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The clones' existence as organ donors mirrors myths of sacrificial figures like Prometheus or Christ. How does their fate align with the archetype of the “Dying Sacrifice” in myth and literature?

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The clones' existence as organ donors mirrors myths of sacrificial figures like Prometheus or Christ. How does their fate align with the archetype of the “Dying Sacrifice” in myth and literature?

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How might an audience view the clones as sacrificial figures? Do they highlight ethical dilemmas in science, or do they expose society’s willingness to exploit the powerless?

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Ishiguro aligns the characters in Never Let Me Go with the “Dying Sacrifice” archetype to expose society’s tendency to exploit the powerless. The “Dying Sacrifice” archetype refers to characters who willingly give up their life for the greater good. The clones directly align with this archetype because they willingly sacrifice their organs for the benefit of others. However, audiences are prompted to look further when they recall the numerous times the characters question how they came to be willing. For example, Kathy ponders why Miss Lucy cryptically states that the clones were, “told and not told” (page 87) in regards to this. Tommy also reflects that the revelations about their fates were “timed very carefully” (page 81). Additionally, dramatic irony (the audience realises the purpose but not the clones) and subtle foreshadowing in the art exchanges are used to reveal that the clones’ willingness is the result of conditioning. By realistically showing that the clones’ willingness was generated by the fictional society’s oppressive demand to continue receiving organs, Ishiguro’s use of the “Dying Sacrifice” archetype exposes real-world society’s tendency to exploit the powerless. This compels audiences to consider the potential “dark side” of scientific advancement of which they have been reaping the benefits. For example, bioethical audiences would be more compelled to action their beliefs.

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The clones’ belief in the “deferral” rumor reflects the “Illusion of Hope” archetype often seen in mythology and literature. How does this situation reinforce or subvert traditional narratives of redemption

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The clones’ belief in the “deferral” rumor reflects the “Illusion of Hope” archetype often seen in mythology and literature. How does this situation reinforce or subvert traditional narratives of redemption

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How might an audience react to the clones’ hope? Does it make their fate more tragic, or does it emphasize their ability to dream despite oppression?

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Through the lens of archetypal critical theory, the clones’ belief in the deferral rumour in Never Let Me Go subverts traditional narratives of redemption. Whilst traditional narratives of redemption often involve characters overcoming past sins, the clones are innocent, meaning they have no need of redemption. Moreover, Ishiguro shows that there was no possibility of them avoiding their fates, mirroring the “Illusion of Hope” archetype (where characters have a false sense of salvation that ultimately ends tragically). In the final chapters, Miss Emily’s sorrowful tone when she reveals the truth (chapter 22) and Tommy’s final emotional outburst (chapter 22) powerfully draws the audience’s attention to the futility and tragic nature of the clones’ attempt to redeem themselves. Ishiguro uses this emphasis to raise awareness about societal exploitation. When Madame comments, “Poor creatures. What did we do to you?” (page 249) to Tommy and Kathy, her use of “we” represents society as the cause of this cruelty. Finally, Ms Emily explains that the masses’ willful ignorance and moral complacency has generated the oppressive situation that the clones find themselves in (chapter 22). Thus, a socially conscious audience will be encouraged to consider whether they have also become morally complacent on ethically controversial scientific advancements.

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How do Kathy, Ruth, and Tommy align with Freud’s structural model of the psyche (id, ego, and superego)? How do their relationships illustrate the tensions between these psychological forces?

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How do Kathy, Ruth, and Tommy align with Freud’s structural model of the psyche (id, ego, and superego)? How do their relationships illustrate the tensions between these psychological forces?

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How might an audience interpret these psychological dynamics in the novel? Does it make the characters more relatable, or does it highlight the tragic inevitability of their fate?

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Through a Freudian reading, Ishiguro aligns the characters with Freud’s model of the psyche to reflect psychological tensions and generate emotional resonance. Freud’s model divides the psyche into three parts: the id (the instinctual drive), the ego (the rational part and the mediator between the id and superego) and the superego (a conscience formed by social standards). The characters clearly align with these divisions. Tommy acts on his instincts and is intensely emotional (id), Ruth is judgemental and controls the friend group (superego), and Kathy is the most rational and reconciliatory (ego). Freud’s model states that these forces constantly conflict over control of the person, a dynamic that the characters represent through their turbulent friendship and occasional conflict. However, the fact that Kathy and Tommy are able to reconcile whilst Tommy and Ruth do not shows deeper insight into the dynamics of the psyche. That is, the superego cannot reconcile with the id, only the ego can. By her own admission, Ruth says that the “worst thing she did” was “keep Kathy and Tommy apart”, and that she “knew from the start” that they were meant to be together (page 228). Given that the superego reflects the pressures of social standards, a reader can relate to the idea that instinctual drives and reasoning can be harmonised when unrealistic social expectations are set aside. Thus, the alignment with Freud’s model may comfort a socially anxious audience by generating emotional resonance.

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The idea of the "possibles" suggests a subconscious desire for identity and a connection to the outside world. How does the clones’ search for their "originals" reflect deep-seated psychological fears or yearnings?

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The idea of the "possibles" suggests a subconscious desire for identity and a connection to the outside world. How does the clones’ search for their "originals" reflect deep-seated psychological fears or yearnings?

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How might an audience interpret the clones’ obsession with their possibles? Does it highlight a universal human fear of not having an authentic self?

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Ishiguro presents the clones’ obsession with their “possibles” as reflecting deep-seated psychological fears about identity. In the novel, Kathy has heightened sexual desires and Ruth dreams about getting an office job. Both Kathy and Ruth wonder whether their possibles share this desire. Kathy searches through porn magazines, whilst Ruth investigates whether a “possible” who works in an office is the person from whom she was cloned. Therefore, both characters are uncertain and anxious about the authenticity of their desires and want to confirm it to resolve those feelings. For example, Kathy had “tears filling (her) eyes” (page 178) as she tried to explain to Tommy that it would “explain why I am the way I am” (page 179). Here, Ishiguro explicitly presents the way that people desire confirmation or validation about the authenticity of their desires. Meanwhile, Ruth’s desire to work in an office came from finding an advertisement for an office building. Kathy states that she “could have brought the whole thing down over her head” (page 143) by revealing the trivial source of Ruth’s desire. Therefore, audiences will understand that Ruth being “completely set on going”(page 143) to find the “possible” stems from her need for validation.