There is a suspicion that all is not as it seems in Kazuo Ishiguro’s tale, which is set just the slightest plausibility removed from our present reality. That is to say, as we are carefully nurtured through the unfolding narrative by the author’s first person and very occasional second person exposition, and as we — like the characters themselves — begin to form our ideas, discarding them here and there, adding new theories, piecing together the greater puzzle, something ‘other’ in the writing may be seen to linger. It is, of course, dependent on our worldview and, in the reading a conspiracy of thinking ensues: what lies beneath this author’s words? On a more accessible level, Ishiguro presents us with a weave of ethical consideration, borne out via the interactions of a group of close friends: firstly charting their insular and protected days at Hailsham (what appears to be a secluded boarding school), then into adolescent student days, in the transition into adulthood, at another site (The Cottages), and finally in what are described as ‘carer’ roles, and beyond.
The difficulty in reviewing Never Let Me Go (Faber and Faber, 2006), for those not yet having read the work, primarily lies in not describing too closely, lest the spoiled construct become worthless. Ishiguro has woven a naivety into the art of telling: his characters, as we first meet them in any great depth, are children not fully aware of what is transpiring around them in their sheltered existences at Hailsham. As we read, Ishiguro drops in enough clues for us to suspect what might be happening, but he doesn’t fully declare this at such an early stage. The child characters, likewise, seem to have an inkling of ‘something’ beyond the bounds of what they have been told and learned to trust, but they are not entirely sure. As with children’s culture everywhere, they form bonds, test out their ideas, invent stories, engage with long-standing mythologies, circulate rumours. We feel drawn into the web, suspicious and looking for a reveal.
Ishiguro duly obliges, to a small degree, some one third way through the book. However, we know and we suspect there must be more to it all. Our narrator is Kathy H., who leads us through the pages as her early thirties adult self, at first reminiscing on, and giving due consideration to, events that took place at Hailsham. Her closest friends are Ruth, a somewhat difficult character who struggles with her relationships with others, who is forthright and often demanding, and Tommy, uncreative, not so sharp on the uptake, quick to anger, but who inspires varying degrees of care from both Kathy and Ruth. It is this creativity, this need to be creative, so strongly encouraged by the staff at Hailsham, that provides a thread from which Ishiguro hangs one of his ethical hooks. Suffice is to say that the author wishes us to consider, in the fullness of time, and by way of this thread, what makes us who we are.
In three distinct sections, we are offered the progression of a close-knit group of friends who, from the earliest times, have been subtly told (or ‘told but not told’, as one character — Miss Lucy — has it) how their lots have been marked out for them. The children accept this, diligently, throughout. They may later come as close as they can get to questioning it, but they still accept it. In the first section, the lives of the children are variously portrayed, jumping around in time: they are thirteen, then there are scenes with them as much younger, then as eight or nine, and finally the early teenage years. In the second section, certain members of the close group (Kathy, Tommy, Ruth and a few others) are moved on from their closeted existence, all they have ever known at Hailsham, to some farm buildings where slightly older students, the ‘veterans’, are already living. It is a transitional arrangement. The main characters know they must, at some point in the not-too-distant future, move on again: they must become ‘carers’. By now we know what this means. We are enmeshed in the still unfolding puzzle.
At Hailsham, Ishiguro introduces the occasional presence of the somewhat sinister Madame. She arrives for unspoken business, something to do with the children’s artworks, and the children’s world is rife with rumour. Madame seems repulsed at the sight and proximity of the children. It is a further drip in the narrative on our quest to unravel all the minutiae of the mystery. The institution is staffed by a variety of mostly thinly sketched adults (Miss Emily, who we might assume to be the head; Miss Geraldine, a favourite; Miss Lucy, and others, both male and female). Miss Lucy is the spanner in the works, as far as Miss Emily and Madame are concerned. The children, now young teenagers, sense an uneasiness in her, and in time she obliges by telling them what she feels they need to hear, what has been eating away at her. Still, some of them don’t fully acknowledge this, such is the level of their indoctrination.
It is this background concern, this low-level back-lighting, that permeates throughout: the children have been ‘told but not told’ the important matters of their existences. The indoctrination feels a little disconcerting, but in a shift (which, relayed here, would not create a disturbance too far, a spoilage), Ishiguro later creates a virtuous perspective regarding Miss Emily and Madame’s ethical slant or stance on the treatment of the children. It is throughout this particular thread of thinking, woven into the whole as it is, that the reader might find their own worldview parallels of particular aspects of the reality of society which he or she calls their own.
Never Let Me Go is written, for the most part, cleanly and carefully. Kathy’s character is gentle, caring, considerate but sometimes conflicted too. Her concerns are often minor, at face value, but Ishiguro digs deeper into the moments she relays: such is the layered delicacy of many of the interactions of her and her friends. There are some minor quibbles with the writing, however, not least of which being Ishiguro’s opening. In context, in the beginning of a mysterious affair, we are rightly struck a little confused by his opening passages, but we must read through these with faith. The author does also have the predilection for the occasional distressing of syntax (for example, ‘I was all the time afraid she’d turn and look at us . . .’) and this does have the potential for temporary dislodgement of the fictive flow. Also, on this note, his several-times-too-often use of the possessive gerund (‘Now I know my being a carer so long isn’t necessarily because they think I’m fantastic at what I do.’) becomes a little distracting. Finally, in criticism, although we are treated to reveals throughout (reveals that don’t altogether feel like reveals because, like the characters discovering things for themselves, deep down we kind of knew things all along), the author’s last reveal does feel a little clumsy: like the villain telling all to the hero of a stereotypical film we’ve seen the likes of many times before. It is, however, perhaps inevitable that he would eventually have to tell us, and his main characters, everything, somehow and in some more concrete way.
Minor quibbles aside, Ishiguro’s writing in this offering is at once and for the most part clean, disarming, quietly portentous, delicately prodding something beneath the surface, potentially poking at something hidden in plain sight. Never Let Me Go is an ethical thinkpiece, a love story, or love stories, a reverie, a tale of friendships and losing them but of trying to keep them close. We might read at a variety of levels. What lies beneath the author’s words? Allegory springs to mind, though we never can be sure. Ishiguro writes: ‘. . . the odd rumour will go round sometimes about what Hailsham’s become these days — a hotel, a school, a ruin.’
This work is, ultimately though, a story of something other, but it is also a story of something much too close for comfort.