Ishiguro recounts the immigration experiences of the narrator Etsuko and her friend Sachiko through its polyphonic structure to parody the typical opera Madame Butterfly. Compared with Etsuko， the image of Westernized housewife surfaces to readers’ imagination， echoing the parodied geisha Cio-Cio-San. The suicide complex in the parodying text continues the self-aphasic of Cio-Cio-San resulting from cultural hybridization， which parallels the similar state of living alone and suffering from the estrangement of their own families. The orientalist scrutiny conceives of Keiko’s suicide as national instinct， disregarding that the popularity of exaggerating films of shomin-geki and samurai can not confirms the suicide complex the Western have imagined. Once people are classified as certain cultural belongings， they will be regarded as different species， such as the respective British and Japanese national ethnicity represented by Niki and Keiko.
　　The immigrants such as Etsuko and Keiko treat their homelands as a mixture of memory， speculation and imagination， who “are not and will never be unified culturally in the old sense， because they are inevitably the products of several interlocking histories and cultures， belonging at the same time to several homes – and thus to no one particular home” （Gilroy， 362）. The oriental immigrants suffering from the conflicts of different cultures reluctantly identify with their western tradition and even posit themselves in the predicament of anxiety and despair， which forces them to respect and combine the bi-cultural legacies to reestablish their new self-definition.