “secret weapon,” an ex-boyfriend named Vance who might be able to help his chances at acceptance. Klara learns that Rick and Helen will come to town with them when they go to see Mr. Capaldi. Two days later, Melania takes Klara aside and warns her to watch Mr. Capaldi because she doesn’t trust him. Klara tells Melania she has a plan to heal Josie, which Melania dismisses.

Late one night, Klara hears Josie crying under the covers. Josie tells Klara to get her mother. Klara hesitates, but Chrissy comes into the room and comforts Josie, who is grappling with the implications of her illness: “Don’t want to die, Mom. I don’t want that” (177).

Part 3 Analysis

Like Parts 1 and 2, Part 3 builds context for the events of the novel’s climax and resolution and develops the relationships between Klara, Josie, and Rick. Klara continues to feel out the limits of her understanding of humans in her interactions with Rick and Rick’s mother Helen.

On Rick’s frequent visits, he and Josie begin playing the bubble game. The bubble game, in which Josie draws pictures and Rick gives the drawn characters speech bubbles, represents the communicative nature and possibilities of art. Rick and Josie may have trouble talking directly about some subjects, but the characters Josie draws can represent Rick, Josie, family members, or other children without literal explanation, and therefore they are able to communicate more effectively.

Eventually the game becomes tense, ending in a barbed interaction wherein Josie insults Rick’s mother and Rick writes a caption ridiculing Josie’s illness. This rift is another permutation of the conflict that defines Rick and Josie’s relationship: They care deeply about each other, but Josie is lifted and Rick is unlifted. They are bound for different futures and at times resent each other for it. Klara hopes that they can stick to their “plan” and stay together, as her goal is to ensure that Josie is not lonely.

Part 3 contains references to the portrait of Josie being completed by Mr. Capaldi. Rick tells Josie that Mr. Capaldi seems like a creep, and Melania later takes Klara aside to make sure she watches out for Mr. Capaldi when they visit for her next sitting. Neither Rick nor Melania knows the true nature of Mr. Capaldi’s work—he is completing a 3D AF-type body, a replica of Josie, which might replace her if she dies—but their concern foreshadows the revelation that the portrait is more than a painting.

Rick and Helen’s house is a mess, and Rick refers to a bad smell in the living room, implying that Helen may have a problem with alcohol. We are introduced to Helen, whose bluntness embarrasses Rick but doesn’t bother Klara. Helen’s explanation of her desire for Rick to attend Atlas Brookings and leave the house is another example of the theme of parental sacrifice. Helen never had Rick lifted. Just as Chrissy feels guilty for Josie’s sickness, Helen feels guilty for not getting Rick the operation, which is seemingly necessary for professional success. Helen’s “secret weapon,” her old relationship with Vance, a man with power over Atlas Brookings admissions, is functionally similar to the process of getting lifted—an attempt to remain competitive by obtaining an advantage unavailable to others. Helen and Chrissy’s efforts symbolize the intensity of a parent’s desire to give their children opportunities and the cutthroat atmosphere of competitive education amongst wealthy families.

Klara’s relationship with the sun becomes a more comprehensive religious metaphor, touching on several elements of Christian theology, despite the explicitly pagan act of sun-worship. Klara goes through cycles of doubt; she is puzzled over why the sun “continued to delay” (116) in healing the innocent Josie, stating that “for a brief moment, I even thought the Sun wasn’t kind at all, and this was the true reason for Josie’s worsening condition” (156). Her feelings mirror the conceptions of doubt found throughout the Bible, particularly in the Book of Job. These feelings don’t ever last; Klara repeatedly returns to her faith and always expresses hope that the sun will eventually heal Josie.

Later on, Klara takes on characteristics of a Christ figure: She pleads with the sun on behalf of Josie, offering to give the sun something in return, which turns out to include the sacrifice of part of her own being. Klara attempts to communicate with the sun not by speaking audibly but by thinking through her pleas, like a prayer. She worries that the sun is upset with her, fearing it’s wrath. After offering to please the sun in some way, she takes an inexplicable feeling of kindness to mean that the sun has agreed to her bargain. Just as Ishiguro examines the difficulties of communication and perception that arise between humans, he explores the veil of unknowing commonly articulated by monotheistic conceptions of God.

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