A third reason, why Klara likes to be in the shop window, after being nourished by the sun, and increasing the chances of finding a home. And that third reason sets her apart. The other AFs are not much interested in the outside world, they are simply representing the shop, very much like mannequins; except for the sun.

Klara’s observation. Maybe Rosa has been programmed in a different way, or, rather, Klara is.

No article for „Manager“, strange effect. What other words are used in this way? Mother, for instance, or God.

Klara momentarily sees the store like a cubic painting, with cut-outs in boxes, allowing her to analyze „Manager’s“ face in detail, detecting „kindness and sadness“, when Klara’s and Rosa’s shift in the shop window comes to an end (without a sale).

„Manager“ admonishes Klara, after she has been unresponsive towards a girl (not Josie) interested in her.

Klara misinterprets the sleeping beggar and his dog as being dead, on a grey, gloomy afternoon. Next morning, they are alive, bathing in sunlight – Klara thinks that they have come back to live thanks to the light. Is it plausible that she doesn’t understands humans (and dogs) are not dependent of the sun like AFs are?  How can she be a good AF for a child if she is not aware of this? Or will this be part of the fun for teenage kids to teach the AF such basic things?

Since she hopes that Josie will ask for her, it is a very special stillness for Klara, and the reader, whom the author thus draws into the shop. An understatement by Klara, befitting her position in the background. But maybe the reader is tempted to  project amplitudes of emotions into Klara which she is not made for?

„Manager“ in praise of Klara, who apparently was designed to be especially perceptive, her USP so to speak. „Manager“ seems to be a great sales-person, always finding the adequate words for a situation, well-trained, or – the AF atmosphere rubs off on the reader – well-programmed for her job.

Klara attends a meeting of kids, „friends“ of Josie’s. Josie feels uncomfortable in the meeting, and even more so her friend Rick, whom Josie begged to attend the meeting. Klara struggles to cope with the social interaction of the friends, she can’t fathom what is going on, too much background information missing; nor can the reader, sharing her perspective. Klara refuses to obey an order or a request of one of Josie’s friends, who wants to test her capabilities, „freezes“, swamped with data she can’t process.

Rick, on why he doesn’t belong in the meeting of Josie’s friends. The author only gradually sheds light on what is going on, for Klara, and the reader.

Josie’s mother puzzled by „Melania Housekeeper’s“ hesitancy to obey her order.

Klara suddenly in a position she might have not been designed for. She seems to have to take a decision on her own. Josie’s mother, obviously upset that Josie has feigned to be fit enough for a trip when she is not, suggests that Klara and her anyway go to „Morgan’s Falls“, without Josie.

Klara, alone in the car with Josie’s mother who envies Klara for having „no feelings“.

Klara, encountering other AFs after a long time at the waterfall.

Josie’s mother asks Klara to sit in the front seat of the car.

Very much like Adam in „Machines like me“, Klara struggles to understand human behaviour. At the same time, Ishiguro’s sentences seem to become more complex (and in this case, a bit clumsy) – intentionally? Or is this far-fetched?

Josie, discussing their „plan“ (to live together in the future?) with Rick. What does „society“ mean in the context? It seems to define a certain hierarchy level in society Rick is not even trying to achieve, while Josie, despite her sickness, is bound for that level.

Rick’s mother Helen, to Klara. An unprompted remark. What does England stand for? An old world, outdated, gone by?  Hedges are partioning the world, make it managable; Helen struggles with the open plains of her surroundings, and fences are not a replacement of hedges. The hedges remind of the boxes dividing Klara’s field of vision, when she encounters unfamiliar territory, or when she is stressed. Maybe the boxes allow Klara a better handling of the world?

Great composition of words! – Melania Housekeeper addresses Klara – that’s rare, except for reprimanding her. She asks Klara to observe closely Josie’s portrait painter, Mr Capaldi, „one creep son bitch“, who seems to menace Josie somehow. Klara affirms, but has more questions she is slow in bringing forward with a „but“ – that’s when Melania cuts in with the question above. – Where does Melania come from? Is she an Artifical Housekeeper with limited language skills? An immigrant? Clearly. she cares for Josie. When Klara alludes to her plan to help Josie, Melania warns Klara not to mess things up. „‚You make things worse, I fuck come dismantle you.'“ (p. 178)

Trip to the city in the car, with „Mother“, Helen, Josie and Rick. Klara does not mirror here what Josie says, but she reports a „humorous remark“, going to a different level in her account.

The „portrait man“, Mr Capaldi, had asked Klara to fill in a questionnaire in a separate room, while he takes pictures of Josie. Klara is curious to see the unfinished portrait, and smuggles herself into the artist’s (or scientist’s, as he calls himself) studio, using a code she had observed Mr Capaldi keying in when first leading „mother“ and then „father“ into the studio (doubtful though she could actually register the code the second time, through „frosted glass“).  – There is a lot of tension; strange that Klara’s visual field is not partioned by now…  That happens a bit later (p.208), when Klara is informed by Capaldi and „mother“, why she is here, and why she has been acquired in the first place. What Klara discovers  in the studio is a reproduction of Josie, destined to be an AF, and Klara is supposed to transmute herself in a Josie AF (once the very sick Josie is gone).

„Mother“ has taken the risk to „lift“ Josie; in the process, Josie has become sick, just like her sister Sal before her.

Josie’s father Paul, defending himself, after being called „fascist“ by Helen. What triggered Helen’s remark? Something Paul was saying „a moment ago“, as Helen puts it. There is however hardly a statement of Paul’s that would justify this reaction, when going through the conversation in the the sushi café, is there?  But then, Klara (who, we have to remember, tells us this story) may experience lapses of „consciousness“, after sacrifizing part of her vital body fluidity to destroy the Cooting machine. Or then she holds back information.

Klara did not tell how she destroyed the „Cootings Machine“ when it happened, the scene was skipped in the narrative continuity. But now she remembers details; here she is just waiting to pour the – double sense – solution into the machine.

Klara, using present tense. She reflects on the last conversation she had with Rick.

Josie, discovering Klara in the utility room, where she has been, Josie no longer in need for her presence. Very distant Josie, becoming an adult, and being healthy,

Klara, in the „Yard“ she has been left for her „slow fade“, is visited by „Manager“, and „happyness“ filled her mind (which seems rare – seems to occur only in the shop context). Klara discloses her doubts to be able to „continue“ Josie, because there was something not inside Josie, but „inside those who loved her.“ – A tad kitschy?

Klara, observing „manager“ moving away after her visit in the „Yard“. Klara has shared crucial events of her life with the manager, who remained largely obtuse or indifferent in her contributions to the conversation. What brings „manager“ to places like the Yard? Loneliness is one of the reverting topics of this novel. But „manager“ maintains the professional distance as ever. – Could it be that Klara is a bit disappointed about the exchange? But Klara pays attention to and worries about „manager’s“ coat. The acute awareness of such a detail is nicely placed here by Ishiguro, reminding the reader of the non-human narrator.