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Never Let Me Go: 20th anniversary edition Kindle Edition
**OVER 1 MILLION COPIES SOLD**
SHORTLISTED FOR THE BOOKER PRIZE
'Brilliantly executed.'
MARGARET ATWOOD
'A page-turner and a heartbreaker.'
TIME
'Masterly.'
SUNDAY TIMES
One of the most acclaimed novels of the 21st Century, from the Nobel Prize-winning author
Kazuo Ishiguro imagines the lives of a group of students growing up in a darkly skewed version of contemporary England. Narrated by Kathy, now thirty-one, Never Let Me Go dramatises her attempts to come to terms with her childhood at the seemingly idyllic Hailsham School and with the fate that has always awaited her and her closest friends in the wider world. A story of love, friendship and memory, Never Let Me Go is charged throughout with a sense of the fragility of life.
'Exquisite.'
GUARDIAN
'A feat of imaginative sympathy.'
NEW YORK TIMES
What readers are saying:
'A book I will return to again and again, and one that keeps me thinking even after finishing it.'
'I loved it, every single word of it.'
'It took me wholly by surprise.'
'Utterly beautiful.'
'Essentially perfect.'
- LanguageEnglish
- PublisherFaber & Faber
- Publication date8 Jan. 2009
- ISBN-13978-0571249381
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Product description
Review
'A master stoyteller ... In this deceptively sad novel, he simply uses a science-fiction framework to throw light on ordinary human life, the human soul, human sexuality, love, creativity and childhood innocence. He does so with devastating effect.' --Independent
'A clear frontrunner to be the year's most extraordinary novel... Not since The Remains of the Day has Ishiguro written about wasted lives with such finely gauged forlornness.' --Peter Kemp, Sunday Times
Review
Brilliant. The most exact and affecting of his novels to date. ― Observer
A clear frontrunner to be the year's most extraordinary novel. ― Sunday Times
A page-turner and a heartbreaker, a tour de force of knotted tension and buried anguish. ― Time
A master stoyteller ... In this deceptively sad novel, he simply uses a science-fiction framework to throw light on ordinary human life, the human soul, human sexuality, love, creativity and childhood innocence. He does so with devastating effect. ― Independent
Masterly... A novel with piercing questions about humanity and humaneness. ― Sunday Times
From the Inside Flap
From the Back Cover
About the Author
Excerpt. © Reprinted by permission. All rights reserved.
Anyway, I’m not making any big claims for myself. I know carers, working now, who are just as good and don’t get half the credit. If you’re one of them, I can understand how you might get resentful—about my bedsit, my car, above all, the way I get to pick and choose who I look after. And I’m a Hailsham student—which is enough by itself sometimes to get people’s backs up. Kathy H., they say, she gets to pick and choose, and she always chooses her own kind: people from Hailsham, or one of the other privileged estates. No wonder she has a great record. I’ve heard it said enough, so I’m sure you’ve heard it plenty more, and maybe there’s something in it. But I’m not the first to be allowed to pick and choose, and I doubt if I’ll be the last. And anyway, I’ve done my share of looking after donors brought up in every kind of place. By the time I finish, remember, I’ll have done twelve years of this, and it’s only for the last six they’ve let me choose.
And why shouldn’t they? Carers aren’t machines. You try and do your best for every donor, but in the end, it wears you down. You don’t have unlimited patience and energy. So when you get a chance to choose, of course, you choose your own kind. That’s natural. There’s no way I could have gone on for as long as I have if I’d stopped feeling for my donors every step of the way. And anyway, if I’d never started choosing, how would I ever have got close again to Ruth and Tommy after all those years?
But these days, of course, there are fewer and fewer donors left who I remember, and so in practice, I haven’t been choosing that much. As I say, the work gets a lot harder when you don’t have that deeper link with the donor, and though I’ll miss being a carer, it feels just about right to be finishing at last come the end of the year.
Ruth, incidentally, was only the third or fourth donor I got to choose. She already had a carer assigned to her at the time, and I remember it taking a bit of nerve on my part. But in the end I managed it, and the instant I saw her again, at that recovery centre in Dover, all our differences—while they didn’t exactly vanish—seemed not nearly as important as all the other things: like the fact that we’d grown up together at Hailsham, the fact that we knew and remembered things no one else did. It’s ever since then, I suppose, I started seeking out for my donors people from the past, and whenever I could, people from Hailsham.
There have been times over the years when I’ve tried to leave Hailsham behind, when I’ve told myself I shouldn’t look back so much. But then there came a point when I just stopped resisting. It had to do with this particular donor I had once, in my third year as a carer; it was his reaction when I mentioned I was from Hailsham. He’d just come through his third donation, it hadn’t gone well, and he must have known he wasn’t going to make it. He could hardly breathe, but he looked towards me and said: “Hailsham. I bet that was a beautiful place.” Then the next morning, when I was making conversation to keep his mind off it all, and I asked where he’d grown up, he mentioned some place in Dorset and his face beneath the blotches went into a completely new kind of grimace. And I realised then how desperately he didn’t want reminded. Instead, he wanted to hear about Hailsham.
So over the next five or six days, I told him whatever he wanted to know, and he’d lie there, all hooked up, a gentle smile breaking through. He’d ask me about the big things and the little things. About our guardians, about how we each had our own collection chests under our beds, the football, the rounders, the little path that took you all round the outside of the main house, round all its nooks and crannies, the duck pond, the food, the view from the Art Room over the fields on a foggy morning. Sometimes he’d make me say things over and over; things I’d told him only the day before, he’d ask about like I’d never told him. “Did you have a sports pavilion?” “Which guardian was your special favourite?” At first I thought this was just the drugs, but then I realised his mind was clear enough. What he wanted was not just to hear about Hailsham, but to remember Hailsham, just like it had been his own childhood. He knew he was close to completing and so that’s what he was doing: getting me to describe things to him, so they’d really sink in, so that maybe during those sleepless nights, with the drugs and the pain and the exhaustion, the line would blur between what were my memories and what were his. That was when I first understood, really understood, just how lucky we’d been—Tommy, Ruth, me, all the rest of us.
.
Driving around the country now, I still see things that will remind me of Hailsham. I might pass the corner of a misty field, or see part of a large house in the distance as I come down the side of a valley, even a particular arrangement of poplar trees up on a hillside, and I’ll think: “Maybe that’s it! I’ve found it! This actually is Hailsham!” Then I see it’s impossible and I go on driving, my thoughts drifting on elsewhere. In particular, there are those pavilions. I spot them all over the country, standing on the far side of playing fields, little white prefab buildings with a row of windows unnaturally high up, tucked almost under the eaves. I think they built a whole lot like that in the fifties and sixties, which is probably when ours was put up. If I drive past one I keep looking over to it for as long as possible, and one day I’ll crash the car like that, but I keep doing it. Not long ago I was driving through an empty stretch of Worcestershire and saw one beside a cricket ground so like ours at Hailsham I actually turned the car and went back for a second look.
We loved our sports pavilion, maybe because it reminded us of those sweet little cottages people always had in picture books when we were young. I can remember us back in the Juniors, pleading with guardians to hold the next lesson in the pavilion instead of the usual room. Then by the time we were in Senior 2—when we were twelve, going on thirteen—the pavilion had become the place to hide out with your best friends when you wanted to get away from the rest of Hailsham.
The pavilion was big enough to take two separate groups without them bothering each other—in the summer, a third group could hang about out on the veranda. But ideally you and your friends wanted the place just to yourselves, so there was often jockeying and arguing. The guardians were always telling us to be civilised about it, but in practice, you needed to have some strong personalities in your group to stand a chance of getting the pavilion during a break or free period. I wasn’t exactly the wilting type myself, but I suppose it was really because of Ruth we got in there as often as we did.
Usually we just spread ourselves around the chairs and benches—there’d be five of us, six if Jenny B. came along—and had a good gossip. There was a kind of conversation that could only happen when you were hidden away in the pavilion; we might discuss something that was worrying us, or we might end up screaming with laughter, or in a furious row. Mostly, it was a way to unwind for a while with your closest friends.
On the particular afternoon I’m now thinking of, we were standing up on stools and benches, crowding around the high windows. That gave us a clear view of the North Playing Field where about a dozen boys from our year and Senior 3 had gathered to play football. There was bright sunshine, but it must have been raining earlier that day because I can remember how the sun was glinting on the muddy surface of the grass.
Someone said we shouldn’t be so obvious about watching, but we hardly moved back at all. Then Ruth said: “He doesn’t suspect a thing. Look at him. He really doesn’t suspect a thing.”
When she said this, I looked at her and searched for signs of disapproval about what the boys were going to do to Tommy. But the next second Ruth gave a little laugh and said: “The idiot!”
And I realised that for Ruth and the others, whatever the boys chose to do was pretty remote from us; whether we approved or not didn’t come into it. We were gathered around the windows at that moment not because we relished the prospect of seeing Tommy get humiliated yet again, but just because we’d heard about this latest plot and were vaguely curious to watch it unfold. In those days, I don’t think what the boys did amongst themselves went much deeper than that. For Ruth, for the others, it was that detached, and the chances are that’s how it was for me too.
Or maybe I’m remembering it wrong. Maybe even then, when I saw Tommy rushing about that field, undisguised delight on his face to be accepted back in the fold again, about to play the game at which he so excelled, maybe I did feel a little stab of pain. What I do remember is that I noticed Tommy was wearing the light blue polo shirt he’d got in the Sales the previous month—the one he was so proud of. I remember thinking: “He’s really stupid, playing football in that. It’ll get ruined, then how’s he going to feel?” Out loud, I said, to no one in particular: “Tommy’s got his shirt on. His favourite polo shirt.”
I don’t think anyone heard me, because they were all laughing at Laura—the big clown in our group—mimicking one after the other the expressions that appeared on Tommy’s face as he ran, waved, called, tackled. The other boys were all moving around the field in that deliberately languorous way they have when they’re warming up, but Tommy, in his excitement, seemed already to be going full pelt. I said, louder this time: “He’s going to be so sick if he ruins that shirt.” This time Ruth heard me, but she must have thought I’d meant it as some kind of joke, because she laughed half-heartedly, then made some quip of her own.
Then the boys had stopped kicking the ball about, and were standing in a pack in the mud, their chests gently rising and falling as they waited for the team picking to start. The two captains who emerged were from Senior 3, though everyone knew Tommy was a better player than any of that year. They tossed for first pick, then the one who’d won stared at the group.
“Look at him,” someone behind me said. “He’s completely convinced he’s going to be first pick. Just look at him!”
There was something comical about Tommy at that moment, something that made you think, well, yes, if he’s going to be that daft, he deserves what’s coming. The other boys were all pre- tending to ignore the picking process, pretending they didn’t care where they came in the order. Some were talking quietly to each other, some re-tying their laces, others just staring down at their feet as they trammelled the mud. But Tommy was looking eagerly at the Senior 3 boy, as though his name had already been called.
Laura kept up her performance all through the team-picking, doing all the different expressions that went across Tommy’s face: the bright eager one at the start; the puzzled concern when four picks had gone by and he still hadn’t been chosen; the hurt and panic as it began to dawn on him what was really going on. I didn’t keep glancing round at Laura, though, because I was watching Tommy; I only knew what she was doing because the others kept laughing and egging her on. Then when Tommy was left standing alone, and the boys all began sniggering, I heard Ruth say:
“It’s coming. Hold it. Seven seconds. Seven, six, five . . .”
She never got there. Tommy burst into thunderous bellowing, and the boys, now laughing openly, started to run off towards the South Playing Field. Tommy took a few strides after them—it was hard to say whether his instinct was to give angry chase or if he was panicked at being left behind. In any case he soon stopped and stood there, glaring after them, his face scarlet. Then he began to scream and shout, a nonsensical jumble of swear words and insults.
We’d all seen plenty of Tommy’s tantrums by then, so we came down off our stools and spread ourselves around the room. We tried to start up a conversation about something else, but there was Tommy going on and on in the background, and although at first we just rolled our eyes and tried to ignore it, in the end—probably a full ten minutes after we’d first moved away—we were back up at the windows again.
The other boys were now completely out of view, and Tommy was no longer trying to direct his comments in any particular direction. He was just raving, flinging his limbs about, at the sky, at the wind, at the nearest fence post. Laura said he was maybe “rehearsing his Shakespeare.” Someone else pointed out how each time he screamed something he’d raise one foot off the ground, pointing it outwards, “like a dog doing a pee.” Actually, I’d noticed the same foot movement myself, but what had struck me was that each time he stamped the foot back down again, flecks of mud flew up around his shins. I thought again about his precious shirt, but he was too far away for me to see if he’d got much mud on it.
“I suppose it is a bit cruel,” Ruth said, “the way they always work him up like that. But it’s his own fault. If he learnt to keep his cool, they’d leave him alone.”
“They’d still keep on at him,” Hannah said. “Graham K.’s temper’s just as bad, but that only makes them all the more care- ful with him. The reason they go for Tommy’s because he’s a layabout.”
Then everyone was talking at once, about how Tommy never even tried to be creative, about how he hadn’t even put anything in for the Spring Exchange. I suppose the truth was, by that stage, each of us was secretly wishing a guardian would come from the house and take him away. And although we hadn’t had any part in this latest plan to rile Tommy, we had taken out ringside seats, and we were starting to feel guilty. But there was no sign of a guardian, so we just kept swapping reasons why Tommy deserved everything he got. Then when Ruth looked at her watch and said even though we still had time, we should get back to the main house, nobody argued.
Tommy was still going strong as we came out of the pavilion. The house was over to our left, and since Tommy was standing in the field straight ahead of us, there was no need to go anywhere near him. In any case, he was facing the other way and didn’t seem to register us at all. All the same, as my friends set off along the edge of the field, I started to drift over towards him. I knew this would puzzle the others, but I kept going—even when I heard Ruth’s urgent whisper to me to come back.
I suppose Tommy wasn’t used to being disturbed during his rages, because his first response when I came up to him was to stare at me for a second, then carry on as before. It was like he was doing Shakespeare and I’d come up onto the stage in the middle of his performance. Even when I said: “Tommy, your nice shirt. You’ll get it all messed up,” there was no sign of him having heard me.
So I reached forward and put a hand on his arm. Afterwards, the others thought he’d meant to do it, but I was pretty sure it was unintentional. His arms were still flailing about, and he wasn’t to know I was about to put out my hand. Anyway, as he threw up his arm, he knocked my hand aside and hit the side of my face. It didn’t hurt at all, but I let out a gasp, and so did most of the girls behind me.
That’s when at last Tommy seemed to become aware of me, of the others, of himself, of the fact that he was there in that field, behaving the way he had been, and stared at me a bit stupidly.
“Tommy,” I said, quite sternly. “There’s mud all over your shirt.”
“So what?” he mumbled. But even as he said this, he looked down and noticed the brown specks, and only just stopped himself crying out in alarm. Then I saw the surprise register on his face that I should know about his feelings for the polo shirt.
“It’s nothing to worry about,” I said, before the silence got humiliating for him. “It’ll come off. If you can’t get it off yourself, just take it to Miss Jody.”
He went on examining his shirt, then said grumpily: “It’s nothing to do with you anyway.”
He seemed to regret immediately this last remark and looked at me sheepishly, as though expecting me to say something comforting back to him. But I’d had enough of him by now, particularly with the girls watching—and for all I knew, any number of others from the windows of the main house. So I turned away with a shrug and rejoined my friends.
Ruth put an arm around my shoulders as we walked away. “At least you got him to pipe down,” she said. “Are you okay? Mad animal.”
From the Hardcover edition.
Product details
- ASIN : B002RI9ZX6
- Publisher : Faber & Faber; Open Market - Airside ed edition (8 Jan. 2009)
- Language : English
- File size : 2.3 MB
- Text-to-Speech : Enabled
- Screen Reader : Supported
- Enhanced typesetting : Enabled
- X-Ray : Enabled
- Word Wise : Enabled
- Print length : 275 pages
- Best Sellers Rank: 2,631 in Kindle Store (See Top 100 in Kindle Store)
- Customer reviews:
About the author

KAZUO ISHIGURO was born in Nagasaki, Japan, in 1954 and moved to Britain at the age of five. His eight previous works of fiction have earned him many honors around the world, including the Nobel Prize in Literature and the Booker Prize. His work has been translated into over fifty languages, and The Remains of the Day and Never Let Me Go, both made into acclaimed films, have each sold more than 2 million copies. He was given a knighthood in 2018 for Services to Literature. He also holds the decorations of Chevalier de l'Ordre des Arts et des Lettres from France and the Order of the Rising Sun, Gold and Silver Star from Japan.
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Customers find the book easy to read and engaging. They praise the writing style as well-crafted and descriptive. Many find the subject matter thought-provoking and fascinating. However, some readers found the pacing slow and depressing. Opinions differ on the story quality - some find it profound and unassuming, while others describe it as dull and not exactly a thriller. There are mixed views on character development - some find them strong and understandable, while others felt they were annoying.
AI-generated from the text of customer reviews
Customers find the book engaging and well-written. They appreciate the likable characters and powerful themes. The simple literary style is contrasted with the complex ideas in the last paragraph. Overall, readers describe the book as an ideal classic that touches on important issues.
"...What I found so engaging about it is the contrast between its very simple literary style (almost Blyton-esque) and its very profound subject matter...." Read more
"...It is, however, an amazing book, I would give it four and a half stars if I could." Read more
"...It helps ease consciouses by regarding the few are not real people...." Read more
"A fascinating book that parachutes the reader into an initially slightly bewildering story set in an alternative dystopian Britain...." Read more
Customers praise the writing style. They find the book well-written and cleverly written as a memoir of one of the main protagonists. The author writes convincingly as a woman, which is rare from a male. The casual and personal approach makes it an easy read. The descriptive language and engaging story make it relatable.
"...between the young people are beautifully drawn with repeatedly poignant understatement, and given their destiny, ones heart goes out to them...." Read more
"...I have now read this beautifully written and haunting book twice, but I'm still not sure what to make of it...." Read more
"...Shame, as it is so well crafted - the detailed language of the narrator, Kathy, is perfectly that of a young girl (without resorting to slang)...." Read more
"...The text is simply written but encompasses profound and complex ideas about choice, freedom and totalitarianism...." Read more
Customers find the book thought-provoking. They are fascinated by the premise and how it weaves into the lives of ordinary children. The tale highlights the complexity of the human experience with an interesting perspective. Readers describe the novel as haunting, engaging, and touching with several touching scenes.
"...I have now read this beautifully written and haunting book twice, but I'm still not sure what to make of it...." Read more
"...The text is simply written but encompasses profound and complex ideas about choice, freedom and totalitarianism...." Read more
"...will only say that the last long paragraph of the book is masterful, summative, absolutely character-precise, and left this reader emotionally..." Read more
"...There are several touching scenes in the novel...." Read more
Customers have mixed opinions about the story. Some find it engaging and poignant, while others feel it lacks suspense, is not exactly dystopian, and has plot holes. The memoir-style fits the narrative well, but some readers feel the book isn't a thriller or science fiction.
"...She is sensitive and aware, and her reminisces about school days - the cliques, the secrets, the gossip, the manipulation, etc.,..." Read more
"...whom he has persuaded me across nearly three hundred pages is emotionally neutral, I can only put my hand up and salute great writing...." Read more
"...I felt that the ultimate denouement of the story was both poignant and a huge surprise as the real reasons for things such as the encouragement for..." Read more
"...The use and abuse of science. This book is not science fiction and any science in it is at best vague...." Read more
Customers have different views on the character development. Some find the characters strong and understand their motivations and troubles. Others feel the characters are passive and unmotivated.
"...They come across, not as any sub-human beings, but as real people with real feelings, yet sentenced to an awful inevitable predestination...." Read more
"...very little science mentioned within the pages as the clones are humanised to such an extent that the "normal" human beings come across as very much..." Read more
"...The relationships between the characters are beautifully drawn, and gradually highlight both the similarities and the differences between these..." Read more
"...Romance between characters also felt flat and unsentimental...." Read more
Customers have different experiences with the book's sadness. Some find it thought-provoking, tragic, and moving, bringing them close to tears. Others describe it as grim, disturbing, and leaving them reeling.
"...masterful, summative, absolutely character-precise, and left this reader emotionally drained...." Read more
"...Thus in this novel we are presented with a nightmarish dystopian scenario...." Read more
"...Never Let Me Go has a melancholy feel to it. It’s an almost bitter sweet read as you get a sense at what is to come in the story...." Read more
"...has found a new style for his story telling and succeeds with this sad story about love and death." Read more
Customers have different views on the book's pace. Some find it casual and reflective, with a slow-moving plot. Others find it hard to get into and find the beginning drags on.
"...And if the rest of his novels are as compulsive, addictive and powerful, if the rest of his novels stay so entrenched in me for so long after the..." Read more
"Initially, I found this novel difficult to get into. I'd read up until chapter seven and felt a little underwhelmed...." Read more
"...And read on, you do, because Never Let Me Go, despite its casual pace and meandering timeline and flow, is a very fast, engaging read...." Read more
"...At times, so much background detail is given that it can feel tedious...." Read more
Customers find the book's pacing slow and depressing. They find the story boring and tedious, with characters they dislike. The ending leaves them feeling unsatisfied and underwhelmed.
"...At another level, the book was a considerable frustration. It left so many questions in one's mind - if only a few answers could have been proferred...." Read more
"...The fragility of life. Mortality is at the forefront of the characters minds in the central and latter part of the novel...." Read more
"...Yet it's dark, tragic and dystopian; it questions the very essence of humanity and 'greater good', it's a psychological study in..." Read more
"...I did feel, however, the plot was sometimes a little bit slow and Kathy kept taking us back and forth in timeline and kept repeating herself at odd..." Read more
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Top reviews from United Kingdom
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- Reviewed in the United Kingdom on 2 March 2011This is my first Ishiguro novel. I read it, having had my curiosity raised when I saw the film. Though it is invidious to compare the two quite different formats, I have to say I got a lot more from the book, though admittedly it must have been devilishly difficult to convert into a screenplay.
The book has over 300 Amazon reviews, so I guess I cannot add very much by way of yet another, but I was so challenged by it that I thought I might offer a few words. This is a book the reader has to work hard with. What I found so engaging about it is the contrast between its very simple literary style (almost Blyton-esque) and its very profound subject matter. It can be read on at least 3 levels, and as the pages progressed, I kept switching from one to another.
On one level it is a tale of young people, who are not young people. They are clones, manufactured by man with a sole purpose - to provide spare parts to revitalise the ill and infirm. But they have many of the normal characteristics of young people - and the author forces you to empathise with them by giving one of them the task of telling the story - you see things from her perspective. They come across, not as any sub-human beings, but as real people with real feelings, yet sentenced to an awful inevitable predestination. Relationships between the young people are beautifully drawn with repeatedly poignant understatement, and given their destiny, ones heart goes out to them. And one is never certain what human characteristics they been allowed to retain, and what they are deprived of. So, for instance, they can almost certainly love one another but appear not to be able to experience grief. I found this uncertainty puzzling, but it certainly added to the intrigue.
At another level, the book was a considerable frustration. It left so many questions in one's mind - if only a few answers could have been proferred. How was the clone enterprise established? What ethical considerations were made by the instigators of the scheme? How did the clones survive repeated 'donations'? Why could they not rebel? Why did they have no fear of death? etc. etc. But that's one reason why the reader has to work so hard. And it is very possible that if more of these type of questions had been provided with answers, the book would have lost much of its power to make us examine our own ethical dilemmas.
And at yet another level, the book can be considered as an allegory - as a proxy which exemplifies the moral issues whenever a totalitarian power (be it a state, interest group or individual) abuses that power and deprives others of their (human) rights. And critically, when you deprive those so oppressed of the ability to fight back, that power becomes a truly evil force.
I found this book to be outstanding.
- Reviewed in the United Kingdom on 15 July 2012** spoiler alert ** I mention plot elements in this review which you may not wish to know about in advance of reading the book.
I have now read this beautifully written and haunting book twice, but I'm still not sure what to make of it. The characters shy away from asking awkward questions about their lives and so does the author in this story. I wouldn't want a book to try to give all the answers to fundamental questions of life, but this one doesn't actually formulate the questions. It does raise questions, but everything is peripheral and hinted at rather than explicit, so which questions the reader asks are the ones they already have concerns about.
He puts a group of people into a nightmare scenario and leaves them to make sense of their lives. They do not find reasons, but do find acceptance within themselves. They know from very young that their purpose in life is to die for others, although they only gradually come to a full realisation of this. They have hopes of a possible escape through first artistic achievement and later falling in love and being in a stable couple. Neither of these offer a way out, so they are left with finding consolations to make their short lives more bearable. The best consolations turn out to be friendship and memories, and for Kathy the fulfillment of caring for others.
What questions or issues might this book also raise:
The nature of humanity. Are human clones human? If they are, are some humans more valuable than others? Does this hint at discrimination against any group of humans?
The fragility of life. Mortality is at the forefront of the characters minds in the central and latter part of the novel. (They are mostly in denial in the earliest part.) If you know your life will be short, would this book help you come to terms with that? What would you do to prolong your own life, if it might be at the expense of another's?
The use and abuse of science. This book is not science fiction and any science in it is at best vague. (Which body parts are they donating? To whom? Who are the originals? How many are there, so are the clones batches or individuals?) The scientific issue is still there in the background.
Ethical farming. If an animal (or human clone) is being raised simply to be killed for meat (or spare body parts) does it matter if it has a good quality of life? This question is more explicitly asked than some of the others, although I may think that because it is one I already consider. Hailsham is an experiment in giving these clones a pleasant environment to grow up in. Most clones grow up in much worse places (hinted at by mentions of electrified fences, and a minor character who shudders at his memories). The experiment is abandoned, but the raising of clones for spare body parts is not.
I still do not think I understand this book. I find its ambivalence on the issues in the background frustrating at times. It is, however, an amazing book, I would give it four and a half stars if I could.
Top reviews from other countries
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まかパパReviewed in Japan on 25 November 2017
5.0 out of 5 stars ストーリーに引き込まれました
ノーベル賞の話題性で手に取りました。
かなり長い小説で、英語で読むと退屈するかと思いましたが、描写がとても力強く、途中からどんどん引き込まれました。さすがです。
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Maurício Fontana FilhoReviewed in Brazil on 6 September 2021
5.0 out of 5 stars nota máxima dou seis se der não dá
to cheio de coisa pra fazer e li rapidinho do início ao fim porque o livro é top demais
- Philip WortmannReviewed in Germany on 1 April 2021
5.0 out of 5 stars From Simple String to Complex Web
In Never Let Me Go, Kazuo Ishiguro manages to tell a story that easily begins in rather familiar and uncomplicated territory, only to guide the reader by subtle hints and foreshadowing to the steady realisation that the world which one took for granted as a child was never as simple as it all seemed back then.
In this work, Kazuo Ishiguro brings to bear characters that can be both wise and foolish, admirable and unbearable, through the memories and eyes of the observant narrator, Kathy. It is a story that seems innocent enough at first, only to, as in his 'the Buried Giant' give way to unforseen and thought provoking depths. I am grateful to have read it!
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Felix BERGERACReviewed in France on 6 October 2017
5.0 out of 5 stars Une pure merveille qui me marquera longtemps comme beaucoup d'autres lecteurs
J'ai lu ce livre en anglais "never let me go" en le terminant le jour même de l'annonce du prix Nobel.
C'est le premier livre de l'auteur que je lis et bien sûr je lirai les autres tant son art de construire une histoire sans y avoir l'air, de générer des sentiments profonds chez le lecteur me semble extraordinaire.
Il a fallut que j'écrive mes propres émotions réflexions sur le livre avant de l'avoir terminé, pour laisser une trace de l'évolution de mes idées sur l'histoire mais aussi sur ce qu'Ishiguro nous laisse à penser après chaque petite révélation égrenées très lentement dans le texte. Et bien m'en a pris car ce que j'ai pu imaginer pour résoudre ma frustration, car comme tous ceux qui suivent le récit il y a malaise puis frustration et jusqu'à la fin une attente de quelque chose, un signe qui nous sorte du cauchemard.
Les derniers chapitres nous enlèvent toute illusion et pour ma part, en fournissant des explications peut-être inutiles ont replongé le livre dans la catégorie des dystopies.
Ces moments de l'enfance puis de l'adolescence, avec leurs sensibilités particulières dans des détails anodins font d'abord penser à une communauté privilégiée, un orphelinat de luxe. Puis chaque nouvelle révélation sur ce que savent ces enfants sur eux même puis sur leur mission nous les font apparaitre comme une armée ou une communauté mystique car il y a un sens du devoir, une absence de doute, une évidence de soumission extraordinaire. Les gardiens éducateurs et les rares personnages qui ne font pas partie du groupe laisse entrevoir un malaise général du monde extérieurs vis à vis de leurs élèves et donc la possibilité que l'horreur côtoie le fantastique.
Mais le point fort de ce récit sera de ne jamais donner l'impression qu'il y a de la coercition dans le monde qui s'accommode de ces êtres fantastiques qu'il a créé pour son bonheur égoïste, tout en insufflant chez le lecteur la part de frustration qu'il ne trouvera pas chez les trois héros du livre. On attend d'eux une réaction une prise de conscience ne serait-ce qu'un doute sur le sens de leur vie qui ne vient pas.
Une dernière chose, pour dire que l'art d'Ishiguro est celui de nous manipuler tout doucement pour nous permettre de finir le livre plutôt que de l'abandonner trop tôt car il fait mal a tout être doué d'empathie.
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JosepmaReviewed in Spain on 26 November 2023
5.0 out of 5 stars Bueno
Buen producto, tal y como reza en la descripción. Compra recomendada.