Enjoy fast, FREE delivery, exclusive deals and award-winning movies & TV shows with Prime
Try Prime
and start saving today with Fast, FREE Delivery
Amazon Prime includes:
Fast, FREE Delivery is available to Prime members. To join, select "Try Amazon Prime and start saving today with Fast, FREE Delivery" below the Add to Cart button.
Amazon Prime members enjoy:- Cardmembers earn 5% Back at Amazon.com with a Prime Credit Card.
- Unlimited Free Two-Day Delivery
- Instant streaming of thousands of movies and TV episodes with Prime Video
- A Kindle book to borrow for free each month - with no due dates
- Listen to over 2 million songs and hundreds of playlists
- Unlimited photo storage with anywhere access
Important: Your credit card will NOT be charged when you start your free trial or if you cancel during the trial period. If you're happy with Amazon Prime, do nothing. At the end of the free trial, your membership will automatically upgrade to a monthly membership.
Buy new:
$9.89$9.89
FREE delivery: Monday, May 29 on orders over $25.00 shipped by Amazon.
Ships from: Amazon.com Sold by: Amazon.com
Buy used: $6.71
Other Sellers on Amazon
+ $2.24 shipping
97% positive over last 12 months
& FREE Shipping
95% positive over last 12 months
+ $4.74 shipping
89% positive over last 12 months
Download the free Kindle app and start reading Kindle books instantly on your smartphone, tablet, or computer - no Kindle device required. Learn more
Read instantly on your browser with Kindle for Web.
Using your mobile phone camera - scan the code below and download the Kindle app.
Never Let Me Go Paperback – March 14, 2006
| Price | New from | Used from |
|
Audible Audiobook, Unabridged
"Please retry" |
$0.00
| Free with your Audible trial | |
|
Mass Market Paperback, International Edition
"Please retry" | $11.90 | $2.85 |
|
Audio CD, Audiobook, Unabridged
"Please retry" |
—
| $30.00 | $29.30 |
|
Multimedia CD, Audiobook
"Please retry" |
—
| — | $21.60 |
- Kindle
$12.99 Read with Our Free App -
Audiobook
$0.00 Free with your Audible trial - Hardcover
$20.3822 Used from $19.28 27 New from $16.35 - Paperback
$9.89168 Used from $1.85 45 New from $5.00 2 Collectible from $29.85 - Mass Market Paperback
$15.9323 Used from $2.85 10 New from $11.90 - Audio CD
from $29.301 Used from $29.30 1 New from $30.00 - Multimedia CD
from $21.601 Used from $21.60
Purchase options and add-ons
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.
- Print length288 pages
- LanguageEnglish
- PublisherVintage
- Publication dateMarch 14, 2006
- Dimensions5.13 x 0.64 x 7.95 inches
- ISBN-109781400078776
- ISBN-13978-1400078776
- Lexile measure970L
Books with Buzz
Discover the latest buzz-worthy books, from mysteries and romance to humor and nonfiction. Explore more
Frequently bought together

What do customers buy after viewing this item?
Your lives are set out for you. You’ll become adults, then before you’re old, before you’re even middle-aged, you’ll start to donate your vital organs. That’s what each of you was created to do.Highlighted by 4,427 Kindle readers
By then, of course, we all knew something I hadn’t known back then, which was that none of us could have babies.Highlighted by 2,710 Kindle readers
What made the tape so special for me was this one particular song: track number three, “Never Let Me Go.”Highlighted by 2,666 Kindle readers
Editorial Reviews
Review
"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
From the Back Cover
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.
About the Author
Kazuo Ishiguro is the 2017 winner of the Nobel Prize in Literature. His work has been translated into more than 40 languages. Both The Remains of the Day and Never Let Me Go have sold more than 1 million copies, and both were adapted into highly acclaimed films. Ishiguro's other work includes The Buried Giant, Nocturnes, A Pale View of the Hills, and An Artist of the Floating World.
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.”
Product details
- ASIN : 1400078776
- Publisher : Vintage (March 14, 2006)
- Language : English
- Paperback : 288 pages
- ISBN-10 : 9781400078776
- ISBN-13 : 978-1400078776
- Lexile measure : 970L
- Item Weight : 7.6 ounces
- Dimensions : 5.13 x 0.64 x 7.95 inches
- Best Sellers Rank: #2,369 in Books (See Top 100 in Books)
- #32 in Contemporary Literature & Fiction
- #138 in Psychological Fiction (Books)
- #375 in Literary Fiction (Books)
- Customer Reviews:
Videos
Videos for this product

2:32
Click to play video

"Never Let Me Go"
Merchant Video
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.
Customer reviews
Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them.
To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzed reviews to verify trustworthiness.
Learn more how customers reviews work on AmazonReviewed in the United States on January 19, 2023
-
Top reviews
Top reviews from the United States
There was a problem filtering reviews right now. Please try again later.
Besides this message I heard Ishiguro’s usual reflections – gentle sadness about this or that feature of our life. In this book, paradoxically, you want the characters fight for their lives, but at the same time you clearly see that our life (without any donations) is the same process – losing health little by little, approaching our death.
I also am catching Ishiguro’s question for societies “Do your institutions have conscience?”. The institution of slavery was just like the institution of clone-donors in this book clearly monstrously unfair, but whole societies preferred to keep eyes closed on the monstrosity. And what about the institutions of the future?
I wrote the above yesterday. Today is Sunday, it is morning; I woke up still thinking about the book. This time I am thinking not about messages, big meanings of the book, but about the story itself. It is a heart ripping story, but it doesn’t fall on you all at once, as if the author, having mercy on his readers, throws some hopes here and there. In the beginning of the book, even though I understood what “students” are for in that society, I, at the same time, had hope, that their artwork will somehow override their organ donation importance for the society. I didn’t believe until the last pages, that Tommy, Ruth and Kathy indeed will finish their lives donating organs. Ruth’s constant attempts to integrate into “higher” level of their own folks, made me think, that she was smart enough to manipulate them all out of the horrible path. Ruth’s vision of her future, working in the office made me believe it indeed can happen………… Only to see, two days after I finished reading the book, how heartbreaking and straightforward was the illustration of a pitiful condition of “students” when a simple office (work in which wouldn’t produce much desire in anyone) was the brightest possible dream for them. And even this one – absolutely not possible.
But the hugest fall into the abyss of desperation fell suddenly in Tommy’s last fear around the statement that sounds through the book from the very beginning “They don’t tell us all”. When miss Lucy tells her students “They don’t tell you all”, I imagined that “telling them all” would make some difference, possibly some way out of the path, and even to some bright paths – life filled with arts….. Only to hear what Tommy has to face “How, maybe, after the forth donation, even if you’ve technically completed, you’re still conscious in some sort of way; how then you find there are more donations, plenty on the other side of that line; how there are no more recovery centers, no carers, no friends; how there’s nothing to do except watch your remaining donations until they switch you off. Its horror movie stuff and most of the time people don’t want to think about it.” As a proof of this last point, Kathy dismissed Tommy’s fear as rubbish.
What is the consolation in this book? I can’t quiet understand but there is one for sure, because it doesn’t completely crush you with despair, but leaves you with calm sadness and the desire to wonder.
SPOILER ALERT
In literary terms, this book is a masterpiece. It is SO well-written, you won't even remember the author is a man. Mr. Ishiguro gives a perfect voice for his characters, that is for sure. Kathy, the narrator, is a somewhat shy girl, who's always left aside by her bossy friend, Ruth. And the VOICE the narrator has is SO REAL I've often got myself wondering if that's what a real author is supposed to be like, to write like.
The book tells the story of Kathy, Ruth and Tommy - three people who are born "special". They are clones, made to donate their organs once they reach a certain age.
You would think the story would revolve around that - maybe they decide to rebel and flee, maybe they decide to kill themselves for love, or something like that. Well, surprise, that doesn't even cross their minds. Instead of focusing on the drama such a terrible predetermined fate could cause, Ishiguro focuses on the characters' lives and on how they deal with the inevitable.
The story begins at Hailsham, a school for special people, where lots and lots of children are raised and educated for the future. However, they are never told directly about their fate, and that prompts one of their guardians to say they 'have been told but not told' about what's in store for them.
The first part is pretty boring, and nothing really happens. In fact, it is just a way of presenting life at Hailsham. The children have no parents, and that isn't mentioned once. Where do they come from? Who are they? Why are they special? We are left wondering. But we have 'Madame' and her gallery. Her mysterious gallery. The children at hailsham are supposed to 'create art'. The best 'art' is taken away by 'Madame' to her 'gallery'. And that's one of the most important things in the book.
The second part shows Ruth, Kathy and Tommy at 'the Cottages'. It is somewhat of an intermediary place - a place they go before they start their training to become carers (the people who take care of donors, before they become donors themselves). There the teenagers discover sex, and some form of love. They struggle with the agonies of youth, and they fight and argue among themselves over stupid things. It is good to be young.
In the second part we are presented to the concept of 'possible', and that's when we discover the children are clones. Not clones of normal people, but clones of 'winos, prostitutes, criminals'. In fact, it is at that point you realise WHY they've never tried to run away or rebel (that isn't even mentioned in the book). At least in my opinion, since they know what they are, and where they come from, they realise they have no place in the 'real' world, beause they are not 'real' people. They were MADE, not born, for the single purpose of donating their organs. And that's what they do.
The third part is where it all gets interesting. They begin donating their organs, but there is little focus on it. We learn of the pain the donors have to go through, and of how destroyed the carers become after a while, but that's pretty much it. We are thrown directly into the feelings of the main characters, something that never happens in the first two parts - we only get hints of what was going on.
It is at the point we realise how deep these characters are, how REAL they are. At first we notice they are very flat, but that is only because they are still children. Ishiguro presents us with a real portrait of the uncertainties of infancy, the sufferings of youth, and then we get to see real, developed adults, in action.
Although the book is marvelously written, and Ishiguro is surely a Virtuoso when it comes to writing (I've never read his other works, though), the book is very boring in itself. As I said at the beginning of the review, this is the kind of book that wins prizes, not the kind that becomes a best-seller. When it comes to good literature, this book is one of a kind.
Here's an example: the book is a sort of memoir written by Kath, very unpresumptuous, very simple. It is something she feels she NEEDS to write down before she 'completes' (i.e., dies after donating too many organs).
Since it is a memoir, you are taken through her memories, often in a very disorderly way. She remembers something, and that makes her remember something else, and then she remembers what she was talking about, etc. It may be weird at first, but that is precisely how our memory works, is it not? The fact that an author is able to capture that process in words is simply fascinating to me.
And that is not all. As I've already said, Ishiguro creates very REAL characters. At first you think he is simply writing things his readers can relate to, but then you realise that's not the case. You can relate to his characters because they are pretty much real people. I think I am repeating myself already, and I don't want to make this anymore longer than it already is, so here goes a TL;DR:
TOO LONG; DIDN'T READ - If you want an entertaining book, full of action, adventure and emotion, this IS NOT the book you want to read.
If you want a book where you can savour literature at its best, where you can FEEL what's going on and learn how to write properly (or, in my case, just be jealous because you're probably never gonna be that good), then please, GET THIS BOOK. Although very boring if you are expecting something more interesting, this book is a marvelous piece of good literature.
Top reviews from other countries
As the story unfolds, we realise that things are not as straightforward as the blandness of the narrative implies. Is this science fiction? Yet the horror is always tempered by the fatalism and acceptance of the narrator and her schoolmates.
Why does this far-fetched story ring so true? As gently as Kathy's narrative, it dawns on us that this is not science fiction, but a description of our own lives. The stoic acceptance the participants have for their truncated, pointless lives mirrors our own acceptance of our mortality, and the ultimate pointlessness of our own existence.
This book works because of the form of its narrative -- the soap-opera banality and fine-grained observation. In the detail, Ishiguro finds the soul of his characters, and us his readers.
Donors have only initials for their surnames, to signify their socially incomplete status and their partial anonymity as containers of spare body parts. Like all donors, the narrator, Kathy H, has limited knowledge. This is appropriate to her situation but frustrating for the reader, who wants to know more about this alternative reality, particularly how could the donor caste be so passive, so accepting of their fate? Even in the most extreme of human circumstances—the Holocaust, for example, or Stalin’s Gulag—there was resistance. Humans simply aren’t made to be passive receptors of a ghastly fate designated by others. Such a situation can be presented convincingly, as in Huxley’s Brave New World, but that novel presents a near-complete system of control, where members of the rigidly class-stratified society are designed in laboratories, are chemically produced, so that an epsilon is content to operate a lift all day. In Never, no explanation is given and the partial picture presented through the limited viewpoint of the narrator leaves too many questions unanswered. Explanations conveniently but awkwardly inserted in an unlikely character monologue cum question-and-answer session towards the end of the novel are inadequate and testify to the author’s awareness of the need for explanation rather than satisfy that need.
There is also a problem with the narrative voice. Reading such a limited narrator’s account for almost 300 pages becomes tedious, like listening to the conversation of schoolchildren for hours. The deliberately flat prose style and the endlessly detailed trivia frustrate the reader’s desire for a more engaging narrative voice. Some gain in power towards the end of the novel is not enough to offset the slog of getting there.
It may be objected that the position of the donors is simply an emphatic version of mortality and that therefore they represent all of us, but the problem of the limiting narrative voice and sketchy characterisation remains. Never’s alternative or exaggerated reality doesn’t tell us anything we don’t already know about our ultimate fate, and our own thoughts about it may be more interesting than the flat monologue of Kathy H. Ishiguro’s novel is a sincere attempt to explore what it means to be human: our relationships with others, our need for love and achievement, and the inevitability of death, but the device of an incompletely imagined alternative reality narrated through a deliberately limited consciousness creates problems the novel doesn’t solve.
The critics say this had telling lessons about humanity, but there were no lessons in this book. Everything happened in such painful slowness and nothing was explained. This book has no genre. It's like a plain bowl of porridge. The only thing that makes it interesting would be your own work to make it so, which to me, is not a fear of literary genius, it's not good writing. It was an apathetic portrayal of something that isnt even that new of an idea. Thank you for that utter let down, Kazuo Ishiguro with this book. I wish I could return it and get my wasted time back. You can keep the money.





















