Never Let Me Go:Never Let Me Go:The Ghosts Are Crawling On The Ghosts Are Crawling On

Our SkinOur Skin

FeracoFeraco

Myth to Science FictionMyth to Science Fiction

21 May 201321 May 2013

““Ishiguro’s imagining of the children’s Ishiguro’s imagining of the children’s misshapen little world is profoundly thoughtful, misshapen little world is profoundly thoughtful, and their hesitant progression into knowledge of and their hesitant progression into knowledge of their plight is an extreme and heartbreaking their plight is an extreme and heartbreaking version of the exodus of all children from the version of the exodus of all children from the innocence in which the benevolent but fraudulent innocence in which the benevolent but fraudulent adult world conspires to place them. We grow up adult world conspires to place them. We grow up – if we’re lucky – in security and wonder, and – if we’re lucky – in security and wonder, and afterward are delivered to the grotesque fact of afterward are delivered to the grotesque fact of our end. And then? Ishiguro's dark answer is that our end. And then? Ishiguro's dark answer is that the modern desperation regarding death, the modern desperation regarding death, combined with technological advances and the combined with technological advances and the natural human capacity for self-serving fictions natural human capacity for self-serving fictions and evasions (look no further than our see-no-and evasions (look no further than our see-no-evil consumption of animals), could easily give evil consumption of animals), could easily give rise to new varieties of socially approved rise to new varieties of socially approved atrocities; one of the many Nietzschean insights atrocities; one of the many Nietzschean insights of the novel is that successful crimes produce of the novel is that successful crimes produce mutations in morality.”mutations in morality.”

Joseph O’NeilJoseph O’Neil

These moments hit me when I’m least These moments hit me when I’m least expecting it, when I’m driving with expecting it, when I’m driving with something else entirely in my mind. So something else entirely in my mind. So maybe at some level, I maybe at some level, I amam on the lookout on the lookout for Hailsham.for Hailsham.

But as I say, I don’t go searching for But as I say, I don’t go searching for it, and anyway, by the end of the year, I it, and anyway, by the end of the year, I won’t be driving around like this any won’t be driving around like this any more. So the chances are I won’t ever more. So the chances are I won’t ever come across it now, and on reflection, I’m come across it now, and on reflection, I’m glad that’s the way it’ll be. It’s like with glad that’s the way it’ll be. It’s like with my memories of Tommy and of Ruth. Once my memories of Tommy and of Ruth. Once I’m able to have a quieter life, in I’m able to have a quieter life, in whichever centre they send me to, I’ll whichever centre they send me to, I’ll have Hailsham with me, safely in my head, have Hailsham with me, safely in my head, and that’ll be something no one can take and that’ll be something no one can take away.away.

The only indulgent thing I did, just The only indulgent thing I did, just once, was a couple of weeks after I heard once, was a couple of weeks after I heard Tommy had completed, when I drove up to Tommy had completed, when I drove up to Norfolk, even though I had no real need Norfolk, even though I had no real need to. I wasn’t after anything in particular to. I wasn’t after anything in particular and I didn’t go up as far as the coast. and I didn’t go up as far as the coast. Maybe I just felt like looking at all those Maybe I just felt like looking at all those flat fields of nothing and the huge grey flat fields of nothing and the huge grey skies. At one stage I found myself on a skies. At one stage I found myself on a road I’d never been on, and for about half road I’d never been on, and for about half an hour I didn’t know where I was and an hour I didn’t know where I was and didn’t care. I went past field after flat, didn’t care. I went past field after flat, featureless field, with virtually no change featureless field, with virtually no change except when occasionally a flock of birds, except when occasionally a flock of birds, hearing my engine, flew up out of the hearing my engine, flew up out of the furrows. Then at last I spotted a few trees furrows. Then at last I spotted a few trees in the distance, not far from the roadside, in the distance, not far from the roadside, so I drove up to them, stopped, and got so I drove up to them, stopped, and got out.out.

I found I was standing before acres of ploughed earth. I found I was standing before acres of ploughed earth. There was a fence keeping me from stepping onto the field, There was a fence keeping me from stepping onto the field, with two lines of barbed wire, and I could see how this fence with two lines of barbed wire, and I could see how this fence and the cluster of three or four trees above me were the only and the cluster of three or four trees above me were the only things breaking the wind for miles. All along the fence, things breaking the wind for miles. All along the fence, especially along the lower line of wire, all sorts of rubbish had especially along the lower line of wire, all sorts of rubbish had caught and tangled. It was like the debris you get on a sea-caught and tangled. It was like the debris you get on a sea-shore: the wind must have carried some of it for miles and shore: the wind must have carried some of it for miles and miles before finally coming up against these trees and these miles before finally coming up against these trees and these two lines of wire. Up in the branches of the trees, too, I could two lines of wire. Up in the branches of the trees, too, I could see, flapping about, torn plastic sheeting and bits of old see, flapping about, torn plastic sheeting and bits of old carrier bags. That was the only time, as I stood there, looking carrier bags. That was the only time, as I stood there, looking at that strange rubbish, feeling the wind coming across those at that strange rubbish, feeling the wind coming across those empty fields, that I started to imagine just a little fantasy empty fields, that I started to imagine just a little fantasy thing, because this was Norfolk after all, and it was only a thing, because this was Norfolk after all, and it was only a couple of weeks since I’d lost him. I was thinking about the couple of weeks since I’d lost him. I was thinking about the rubbish, the flapping plastic in the branches, the shore-line of rubbish, the flapping plastic in the branches, the shore-line of odd stuff caught along the fencing, and I half-closed my eyes odd stuff caught along the fencing, and I half-closed my eyes and imagined this was the spot where everything I’d ever lost and imagined this was the spot where everything I’d ever lost since my childhood had washed up, and I was now standing since my childhood had washed up, and I was now standing here in front of it, and if I waited long enough, a tiny figure here in front of it, and if I waited long enough, a tiny figure would appear on the horizon across the field, and gradually would appear on the horizon across the field, and gradually get larger until I’d see it was Tommy, and he’d wave, maybe get larger until I’d see it was Tommy, and he’d wave, maybe even call. The fantasy never got beyond that – I didn’t let it – even call. The fantasy never got beyond that – I didn’t let it – and though the tears rolled down my face, I wasn’t sobbing or and though the tears rolled down my face, I wasn’t sobbing or out of control. I just waited a bit, then turned back to the car, out of control. I just waited a bit, then turned back to the car, to drive off to wherever it was I was supposed to be.to drive off to wherever it was I was supposed to be.

Never Let Me Go Never Let Me Go is a is a bildungsromanbildungsroman in in which one’s anticipation of that developmental which one’s anticipation of that developmental leap beyond adolescent awkwardness and leap beyond adolescent awkwardness and uncertainty should be tempered with uncertainty should be tempered with ambivalence, at best – for the adult world is ambivalence, at best – for the adult world is just as awkward and uncertain. just as awkward and uncertain.

It’s a science fiction novel in which the It’s a science fiction novel in which the “science fiction” elements are so understated “science fiction” elements are so understated that its world seems barely removed from our that its world seems barely removed from our own, far from the imaginative leaps of Frank own, far from the imaginative leaps of Frank Herbert’s Arrakis or even Orson Scott Card’s Herbert’s Arrakis or even Orson Scott Card’s Earth. Earth.

It’s a tragedy where the main character It’s a tragedy where the main character suffers, but mainly suffers from the effects of suffers, but mainly suffers from the effects of other peoples’ choices and hardships – far from other peoples’ choices and hardships – far from the hubristic comeuppance of many a the hubristic comeuppance of many a Shakespeare play, in which the hero discovers Shakespeare play, in which the hero discovers his fatal flaw has brought about his downfall. his fatal flaw has brought about his downfall.

It’s a novel in which very little It’s a novel in which very little happens, period: the twin central plot happens, period: the twin central plot developments (Kathy’s complicated developments (Kathy’s complicated relationships with Ruth and Tommy, relationships with Ruth and Tommy, followed by the quest for a deferral) both followed by the quest for a deferral) both end on profoundly anticlimactic notes. end on profoundly anticlimactic notes.

And it’s a story about terrible things And it’s a story about terrible things that almost never acknowledges its that almost never acknowledges its central horror: the ways in which we use central horror: the ways in which we use each other, and the degrees to which each other, and the degrees to which we’re willing to acknowledge our we’re willing to acknowledge our readiness to do so (evidenced by readiness to do so (evidenced by everything from society’s callous everything from society’s callous treatment of its clones to Ruth’s treatment of its clones to Ruth’s manipulation of Kathy and Tommy).manipulation of Kathy and Tommy).

The narration of the novel is purely Ishiguro: The narration of the novel is purely Ishiguro: almost all noteworthy authors end up developing almost all noteworthy authors end up developing calling cards, quirks and stylistic elements we calling cards, quirks and stylistic elements we come to associate with them (Gertrude Stein’s come to associate with them (Gertrude Stein’s abuse of the English language, or Cormac abuse of the English language, or Cormac McCarthy’s neo-Hemingway bluntness – the comma McCarthy’s neo-Hemingway bluntness – the comma is the enemy!), and one of Ishiguro’s most is the enemy!), and one of Ishiguro’s most identifiable traits is this particular type of narrator. identifiable traits is this particular type of narrator.

From From The Remains of the DayThe Remains of the Day (previously (previously considered his masterwork, and still regarded that considered his masterwork, and still regarded that way in some circles) to way in some circles) to Never Let Me Go,Never Let Me Go, Ishiguro’s Ishiguro’s narrators obscure central elements of their stories’ narrators obscure central elements of their stories’ realities, unreliably recall memories of earlier times realities, unreliably recall memories of earlier times (while almost exclusively narrating past, rather (while almost exclusively narrating past, rather than present, events – almost nothing happens in than present, events – almost nothing happens in the here and now of his novels), and find the here and now of his novels), and find themselves unable to emotionally grapple with themselves unable to emotionally grapple with either of the aforementioned elements – their pasts either of the aforementioned elements – their pasts and their worlds – because the truth about both and their worlds – because the truth about both tends to obliterate the narrative that’s formed up tends to obliterate the narrative that’s formed up to that point of discovery. to that point of discovery.

This leaves us, the readers, almost as This leaves us, the readers, almost as hostages, dependent on people with hostages, dependent on people with malfunctioning flashlights to shine their malfunctioning flashlights to shine their lights on what’s happening in the stories lights on what’s happening in the stories at hand. at hand.

We trust them for the same reason We trust them for the same reason we trusted the “human” figures in we trusted the “human” figures in 1984 1984 and and Brave New World: Brave New World: because we because we instinctively reach for the outstretched instinctively reach for the outstretched hand while drowning.hand while drowning.

We lack the luxury of risk, of passing We lack the luxury of risk, of passing up that narrator in hopes of finding better, up that narrator in hopes of finding better, and we take what we can get while and we take what we can get while seeking guidance in a strange world.seeking guidance in a strange world.

And this And this isis a strange world, this “England” of the a strange world, this “England” of the “late 1990s.” “late 1990s.”

The subdued science fictional elements aren’t the The subdued science fictional elements aren’t the only things that make it strange, because for all the talk of only things that make it strange, because for all the talk of cloning and donating and caring and completion, we don’t cloning and donating and caring and completion, we don’t actually spend that much time carving up our protagonists. actually spend that much time carving up our protagonists.

Instead, Ishiguro builds worlds like a Russian nesting Instead, Ishiguro builds worlds like a Russian nesting doll, and it’s never entirely clear which contains the others. doll, and it’s never entirely clear which contains the others.

Does his depiction of England contain Hailsham Does his depiction of England contain Hailsham within its boundaries, or is Hailsham a claustrophobic little within its boundaries, or is Hailsham a claustrophobic little realm unto itself? realm unto itself?

Does Hailsham, with its hypercreative atmosphere, Does Hailsham, with its hypercreative atmosphere, contain Norfolk, that fictional land of endless possibility, contain Norfolk, that fictional land of endless possibility, where all one’s lost things wash back up? where all one’s lost things wash back up?

Does it have room for the real city? Does it have room for the real city? All of these places are All of these places are inin the same place, and yet the same place, and yet

Ishiguro distinguishes them as clearly as the planets in the Ishiguro distinguishes them as clearly as the planets in the solar system: Marie-Claude’s and Emily’s native realm is solar system: Marie-Claude’s and Emily’s native realm is notnot Kathy’s, yet the two aren’t separable, any more so Kathy’s, yet the two aren’t separable, any more so than Kathy’s fate exists independently of the needs of than Kathy’s fate exists independently of the needs of however many faceless citizens of Britain eventually come however many faceless citizens of Britain eventually come to need her vital organs.to need her vital organs.

Seen apart from the other works in Seen apart from the other works in Ishiguro’s canon, Kathy is a somewhat odd Ishiguro’s canon, Kathy is a somewhat odd choice for narrator, given her understated choice for narrator, given her understated personality (she’s far more reserved than personality (she’s far more reserved than either Ruth or Tommy) and her passive nature. either Ruth or Tommy) and her passive nature.

Yet there’s a poignancy to what she goes Yet there’s a poignancy to what she goes through that’s central to the novel’s meaning: through that’s central to the novel’s meaning: we see her tossed about by the complications we see her tossed about by the complications of Ruth’s and Tommy’s relationship, while all of Ruth’s and Tommy’s relationship, while all the while her destiny has been more profoundly the while her destiny has been more profoundly interfered with by people she’s never met, interfered with by people she’s never met, creators she can’t understand or even truly creators she can’t understand or even truly acknowledge. acknowledge.

The Gamma or Epsilon does not stop to The Gamma or Epsilon does not stop to contemplate its makers, or ruminate on the contemplate its makers, or ruminate on the nature of its existence and whether its lot in nature of its existence and whether its lot in life is justified: here we see why. life is justified: here we see why.

Perhaps Mond had a point.Perhaps Mond had a point.

And yet Mond misses the point. And yet Mond misses the point. It’s not just important to be happy, after all. It’s not just important to be happy, after all. The Gamma’s life has no greater The Gamma’s life has no greater

significance: he is what he was created to be, significance: he is what he was created to be, nothing more, nothing less. nothing more, nothing less.

Yet we, as a species, are obsessed with Yet we, as a species, are obsessed with transcendence: transcendence of the Fall, transcendence: transcendence of the Fall, transcendence of social class, transcendence of transcendence of social class, transcendence of mortality. mortality.

We dream of rising beyond poverty and sin We dream of rising beyond poverty and sin and death, of rising beyond the Earth of our birth and death, of rising beyond the Earth of our birth and walking the stars. and walking the stars.

And we associate the meaning of life with And we associate the meaning of life with transcendence. transcendence.

The person who merely lives according to The person who merely lives according to the conditions set before him may earn fortune, the conditions set before him may earn fortune, may even earn respect…but he will may even earn respect…but he will notnot be be Gilgamesh, or Dante. Gilgamesh, or Dante.

He will not move men in death; once he’s in He will not move men in death; once he’s in the ground, his footprint fades.the ground, his footprint fades.

You can see this pattern clearly You can see this pattern clearly established in the figures we worship, established in the figures we worship, honor, and remember. honor, and remember.

Whether you’re talking about Dante Whether you’re talking about Dante Alighieri or Martin Luther King, Jr., we Alighieri or Martin Luther King, Jr., we venerate and lionize those who become venerate and lionize those who become more than they should have become – who more than they should have become – who break the mold, who exceed their break the mold, who exceed their programming, who rise to the heights we programming, who rise to the heights we individually dream of reaching. individually dream of reaching.

So much of science fiction revolves So much of science fiction revolves around that concept: not just of what around that concept: not just of what we’re capable of doing, but of what we we’re capable of doing, but of what we could be capable of doing were the could be capable of doing were the parameters of our possibilities changed, parameters of our possibilities changed, shifted, expanded.shifted, expanded.

A little gamma radiation here, a little A little gamma radiation here, a little technology there, and you have not mere technology there, and you have not mere mortals, but Avengers.mortals, but Avengers.

But Kathy’s mere existence, of course, But Kathy’s mere existence, of course, testifies to the potentially dark answers to the testifies to the potentially dark answers to the questions raised by Orwell and Huxley: O’Neil questions raised by Orwell and Huxley: O’Neil cuts to the heart of Ishiguro’s text when he cuts to the heart of Ishiguro’s text when he points out that “successful crimes produce points out that “successful crimes produce mutations in morality.” mutations in morality.”

Yet can’t the same be said of social Yet can’t the same be said of social progress of any kind? progress of any kind?

Is not our increasing acceptance of Is not our increasing acceptance of interracial classrooms, of interracial marriage, interracial classrooms, of interracial marriage, indicative of mutations in morality? indicative of mutations in morality?

Is not most resistance to social change Is not most resistance to social change couched in moralistic language – language, couched in moralistic language – language, indeed, about indeed, about preservingpreserving the moral status quo? the moral status quo?

If Kathy’s situation represents a “successful If Kathy’s situation represents a “successful crime,” so, too, did the Million Man March. crime,” so, too, did the Million Man March.

We remember the successful criminal.We remember the successful criminal.

Kathy does not wish to be forgotten, Kathy does not wish to be forgotten, although her anxiety on this score doesn’t although her anxiety on this score doesn’t reach the heights of existential crisis reach the heights of existential crisis some of you currently face. some of you currently face.

The book’s title, The book’s title, Never Let Me Go,Never Let Me Go, has has obvious significance within the narrative: obvious significance within the narrative: whenever an author sticks his title into whenever an author sticks his title into the narrative as an actual plot point, the narrative as an actual plot point, warning signals should be going off in warning signals should be going off in your head. your head.

And Marie-Claude’s conversation with And Marie-Claude’s conversation with Kathy about the title – about the song – Kathy about the title – about the song – seems to say everything there is to say seems to say everything there is to say about what the title means:about what the title means:

““I was weeping,” [Madame] said eventually, I was weeping,” [Madame] said eventually, very quietly, as though afraid the neighbours very quietly, as though afraid the neighbours were listening, “because when I came in, I heard were listening, “because when I came in, I heard your music. I thought some foolish student had your music. I thought some foolish student had left the music on. But when I came into your left the music on. But when I came into your dormitory, I saw you, by yourself, a little girl, dormitory, I saw you, by yourself, a little girl, dancing. As you say, eyes closed, far away, a look dancing. As you say, eyes closed, far away, a look of yearning. You were dancing so very of yearning. You were dancing so very sympathetically. And the music, the song. There sympathetically. And the music, the song. There was something in the words. It was full of was something in the words. It was full of sadness.”sadness.”

““The song,” I said, “it was called ‘Never Let The song,” I said, “it was called ‘Never Let Me Go.’” Then I sang a couple of lines quietly Me Go.’” Then I sang a couple of lines quietly under my breath for her. under my breath for her. “Never let me go. Oh, “Never let me go. Oh, baby, baby. Never let me go…”baby, baby. Never let me go…”

She nodded as though in agreement. “Yes, She nodded as though in agreement. “Yes, it was that song. I’ve heard it once or twice since it was that song. I’ve heard it once or twice since then. On the radio, on the television. And it’s then. On the radio, on the television. And it’s taken me back to that little girl, dancing by taken me back to that little girl, dancing by herself.”herself.”

““You say you’re not a mind-reader,” I You say you’re not a mind-reader,” I said. “But maybe you were that day. Maybe said. “But maybe you were that day. Maybe that’s why you started to cry when you saw that’s why you started to cry when you saw me. Because whatever the song was really me. Because whatever the song was really about, in my head, when I was dancing, I had about, in my head, when I was dancing, I had my own version. You see, I imagined it was my own version. You see, I imagined it was about this woman who’d been told she about this woman who’d been told she couldn’t have babies. But then she’d had one, couldn’t have babies. But then she’d had one, and she was so pleased, and she was holding and she was so pleased, and she was holding it ever so tightly to her breast, really afraid it ever so tightly to her breast, really afraid something might separate them, and she’s something might separate them, and she’s going baby, baby, never let me go. That’s not going baby, baby, never let me go. That’s not what the song’s about at all, but that’s what I what the song’s about at all, but that’s what I had in my head that time. Maybe you read my had in my head that time. Maybe you read my mind, and that’s why you found it so sad. I mind, and that’s why you found it so sad. I didn’t think it was so sad at the time, but didn’t think it was so sad at the time, but now, when I think back, it does feel a bit now, when I think back, it does feel a bit sad.”sad.”

I’d spoken to Madame, but I could sense I’d spoken to Madame, but I could sense Tommy shifting next to me, and was aware of the Tommy shifting next to me, and was aware of the texture of his clothes, of everything about him. texture of his clothes, of everything about him. Then Madame said:Then Madame said:

““That’s most interesting. But I was no more That’s most interesting. But I was no more a mind-reader then than today. I was weeping for a mind-reader then than today. I was weeping for an altogether different reason. When I watched an altogether different reason. When I watched you dancing that day, I saw something else. I saw you dancing that day, I saw something else. I saw a new world coming rapidly. More scientific, a new world coming rapidly. More scientific, efficient, yes. More cures for the old sicknesses. efficient, yes. More cures for the old sicknesses. Very good. But a harsh, cruel world. And I saw a Very good. But a harsh, cruel world. And I saw a little girl, her eyes tightly closed, holding to her little girl, her eyes tightly closed, holding to her breast the old kind world, one that she knew in breast the old kind world, one that she knew in her heart could not remain, and she was holding her heart could not remain, and she was holding it and pleading, never to let her go. That is what I it and pleading, never to let her go. That is what I saw. It wasn’t really you, what you were doing, I saw. It wasn’t really you, what you were doing, I know that. But I saw you and it broke my heart. know that. But I saw you and it broke my heart. And I’ve never forgotten.”And I’ve never forgotten.”

Then she came forward until she was Then she came forward until she was only a step or two from us. “Your stories only a step or two from us. “Your stories this evening, they touched me too.” She this evening, they touched me too.” She looked now to Tommy, then back at me. looked now to Tommy, then back at me. “Poor creatures. I wish I could help you. “Poor creatures. I wish I could help you. But now you’re by yourselves.”But now you’re by yourselves.”

She reached out her hand, all the She reached out her hand, all the while staring into my face, and placed it while staring into my face, and placed it on my cheek. I could feel a trembling go on my cheek. I could feel a trembling go all through her body, but she kept her all through her body, but she kept her hand where it was, and I could see again hand where it was, and I could see again tears appearing in her eyes.tears appearing in her eyes.

““You poor creatures,” she repeated, You poor creatures,” she repeated, almost in a whisper. Then she turned and almost in a whisper. Then she turned and went back into her house.went back into her house.

““But now you’re by yourselves.” But now you’re by yourselves.” Never Let Me Go,Never Let Me Go, indeed. indeed. But that’s not all there is to the title. But that’s not all there is to the title. The The MeMe is obvious, at least at first: it has to is obvious, at least at first: it has to

be Kathy, right? be Kathy, right? Except Kathy’s not the only thing in this Except Kathy’s not the only thing in this

book that longs to be cared for, or to have book that longs to be cared for, or to have something to care for. something to care for.

Ruth could just as easily whisper Ruth could just as easily whisper never let never let me gome go to Tommy as Kathy could; for that matter, to Tommy as Kathy could; for that matter, he could whisper it to them. he could whisper it to them.

Those words could be screamed at a society Those words could be screamed at a society that keeps them in the shadows. that keeps them in the shadows.

Those words could echo off the walls of Those words could echo off the walls of fading memories, especially when Kathy insists – fading memories, especially when Kathy insists – after an entire book spent struggling to after an entire book spent struggling to remember moments, people, and places remember moments, people, and places accurately as the passage of time increasingly accurately as the passage of time increasingly obscures them from view – that she’ll always obscures them from view – that she’ll always have Hailsham in her head, safe and sound. have Hailsham in her head, safe and sound.

The other words are just as charged. The other words are just as charged. LetLet is not is not Make;Make; to let is to allow, permit, to let is to allow, permit,

stand by and witness. stand by and witness. ““Never let me go” is not “Don’t forget me,” Never let me go” is not “Don’t forget me,”

necessarily: more “don’t allow me to fade away.” necessarily: more “don’t allow me to fade away.” Do not permit me to disappear: do not Do not permit me to disappear: do not

permit me to be lonely, the most miserable permit me to be lonely, the most miserable condition Huxley’s future mutants can conceive. condition Huxley’s future mutants can conceive.

Do not allow our connection to fray, our Do not allow our connection to fray, our past to fade, our hopes to diminish. past to fade, our hopes to diminish.

As though we have total control over any of As though we have total control over any of these things! these things!

In a book so concerned with the ways In a book so concerned with the ways people, consciously or not, usurp control from people, consciously or not, usurp control from each other, the verb each other, the verb letlet, willing surrender, could , willing surrender, could not be more powerful. not be more powerful.

If If MeMe is a person, that person is begging is a person, that person is begging you to fight for him or her, and the you to fight for him or her, and the Never Never indicates that person wants you to fight for all of indicates that person wants you to fight for all of time.time.

Of course, Of course, NeverNever – one of those words I want – one of those words I want you to use only in appropriate circumstances – is an you to use only in appropriate circumstances – is an awfully long time to fight for anything, to treasure awfully long time to fight for anything, to treasure something as it’s meant to be treasured (let alone to something as it’s meant to be treasured (let alone to remember it as it was). remember it as it was).

Just ask Just ask The Fountain’sThe Fountain’s Tommy Creo. Tommy Creo. And because we don’t wield total control over And because we don’t wield total control over

our surroundings, because we can’t control time, we our surroundings, because we can’t control time, we can’t promise can’t promise Never.Never.

We all let go of everything, eventually; even if We all let go of everything, eventually; even if the Heaven’s-waiting-room scenario is the fate that the Heaven’s-waiting-room scenario is the fate that awaits each of us, how can we even begin thinking awaits each of us, how can we even begin thinking about what we would hold onto forever? about what we would hold onto forever?

How can we, as temporary beings, even How can we, as temporary beings, even conceive of forever? conceive of forever?

Instead, we watch Tommy let go of Ruth, Kathy Instead, we watch Tommy let go of Ruth, Kathy let go of Tommy, Marie-Claude remove her hand from let go of Tommy, Marie-Claude remove her hand from Kathy’s face, leaving her and Tommy alone with the Kathy’s face, leaving her and Tommy alone with the shattered remnants of their last desperate hopes. shattered remnants of their last desperate hopes.

And once those dreams are broken, do we have And once those dreams are broken, do we have any choice but to let them go?any choice but to let them go?

Then, finally, we come to Then, finally, we come to Go.Go. Another verb, with another seemingly endless set of Another verb, with another seemingly endless set of

meanings. meanings. As phrased in the title, As phrased in the title, GoGo is strongly associated with is strongly associated with

loss – never fall out of love with me, never forget this place, loss – never fall out of love with me, never forget this place, never forget me here. never forget me here.

Yet as any Yet as any Star TrekStar Trek fan knows, we’re all about the fan knows, we’re all about the “boldly going.” “boldly going.”

That’s how the themes of both That’s how the themes of both The Original Series The Original Series and and The Next GenerationThe Next Generation end: “to boldly go when no man/one has end: “to boldly go when no man/one has gone before.” gone before.”

To, if we can hearken back to an earlier point, exceed To, if we can hearken back to an earlier point, exceed our programming. our programming.

To be free. To be free. Taken in that light, it’s easy to see how the entire title Taken in that light, it’s easy to see how the entire title

carries a more sinister meaning: Society will never let the carries a more sinister meaning: Society will never let the clones go. clones go.

It will never let them advance. It will never let them advance. It will never let them be free. It will never let them be free. And they will not be like Moses Morales, flying with the And they will not be like Moses Morales, flying with the

birds who eat of the fruit from the trees above their graves, birds who eat of the fruit from the trees above their graves, the trees planted in loving memory by those they’ve left the trees planted in loving memory by those they’ve left behind. behind.

They’ll be forced to let go of their most valuable parts, They’ll be forced to let go of their most valuable parts, and let go of the very rights we Americans have always and let go of the very rights we Americans have always considered inalienable, irrevocable, irremovable. considered inalienable, irrevocable, irremovable.

Ishiguro traffics in nuance by trade; Ishiguro traffics in nuance by trade; he’s a master of ambiguity (another he’s a master of ambiguity (another hallmark), and if it seems at times like the hallmark), and if it seems at times like the layers are all there is to layers are all there is to Never Let Me GoNever Let Me Go – – that there are no answers to be found that there are no answers to be found within, just insight after insight and within, just insight after insight and question after maddening question – question after maddening question – there’s some truth to that. there’s some truth to that.

After all, none of us are, as Marie-After all, none of us are, as Marie-Claude puts it, mind-readers; Claude puts it, mind-readers; Never Let Never Let Me Go Me Go just amplifies the separation just amplifies the separation between us all in the faster, more modern between us all in the faster, more modern world. world.

And if And if answer answer and and insight insight seem like seem like synonyms, the feeling Ishiguro leaves a synonyms, the feeling Ishiguro leaves a reader with at novel’s end, with Kathy reader with at novel’s end, with Kathy silently weeping in the field of trash, silently weeping in the field of trash, argues otherwise.argues otherwise.

It should be noted that Ishiguro, somewhat It should be noted that Ishiguro, somewhat like Aronofsky, is not overly concerned with like Aronofsky, is not overly concerned with documenting the science in his science fiction. documenting the science in his science fiction.

To be fair to the filmmaker, To be fair to the filmmaker, The Fountain’sThe Fountain’s end credits do list the scientists and institutes he end credits do list the scientists and institutes he consulted during the writing process; to this day, consulted during the writing process; to this day, he insists that all of the jargon passes muster. he insists that all of the jargon passes muster.

But that’s to be expected. But that’s to be expected. If you get too obsessed with the nature of If you get too obsessed with the nature of

Tommy’s “cure” in Tommy’s “cure” in The Fountain,The Fountain, with how the with how the space bubble moves toward Xibalba, with space bubble moves toward Xibalba, with whether a botanical compound could do these whether a botanical compound could do these magical things, then you start missing the point magical things, then you start missing the point of the exercise: the science fiction exists to of the exercise: the science fiction exists to deliver the ideas in a digestible format, although deliver the ideas in a digestible format, although one could argue about how digestible one could argue about how digestible The The Fountain Fountain and and Never Let Me GoNever Let Me Go ultimately are. ultimately are.

Both are more concerned with the human Both are more concerned with the human drama, and the study of human nature, that lie drama, and the study of human nature, that lie closer to the cores of their tales. closer to the cores of their tales.

Ishiguro’s characters are, in some Ishiguro’s characters are, in some respects, no more deep than Aronofsky’s. respects, no more deep than Aronofsky’s. (No one accused (No one accused The FountainThe Fountain of of particularly nuanced character work, particularly nuanced character work, especially where the non-Tommy especially where the non-Tommy characters are concerned.) characters are concerned.)

Ishiguro’s Tommy is the good soul Ishiguro’s Tommy is the good soul with the bad temper, Ruth’s the Mean Girl with the bad temper, Ruth’s the Mean Girl with a touch more insecurity, and Kathy’s with a touch more insecurity, and Kathy’s basically Nick Carraway. basically Nick Carraway.

They start as ciphers, and if they take They start as ciphers, and if they take on dimension in our eyes, that’s at least on dimension in our eyes, that’s at least as much due to proximity and continued as much due to proximity and continued exposure as anything else.exposure as anything else.

We come to care about them because We come to care about them because we spend so much time with them, and we spend so much time with them, and with no one else; there’s not a lot else to with no one else; there’s not a lot else to grab.grab.

From its first words – a statement of From its first words – a statement of identity and purpose by an individual “human” identity and purpose by an individual “human” being – being – Never Let Me GoNever Let Me Go marks itself as marks itself as something different. something different.

The text and narrative “camera” belong to The text and narrative “camera” belong to Kathy H., and that characterization’s Kathy H., and that characterization’s incomplete-by-design nature should set off incomplete-by-design nature should set off warning bells – no last name = no family, no warning bells – no last name = no family, no legacy, no one left to care about you. (Readers legacy, no one left to care about you. (Readers of of BeowulfBeowulf and and MacbethMacbeth should’ve picked up on should’ve picked up on this this instantlyinstantly.) .)

The “H.” represents a blank history, The “H.” represents a blank history, somehow distinguishing without defining.somehow distinguishing without defining.

And similarly, this England is And similarly, this England is distinguished but undefined.distinguished but undefined.

We’re told, but not told, in Lucy’s We’re told, but not told, in Lucy’s devastating words, from the get-go.devastating words, from the get-go.

We’re presented with a setting We’re presented with a setting (England, late 1990s) and no further (England, late 1990s) and no further explanation for the slightly-cracked explanation for the slightly-cracked terminology that’ll permeate the text – terminology that’ll permeate the text – “donors” and “carers,” as well as “donors” and “carers,” as well as something called Hailsham. something called Hailsham.

We didn’t know what “carer” was We didn’t know what “carer” was when we first saw the word, and Ishiguro when we first saw the word, and Ishiguro never stops to define it – it just keeps never stops to define it – it just keeps appearing until it comes to mean appearing until it comes to mean something to us, even if what we pictured something to us, even if what we pictured isn’t exactly what it turns out to be. isn’t exactly what it turns out to be.

Then Ishiguro mentions “donors” and Then Ishiguro mentions “donors” and “donations,” and that barely-enjoyed “donations,” and that barely-enjoyed familiarity with the language evaporates, familiarity with the language evaporates, replaced with a sense (impossible to replaced with a sense (impossible to define at that early point) that something define at that early point) that something sinister is happening. sinister is happening.

That’s not to say that Ishiguro comes That’s not to say that Ishiguro comes right out and says “This is sinister.” right out and says “This is sinister.”

His narrative style, so meticulously His narrative style, so meticulously constructed, mirrors society's relationship constructed, mirrors society's relationship with the clones: you know they’re there, with the clones: you know they’re there, but you constantly look away and refrain but you constantly look away and refrain from acknowledging what they are, what from acknowledging what they are, what we do to them, and what their existence we do to them, and what their existence and our treatment of them represents. and our treatment of them represents.

Similarly, the factors that shape Similarly, the factors that shape Kathy’s existence – not just the nature of Kathy’s existence – not just the nature of her life, but her relationships with Ruth her life, but her relationships with Ruth and Tommy, and (as it turns out) even the and Tommy, and (as it turns out) even the donors she cares for – go unverbalized and donors she cares for – go unverbalized and unacknowledged.unacknowledged.

Instead, we get these eerie allusions Instead, we get these eerie allusions that don’t entirely make sense (since that don’t entirely make sense (since Ishiguro won’t explain them), yet still fill Ishiguro won’t explain them), yet still fill us with unease: the donors “tend[ing] to us with unease: the donors “tend[ing] to do much better than expected,” or the use do much better than expected,” or the use of the word “agitated,” pertaining as it of the word “agitated,” pertaining as it does to “donors...even before fourth does to “donors...even before fourth donation,” or the later “bit about donation,” or the later “bit about [Kathy’s] donors staying ‘calm,’” or when [Kathy’s] donors staying ‘calm,’” or when she mentions that “carers aren’t she mentions that “carers aren’t machines,” that “there’s no way [she] machines,” that “there’s no way [she] could have gone on for as long as [she had could have gone on for as long as [she had if she’d] stopped feeling for [her] donors if she’d] stopped feeling for [her] donors every step of the way.” every step of the way.”

All imply that whatever Kathy’s All imply that whatever Kathy’s doing, it isn’t necessarily a good thing.doing, it isn’t necessarily a good thing.

Fascinatingly, Ishiguro Fascinatingly, Ishiguro doesn’t doesn’t have have to explain what’s happening in order to to explain what’s happening in order to elicit the proper/desired reaction from his elicit the proper/desired reaction from his readers; in fact, in leaving so much readers; in fact, in leaving so much unexplained, and so much in our own unexplained, and so much in our own hands to shape, he gets a more organic hands to shape, he gets a more organic reaction than the writer who simply tells reaction than the writer who simply tells you, bluntly, “Kathy’s patients are being you, bluntly, “Kathy’s patients are being hollowed out alive, and they don’t have hollowed out alive, and they don’t have any choice in the matter.” any choice in the matter.”

We talk about showing, rather than We talk about showing, rather than telling; Ishiguro’s writing proves that in telling; Ishiguro’s writing proves that in the right hands, the right hands, not not showing works just as showing works just as powerfully.powerfully.

We notice that Kathy has a certain degree We notice that Kathy has a certain degree of “freedom” in the beginning – it’s noteworthy of “freedom” in the beginning – it’s noteworthy that she has a car (really? She’s thirty-one!) – that she has a car (really? She’s thirty-one!) – and that others aren’t granted the same, in and that others aren’t granted the same, in part because of “who she is.” Interestingly, this part because of “who she is.” Interestingly, this has something to do with where she went to has something to do with where she went to school – Hailsham, one of the “privileged school – Hailsham, one of the “privileged estates.” estates.”

But this is yet another instance of Ishiguro But this is yet another instance of Ishiguro sharing details in a familiar manner, as though sharing details in a familiar manner, as though we know what Hailsham is, as though we know we know what Hailsham is, as though we know who Ruth and Tommy are, when he obviously who Ruth and Tommy are, when he obviously knows we don’t. knows we don’t.

One starts to wonder: If we supposedly One starts to wonder: If we supposedly understand the nature of the things Kathy’s understand the nature of the things Kathy’s describing, why does she keep explaining describing, why does she keep explaining certain things to us? certain things to us?

In other words, if we “know” (and she In other words, if we “know” (and she treats us accordingly), why does she treats us accordingly), why does she sometimes treat us like we don’t?sometimes treat us like we don’t?

The simplest explanation is that it’s a way The simplest explanation is that it’s a way of establishing false intimacy between the of establishing false intimacy between the character and the reader. character and the reader.

Ishiguro defines intimacy in two ways in the Ishiguro defines intimacy in two ways in the first chapter: one being “the kind of person you first chapter: one being “the kind of person you are” (i.e., you want to associate with your own are” (i.e., you want to associate with your own kind), and the other, more important way being kind), and the other, more important way being shared experience (“the fact that [Ruth and I] shared experience (“the fact that [Ruth and I] had grown up together at Hailsham, the fact that had grown up together at Hailsham, the fact that we knew and remembered things no one else we knew and remembered things no one else did.”). did.”).

The clones’ ability to form intimate human The clones’ ability to form intimate human relationships – “intimate” less in the physical relationships – “intimate” less in the physical sense than in the emotional – makes their sense than in the emotional – makes their treatment more difficult to process, from a treatment more difficult to process, from a moral/ethical perspective. moral/ethical perspective.

It’d be easier to harvest their organs if that It’d be easier to harvest their organs if that was all they were – batches of organs, grown for was all they were – batches of organs, grown for a purpose. a purpose.

But we didn’t just grow the organs: But we didn’t just grow the organs: we grew consciousness, and we allowed we grew consciousness, and we allowed that consciousness to develop. that consciousness to develop.

And we recognized that we did so, And we recognized that we did so, even going so far as to granting the even going so far as to granting the clones the shadow of an existence – a clones the shadow of an existence – a childhood spent almost like a normal childhood spent almost like a normal child, the opportunity to do the things child, the opportunity to do the things most (well, most adolescents, at least) most (well, most adolescents, at least) consider important, even roles set out for consider important, even roles set out for them in adulthood. them in adulthood.

That, perhaps, is what makes our That, perhaps, is what makes our harvesting all the more horrible: if they’re harvesting all the more horrible: if they’re lesser creatures than we are, why do we lesser creatures than we are, why do we give them lives like ours? give them lives like ours?

Why treat our beasts bound for Why treat our beasts bound for slaughter with humanity, and then slaughter with humanity, and then slaughter them anyway?slaughter them anyway?

It is the clones’ essential humanity that It is the clones’ essential humanity that makes them problematic, and in Ishiguro’s makes them problematic, and in Ishiguro’s calculus, it’s their experiences – their pasts – that calculus, it’s their experiences – their pasts – that define their claim to humanity. define their claim to humanity.

Kathy notes that she’s tried to leave her Kathy notes that she’s tried to leave her past behind, but that – as Fitzgerald alludes to at past behind, but that – as Fitzgerald alludes to at the end of the end of The Great GatsbyThe Great Gatsby – the past reaches – the past reaches up and takes hold of us, whether we want it to or up and takes hold of us, whether we want it to or not. not.

Her past, and the experiences and Her past, and the experiences and memories and relationships associated with it, memories and relationships associated with it, give Kathy definition: they give her something to give Kathy definition: they give her something to lose.lose.

And that’s ultimately why she ends up And that’s ultimately why she ends up standing in the barren field; why she stands standing in the barren field; why she stands holding Tommy as he flies into a rage when they holding Tommy as he flies into a rage when they leave Madame and Emily behind. leave Madame and Emily behind.

Tommy, so often, is described as angry. Tommy, so often, is described as angry. But think about it: The world wrongs him But think about it: The world wrongs him

not simply by taking away all that’s wonderful, not simply by taking away all that’s wonderful, but by giving it to him in the first placebut by giving it to him in the first place

Why shouldn’t Tommy be angry?Why shouldn’t Tommy be angry?

And why shouldn’t we?And why shouldn’t we?