Never Let Me Go
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Kazuo Ishiguro was born in Nagasaki, Japan, in 1954 and now lives in London, England. Each of his understated, finely wrought novels has been published to international acclaim. He was in both of Granta's Best of Young British Novelists anthologies, and won the Booker Prize at thirty-four for Remains of the Day. From the Hardcover edition.
NATIONAL BESTSELLER National Book Critics Circle Award and Man Booker Prize Finalist "A page-turner and a heartbreaker, a tour de force of knotted tension and buried anguish." Time The introduction, discussion questions, suggested reading list, and author biography that follow are intended to enhance your group's conversation aboutNever Let Me Go, a brilliantly achieved story of nostalgia for a lost childhood.
NATIONAL BESTSELLERNational Book Critics Circle Award and Man Booker Prize Finalist"A page-turner and a heartbreaker, a tour de force of knotted tension and buried anguish." TimeThe introduction, discussion questions, suggested reading list, and author biography that follow are intended to enhance your group's conversation about Never Let Me Go, a brilliantly achieved story of nostalgia for a lost childhood.
1. Kathy introduces herself as an experienced carer. She prides herself on knowing how to keep her donors calm, "even before fourth donation" [p. 3]. How long does it take for the meaning of such terms as "donation," "carer," and "completed" to be fully revealed?2. Kathy addresses us directly, with statements like "I don't know how it was where you were, but at Hailsham we used to have some form of medical every week" [p. 13], and she thinks that we too might envy her having been at Hailsham [p. 4]. What does Kathy assume about anyone she might be addressing, and why?3. Why is it important for Kathy to seek out donors who are "from the past," "people from Hailsham" [p. 5]? She learns from a donor who'd grown up at an awful place in Dorset that she and her friends at Hailsham had been really "lucky" [p. 6]. How does the irony of this designation grow as the novel goes on? What does Hailsham represent for Kathy, and why does she say at the end that Hailsham is "something no one can take away" [p. 287]?4. Kathy tells the reader, "How you were regarded at Hailsham, how much you were liked and respected, had to do with how good you were at 'creating'" [p. 16]. What were Hailsham's administrators trying to achieve in attaching a high value to creativity?5. Kathy's narration is the key to the novel's disquieting effect. First person narration establishes a kind of intimacy between narrator and reader. What is it like having direct access to Kathy's mind and feelings? How would the novel be different if narrated from Tommy's point of view, or Ruth's, or Miss Emily's?6. What are some of Ruth's most striking character traits? How might her social behavior, at Hailsham and later at the Cottages, be explained? Why does she seek her "possible" so earnestly [pp. 15967]?7. One of the most notable aspects of life at Hailsham is the power of the group. Students watch each other carefully and try on different poses, attitudes, and ways of speaking. Is this behavior typical of most adolescents, or is there something different about the way the students at Hailsham seek to conform?8. How do Madame and Miss Emily react to Kathy and Tommy when they come to request a deferral? Defending her work at Hailsham, Miss Emily says, "Look at you both now! You've had good lives, you're educated and cultured" [p. 261]. What is revealed in this extended conversation, and how do these revelations affect your experience of the story?9. Why does Tommy draw animals? Why does he continue to work on them even after he learns that there will be no deferral?10. Kathy reminds Madame of the scene in which Madame watched her dancing to a song on her Judy Bridgewater tape. How is Kathy's interpretation of this event different from Madame's? How else might it be interpreted? Is the song's title again recalled by the book's final pages [pp. 28688]?11. After their visit to Miss Emily and Madame, Kathy tells Tommy that his fits of rage might be explained by the fact that "at some level you always knew" [p. 275]. Does this imply that Kathy didn't? Does it imply that Tommy is more perceptive than Kathy?12. Does the novel examine the possibility of human cloning as a legitimate question for medical ethics, or does it demonstrate that the human costs of cloning are morally repellent, and therefore impossible for science to pursue? What kind of moral and emotional responses does the novel provoke? If you extend the scope of the book
My name is Kathy H. I'm thirty-one years old, and I've been a carer now for over eleven years. That sounds long enough, I know, but actually they want me to go on for another eight months, until the end of this year. That'll make it almost exactly twelve years. Now I know my being a carer so long isn't necessarily because they think I'm fantastic at what I do. There are some really good carers who've been told to stop after just two or three years. And I can think of one carer at least who went on for all of fourteen years despite being a complete waste of space. So I'm not trying to boast. But then I do know for a fact they've been pleased with my work, and by and large, I have too. My donors have always tended to do much better than expected. Their recovery times have been impressive, and hardly any of them have been classified as "agitated," even before fourth donation. Okay, maybe I am boasting now. But it means a lot to me, being able to do my work well, especially that bit about my donors staying "calm." I've developed a kind of instinct around donors. I know when to hang around and comfort them, when to leave them to themselves; when to listen to everything they have to say, and when just to shrug and tell them to snap out of it. 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 resentfulabout my bedsit, my car, above all, the way I get to pick and choose who I look after. And I'm a Hailsham studentwhich 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 differenceswhile they didn't exactly vanishseemed 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
From the Booker Prize-winning author of The Remains of the Day and When We Were Orphans, comes an unforgettable edge-of-your-seat mystery that is at once heartbreakingly tender and morally courageous about what it means to be human. Hailsham seems like a pleasant English boarding school, far from the influences of the city. Its students are well tended and supported, trained in art and literature, and become just the sort of people the world wants them to be. But, curiously, they are taught nothing of the outside world and are allowed little contact with it. Within the grounds of Hailsham, Kathy grows from schoolgirl to young woman, but it's only when she and her friends Ruth and Tommy leave the safe grounds of the school (as they always knew they would) that they realize the full truth of what Hailsham is. Never Let Me Go breaks through the boundaries of the literary novel. It is a gripping mystery, a beautiful love story, and also a scathing critique of human arrogance and a moral examination of how we treat the vulnerable and different in our society. In exploring the themes of memory and the impact of the past, Ishiguro takes on the idea of a possible future to create his most moving and powerful book to date. "From the Hardcover edition.
From the Booker Prize-winning author of "The Remains of the Day "comes a devastating new novel of innocence, knowledge, and loss. As children Kathy, Ruth, and Tommy were students at Hailsham, an exclusive boarding school secluded in the English countryside. It was a place of mercurial cliques and mysterious rules where teachers were constantly reminding their charges of how special they were. Now, years later, Kathy is a young woman. Ruth and Tommy have reentered her life. And for the first time she is beginning to look back at their shared past and understand just what it is that makes them special-and how that gift will shape the rest of their time together. Suspenseful, moving, beautifully atmospheric, "Never Let Me Go "is another classic by the author of "The Remains of the Day"
From the Booker Prize-winning author of The Remains of the Day comes a devastating new novel of innocence, knowledge, and loss. As children Kathy, Ruth, and Tommy were students at Hailsham, an exclusive boarding school secluded in the English countryside. It was a place of mercurial cliques and mysterious rules where teachers were constantly reminding their charges of how special they were. Now, years later, Kathy is a young woman. Ruth and Tommy have reentered her life. And for the first time she is beginning to look back at their shared past and understand just what it is that makes them special - and how that gift will shape the rest of their time together. Suspenseful, moving, beautifully atmospheric, Never Let Me Go is another classic by the author of The Remains of the Day.
From the Booker Prize-winning author of The Remains of the Daycomes a devastating new novel of innocence, knowledge, and loss. As children Kathy, Ruth, and Tommy were students at Hailsham, an exclusive boarding school secluded in the English countryside. It was a place of mercurial cliques and mysterious rules where teachers were constantly reminding their charges of how special they were. Now, years later, Kathy is a young woman. Ruth and Tommy have reentered her life. And for the first time she is beginning to look back at their shared past and understand just what it is that makes them specialand how that gift will shape the rest of their time together. Suspenseful, moving, beautifully atmospheric, Never Let Me Gois another classic by the author of The Remains of the Day.
From the Booker Prize-winning author of The Remains of the Daycomes a devastating new novel of innocence, knowledge, and loss. As children Kathy, Ruth, and Tommy were students at Hailsham, an exclusive boarding school secluded in the English countryside. It was a place of mercurial cliques and mysterious rules where teachers were constantly reminding their charges of how special they were. Now, years later, Kathy is a young woman. Ruth and Tommy have reentered her life. And for the first time she is beginning to look back at their shared past and understand just what it is that makes them special?밶nd how that gift will shape the rest of their time together. Suspenseful, moving, beautifully atmospheric, Never Let Me Gois another classic by the author of The Remains of the Day. From the Trade Paperback edition.
"A clear frontrunner to be the year's most extraordinary novel." The Times (UK) "So exquisitely observed that even the most workaday objects and interactions are infused with a luminous, humming otherworldliness. The dystopian story it tells, meanwhile, gives it a different kind of electric charge. . . . An epic ethical horror story, told in devastatingly poignant miniature. . . . Ishiguro spins a stinging cautionary tale of science outpacing ethics." Publishers Weekly (starred review) "Perfect pacing and infinite subtlety. . . . That this stunningly brilliant fiction echoes Caryl Churchill's superb play A Number and Margaret Atwood's celebrated dystopian novels in no way diminishes its originality and power. A masterpiece of craftsmanship that offers an unparalleled emotional experience. Send a copy to the Swedish Academy." Kirkus Reviews (starred review) "Elegiac, compelling, otherworldly, deeply disturbing and profoundly moving." Sunday Herald (UK) "Brilliant . . . Ishiguro's most profound statement of the endurance of human relationships. . . . The most exact and affecting of his books to date." The Guardian (UK) "Ishiguro's elegant prose and masterly ways with characterization make for a lovely tale of memory, self-understanding, and love." Library Journal (starred review) "Ishiguro's provocative subject matter and taut, potent prose have earned him multiple literary decorations, including the French government's Chevalier dans l'Ordre des Arts et des Lettres and an Order of the British Empire for service to literature.... In this luminous offering, he nimbly navigates the landscape of emotion the inevitable link between present and past and the fine line between compassion and cruelty, pleasure and pain." Booklist Praise for Kazuo Ishiguro: "His books are Zen gardens with no flowery metaphors, no wild, untamed weeds threatening or allowed to overrun the plot." The Globe and Mail "A writer of Ishiguro's intelligence, sensitivity and stylistic brilliance obviously offers rewards." The Gazette (Montreal) "Kazuo Ishiguro distinguishes himself as one of our most eloquent poets of loss." Joyce Carol Oates, TLS "Ishiguro is a stylist like no other, a writer who knows that the truth is often unspoken." Maclean's "One of the finest prose stylists of our time." Michael Ondaatje "Ishiguro shows immense tenderness for his characters, however absurd or deluded they may be." The Guardian "[Ishiguro is] an original and remarkable genius." The New York Times Book Review From the Hardcover edition.
"A page turner and a heartbreaker, a tour de force of knotted tension and buried anguish."Time "A Gothic tour de force. . . . A tight, deftly controlled story . . . . Just as accomplished [as The Remains of the Day] and, in a very different way, just as melancholy and alarming."The New York Times "Elegaic, deceptively lovely. . . . As always, Ishiguro pulls you under." Newsweek "Superbly unsettling, impeccably controlled . . . . The book's irresistible power comes from Ishiguro's matchless ability to expose its dark heart in careful increments." Entertainment Weekly
" A page turner and a heartbreaker, a tour de force of knotted tension and buried anguish." -- "Time" " A Gothic tour de force. . . . A tight, deftly controlled story . . . . Just as accomplished [as "The Remains of the Day"] and, in a very different way, just as melancholy and alarming." -- "The New York Times" " Elegaic, deceptively lovely. . . . As always, Ishiguro pulls you under." -- "Newsweek" " Superbly unsettling, impeccably controlled . . . . The book' s irresistible power comes from Ishiguro' s matchless ability to expose its dark heart in careful increments." -- "Entertainment Weekly"
"A page turner and a heartbreaker, a tour de force of knotted tension and buried anguish."--"Time" "A Gothic tour de force. . . . A tight, deftly controlled story . . . . Just as accomplished [as "The Remains of the Day"] and, in a very different way, just as melancholy and alarming."--"The New York Times" "Elegaic, deceptively lovely. . . . As always, Ishiguro pulls you under." --"Newsweek" "Superbly unsettling, impeccably controlled . . . . The book's irresistible power comes from Ishiguro's matchless ability to expose its dark heart in careful increments." --"Entertainment Weekly"
"A page turner and a heartbreaker, a tour de force of knotted tension and buried anguish." - Time "A Gothic tour de force. . . . A tight, deftly controlled story . . . . Just as accomplished [as The Remains of the Day] and, in a very different way, just as melancholy and alarming." - The New York Times "Elegaic, deceptively lovely. . . . As always, Ishiguro pulls you under." - Newsweek "Superbly unsettling, impeccably controlled . . . . The book's irresistible power comes from Ishiguro's matchless ability to expose its dark heart in careful increments." - Entertainment Weekly
"A page turner and a heartbreaker, a tour de force of knotted tension and buried anguish."Time "A Gothic tour de force. . . . A tight, deftly controlled story . . . . Just as accomplished [asThe Remains of the Day] and, in a very different way, just as melancholy and alarming."The New York Times "Elegaic, deceptively lovely. . . . As always, Ishiguro pulls you under." Newsweek "Superbly unsettling, impeccably controlled . . . . The book's irresistible power comes from Ishiguro's matchless ability to expose its dark heart in careful increments." Entertainment Weekly
"A page turner and a heartbreaker, a tour de force of knotted tension and buried anguish.??- Time ?쏛 Gothic tour de force. . . . A tight, deftly controlled story . . . . Just as accomplished [as The Remains of the Day] and, in a very different way, just as melancholy and alarming.??- The New York Times "Elegaic, deceptively lovely. . . . As always, Ishiguro pulls you under." - Newsweek ?쏶uperbly unsettling, impeccably controlled . . . . The book?셲 irresistible power comes from Ishiguro?셲 matchless ability to expose its dark heart in careful increments.??- Entertainment Weekly
From the Booker Prize-winning author of "The Remains of the Day" and "When We Were Orphans" comes an unforgettable edge-of-your-seat mystery that is at once heartbreakingly tender and morally courageous about what it means to be human.
작가정보
저자(글) Kazuo Ishiguro
저자 가즈오 이시구로(Kazuo Ishiguro)는 1954년 일본 나가사키에서 태어나, 1960년 영국으로 이주해 켄트 대학과 이스트앵글리아 대학에서 수학한 후 런던에서 작품을 쓰고 있다. 1982년에 발표한 첫 소설 '창백한 언덕 풍경(A Pale View of Hills)'으로 위니프레드 홀트비 기념상을 받았다. 1986년 작 '부유하는 세상의 예술가(An Artist of Floating World)'로 휘트브레드 상과 이탈리아 스칸노 상을 받았으며, 이 작품은 부커 상 후보에 오르기도 했다. 세 번째 소설 '남아 있는 나날(The Remains of the Days)'는 1989년에 부커 상을 받았으며, 제임스 아이보리 감독의 영화로 만들어졌다. 그 외에 1995년 '위로받지 못한 사람들(The Unconsoled)', 2000년 '우리가 고아였을 때(When we were orphans)'(부커 상 후보)에 이어 문제작 '절대 날 떠나지 마(Never Let Me Go)' 그리고 최신작 '녹턴(Nocturnes)'까지 인간과 문명에 대한 비판을 작가 특유의 문체로 잘 녹여 낸 작품들로, 가즈오 이시구로는 평단과 독자의 사랑을 동시에 받으며, 주목받는 현대 영미권 작가의 한 사람으로 평가받고 있다. 문학적 공로를 인정받아 1995년 대영제국 훈장을, 1998년 프랑스 문예훈장을 받은 바 있다. 2017년 노벨 문학상을 수상했다.
기본정보
ISBN | 9781400078776 ( 1400078776 ) |
---|---|
발행(출시)일자 | 2006년 03월 14일 |
쪽수 | 304쪽 |
크기 |
134 * 201
* 18
mm
/ 227 g
|
총권수 | 1권 |
언어 | 영어 |
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