dystopian literature invites the reader to reflect upon mutability of identity- compare and contrast the presentation and the role of identity in a clockwork orange and never let me go

What is dystopian liteature
1. a dystopia is a fictional society , usally potrayed as exising in a future time , when the conditions of life are extremly bad due to deprivation , opression or terror. In most dystopian fiction , a corrupt goverment creates or sustains the poor quality of life , often conditioning the masses to believe the society is proper
2. "the way the world is supposedly going in order to provide urgent propaganda for a change in direction." [1]
  1. Stableford, Brian (1993). "Dystopias". In John Clute & Peter Nicholls (eds.). The Encyclopedia of Science Fiction (2nd edition ed.). Orbit, London. pp. 360–362. ISBN 1-85723-124-4.
never let me go- identity
1. Kathy H
  1. I accepted the invisible rein she was holding out,
    1. power to direct and control
  2. If we’re really going,
  3. I was thinking maybe the reason you used to get like that was because at some level you always knew. . . . That’s a funny idea. Maybe I did know, somewhere deep down. Something the rest of you didn’t
  4. I just waited a bit, then turned back to the car, to drive off to wherever it was I was supposed to be.
2. Tommy
  1. ' What she said was that if I didn’t want to be creative, if I really didn’t feel like it, that was perfectly all right. Nothing wrong with it, she said.'
    1. creativity means individuality , and being an individual reflects on idenity. So for Ms lucy to say being creative isint phased by the creative side of her students
  2. we’d all of us grown up with. Everyone talked about it as though it existed, though in truth none of us knew for sure that it did.
3. Ruth
  1. You were different. I remember. You were never embarrassed about your collection and you kept it. I wish now I’d done that too
    1. We all know it. We’re modeled from trash. Junkies, prostitutes, winos, tramps. Convicts, maybe, just so long as they aren’t psychos. That’s what we come from. We all know it, so why don’t we say it?
      1. Well, Kathy, what you have to realize is that Tommy doesn’t see you like that. He really, really likes you, he thinks you’re really great. But I know he doesn’t see you like, you know, a proper girlfriend. Besides, you know how Tommy is.
4. miss lucy and miss emily
  1. It’s not good that I smoked. It wasn’t good for me so I stopped it. But what you must understand is that for you, all of you, it’s much, much worse to smoke than it ever was for me. You’ve been told about it. You’re students. You’re . . . special.
    1. miss lucy -
  2. miss lucy
    1. Your lives are set out for you. You’ll become adults . . . and before you’re even middle-aged, you’ll start to donate your vital organs. That’s what each of you was created to do.
      1. chapter 7
5. Keffers
6. laura
7. madame
  1. Poor creatures. What did we do to you? With all our schemes and plans?
8. The Judy Bridgewater Tape During one of the “sales” at Hailsham, Kathy finds a cassette tape called Songs After Dark, performed by an artist named Judy Bridgewater. Kathy becomes enamored of the tape, in particular of a song called “Never Let Me Go,” which Kathy interprets to be about a young mother and her child. But Kathy “loses” the tape at Hailsham, only to find another copy with Tommy while in Norfolk, some years later. Earlier, back at Hailsham, Kathy dances to this song one day, cradling an imaginary child to her chest, when Madame walks by and sees her. Kathy notices that Madame is crying when she spots Kathy; Kathy later thinks this might have something to do with the fact that Hailsham students, being clones, are incapable of having children. But Kathy, in later discussion with Madame, learns why this scene caused Madame to cry: Madame believed that Kathy enjoyed the song’s depiction of a “kinder world,” as compared to the cruel world into which Kathy will soon be thrust. The
  1. Hailsham The school where Kathy, Ruth, Tommy are educated—and where they learn slowly of their status as clones and their coming jobs as carers and donors—Hailsham is, at first, a paradise and refuge for the students. But as Kathy and the others grow older, they realize that Hailsham is simply a well-groomed way-station for them—a place where they are protected (so they will be healthy organ-donors) and gently nurtured to be predisposed toward accepting their organ-donor purpose. Once they reach the Cottages, the Hailsham students already begin to realize that their bond is dissolving, even as others, who didn’t go to Hailsham (like Chrissie and Rodney) view a Hailsham education as a sign of special privilege among clones. Kathy later learns, from her friend Laura, that Hailsham is closing, and Madame and Miss Emily inform Tommy and Kathy at the end of the novel that Hailsham was a social experiment in more humane conditions for clones. But public favor has turned against these institu

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dystopian literature invites the reader to reflect upon mutability of identity- compare and contrast the presentation and the role of identity in a clockwork orange and never let me go

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