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Dax Tate
perhaps for good reason. The history of humanity has shown us some of the most severe (and
disenfranchisement, colonization, and too many more have plagued especially Western society for
centuries. The seeming omnipresence of this dehumanization begs the question in my mind of how
we can recognize and, potentially, combat it in our own society, rather than risk the naivety of
claiming that we live in an “Other-less” society. Many theorists of biopower (Foucault, Agamben,
and others) have attempted to answer, or at the very least inspire, questions very similar to this,
and text after text has been produced in pursuit of an answer. I believe, however, that before one
can even begin to theorize about and look for the Other in our society, one must understand what
Never Let Me Go, by Kazuo Ishiguro, is a uniquely powerful novel that can play a very
important role in this understanding. Its uniqueness arises from Ishiguro’s ability to address some
of the most intricate theories on the relationships of power, while at the same time creating an
emotional, relatable, and overall human story that allows the reader to position him or herself
within Kathy’s perspective, and within her world. Although many novels can create this immersive
effect, and many theories can describe (or attempt to describe) these complex mechanisms of
power and life, very few can do both simultaneously, and this is where Ishiguro’s work is essential.
Through two key scenes of the novel, and the works of Lisa Cacho and Giorgio Agamben, I will
be analyzing the ways that Ishiguro, and the category of the novel in general, can address the
“Being spiders” is a recurring theme in the novel, and serves as Ishiguro’s metaphor for
being the Other. The idea is rooted in the “confrontation” of sorts between Kathy (and her friends)
Tate 1
and Madame. Prior to the event, her friends had all recognized Ruth’s observation that Madame
was afraid of them, but, as Kathy says, it remained “a pretty light-hearted matter, with a bit of a
dare element to it” (Ishiguro, 35). Kathy even notes that Madame reacted just as they had imagined
she would. So why, then, do Kathy and her friends feel as though they had “walked from the sun
right into chilly shade” as they walked past Madame? Despite the group “knowing” how Madame
felt about them, they could not really understand where they stood in her mind (as the Other) until
they had actually experienced what Kathy calls “being the spiders”. And once they had, they
emerged “a very different group” (Ishiguro, 35). Although a novel cannot quite supplant first-hand
experience, it is likely the closest one can get, short of facing that dehumanization personally, to
This is not the only powerful scene of the novel, however. As I clarified above, it is not
enough to know the various processes of dehumanization, or to be able to identify which groups
or individuals are marked as the Other. Only Kathy’s experience of “being the spider” allows her,
and to an extent, the reader, to understand that feeling. But Kathy’s feelings, along with her and
other clones’ status as the Other, are not verified until one key meeting near the end of the story,
when Kathy and Tommy find Madame and Miss Emily to request the rumored deferral. After
learning explicitly about clones, Hailsham, and more, Kathy makes a remark to Miss Emily about
the scene above with Madame, noting that “she’s always been afraid of us. In the way people are
afraid of spiders and things” (Ishiguro, 268). Before I get to the rest of the scene, it is important to
note Ishiguro’s word choice in equating Kathy and the clones not just with spiders, but also with
things. In a novel exploring the dehumanization of the Other, it is difficult to imagine a better word
to contrast the humanity of the general populace with the inhumanity of the Other than “thing”.
However, where one might expect Miss Emily to backpedal, to try to cover Madame’s obvious
Tate 2
fear, she actually gives Kathy an honest admission: “we’re all afraid of you” (Ishiguro, 269). Going
on to use words like “dread” and “revulsion” to describe her feelings of the clones, Miss Emily
gives Kathy, and again, partially the reader, a true understanding of the dehumanized position of
the Other in society, and what that means for the Other personally.
But where does this experience and understanding leave the reader? Although it may differ
greatly depending on personal perspective, Ishiguro in general is able to draw the reader into
Kathy’s shoes, so that when she begins to see herself as a spider, the reader feels a deeper pain
than anything that could be elicited by a theorist explaining the mechanisms of dehumanization.
And when Miss Emily tells Kathy that she is universally feared, dreaded, and revolted for nothing
but her simple fact of existing, the reader is given a window into the hopeless despair that the Other
might feel. Lisa Cacho, in her piece Social Death: Racialized Rightlessness and the
Criminalization of the Unprotected, uses the idea of “double consciousness” in a way that may be
helpful in understanding what makes fiction here more effective than theory. Originally put forth
by W.E.B. Du Bois for explaining how African Americans and other dehumanized groups come
to see themselves through “the eyes of others,” particularly the dominant group, Cacho adopts the
theory to explain “how we might interpret reading stories and seeing photographs through how we
imagine other audiences see, read, and transparently recognize” (Cacho, 10). Although Du Bois
and Cacho use double consciousness to explain how the minority sees itself through the eyes of
the majority, Ishiguro’s writing actually comes to have a similar effect on the reader, but in the
opposite direction. As one reads through each of Kathy’s very human memories and experiences,
they come to understand at least her world, if not their own, not through their own eyes but through
the “eyes of the other,” or through Kathy’s eyes. As a result, when Kathy moves from knowing
that Madame fears them to experiencing the sense of “being the spiders,” and finally to
Tate 3
understanding her own dehumanized status in her world as a revolted “thing,” the reader is
transported in a way that simply cannot happen through the logical, explanatory style of theory.
biopower, is especially beneficial here because she also tries to address the impact felt by the Other
in Western society. She describes early in her analysis an idea that is conveyed regularly in Never
Let Me Go, that “the figure of the stranger is, thus, ontologized, ‘as a way of being in the world;’
it is ‘assumed to have a nature’ and turned into ‘something that simply is’” (Cacho, 9). Cacho is
here borrowing from Sara Ahmed’s theory of “stranger fetishism,” the idea that the stranger or
Other, in this case the clone, is culturally crafted to be more than just the way one is born. “It”
becomes an entire entity, complete with pre-established behaviors, attitudes, and reactions. We see
this prevalently in Kathy’s case, as both Madame, Miss Emily, and the general population are
petrified of the clones, whether they are playful young children, or obedient young adults: It does
not matter what the clones actually do or say, because their very being has been prefaced by their
status as clones. Another part of being the Other, according to Cacho, is that it signifies
“undeveloped minds and defective bodies” (Cacho, 70). Although clones by definition are exact
replicas of human minds and bodies, this mark is not lost in Never Let Me Go. Because of their
almost undeniable mental and physical equality, the clones are forcibly reduced. They are made
able to read and learn and even to produce art by the few proponents of clone equality, like Madame
and Miss Emily, but only to prove that they can be human in the face of a public that sees clones
as mindless and soulless. Physically, the clones were reduced from their very origin, apparently
made with no purpose than to sacrifice their bodies to the very people subjecting them. It is very
telling to note here, though I won’t stray too far, that in the case of the Morningdale Incident, when
society was faced with not just the prospect of clones equal, but superior in mind and body, the
Tate 4
clones experienced a massive backlash, even further subjecting them as a physically and mentally
inferior Other.
Although Cacho’s theory is effective in many respects, its major shortcoming is in trying
to address the Other from a definitive, explanatory perspective, which falls far short of the novel.
As shown above, Cacho’s theories on the Other are much more effective when read with the novel
than on their own. In other words, they are able to put names to the phenomena of the novel, but
alone do very little to convey the emotional experiences and understanding given through Kathy’s
perspective. For instance, take the phrase “being the spiders” from Ishiguro, and the term borrowed
by Cacho, “stranger fetishism.” Although Cacho’s has a concrete definition that is very informative
on paper, there is little depth to it. Ishiguro’s phrase however, despite its childish tone, or more
likely because of it, has an emotional connotation that carries with it all the pain of a young child
recognizing that she is not just disliked for something she said or did, but hated for something she
is. This emotional attachment is what makes Ishiguro so able to convey understanding of this
complex notion of biopower, and what makes the novel conceptually more adequate to address
So how can we use the effectiveness of the novel to expand on some of the most prevalent
theories of biopower? To do this I will be examining a vastly influential theory in the study of
biopower: Giorgio Agamben’s Homo Sacer. Agamben’s analysis of biopower is centered on what
he calls “the exemplary places of modern biopolitics: the concentration camp and the structure of
the great totalitarian states of the twentieth century” (Agamben, 136). The concentration camp, on
one hand, is easy to see in the form of the clone-raising facilities alluded to by Miss Emily at the
end, but does that mean Kathy and the other clones at Hailsham, in much more adequate
conditions, are not dehumanized? Although Hailsham has every appearance of a cheerful place for
Tate 5
the clones to be raised, the reality is present in its very name. The clones are raised to “hail” the
very “sham” that they are raised believing: that they are human, that they are fully functioning
members of their society, that they are not the Other. So although the conditions and the mentality
are different from the other facilities, the result is the same: the clones are bound by society to a
life-that-is-not-life, to “social death,” the Other, or what Agamben would call “homo sacer”. Also
present, however, is Agamben’s notion of “an inner solidarity between democracy and
totalitarianism” (Agamben, 142). Just as Hailsham does not appear similar to a concentration
camp, it is difficult to find this solidarity in the novel. However, by looking at the two parts of the
story’s society, it begins to become clearer. The majority population is shown in a democratic
society all too similar to our own in Western nations, another reason the novel is so strikingly
effective. The clones, however, without being under the power of any separate government than
the general population, are subjected to an entirely different system. The clones are told where to
work, when and where to live, and even when to die, all without a single vote cast. This is
resembles totalitarianism in every way, and yet it coexists with the democracy we know today.
Therefore, Agamben’s idea of an “inner solidarity” becomes fairly clear to see, in a way that is
Through these institutions, Agamben analyzes the various mechanisms that have been used
to create homo sacer, or sacred life, in Western society. Homo sacer is Agamben’s concept, a
being from Roman law that is absolutely central to society, even today, by way of its own exclusion
(or what Agamben calls the “inclusive exclusion). It is analogous to what I have referred to as the
Other, and is well represented by the figure of the clone in Never Let Me Go. Agamben’s use of
the concept is fairly limited, however, in that his theory places homo sacer as a negative value
through which society founds its own political life. Cacho brings up Lindon Barrett’s idea of
Tate 6
negative value in her work, stating that “the ‘object’ of value,” the general population, “needs an
‘other’ of value because ‘for value “negativity is a resource,” an essential resource’” (Cacho, 13).
Never Let Me Go without a doubt explores the dynamic of negative value in the Other, but the
political seems to be a minor issue. In scenes like the meeting with Miss Emily, for instance, there
is no mention of politics, government, civility, law, or much else of what makes up Agamben’s
use of negative value. What is at stake instead is, in Miss Emily’s own words, redefining what it
means to be “fully human” (Ishiguro, 262). The advent of clones creates a crisis for humanity,
which is resolved by turning the clones into “things” or “spiders”. Agamben, looking at homo
sacer as an issue among human beings, can hardly be faulted for not extending his analysis to
clones as an Other. However, Ishiguro’s novel, by placing Kathy and other clones at the heart of a
negative value analytic of humanity itself, is able to expand on Agamben’s theory of homo sacer,
the “inclusive exclusion,” in ways that his theory, or any theory, could not likely account for.
This analysis has, in all hopefulness, inspired as many or more questions than it has given
answers. By looking into key scenes of Ishiguro’s novel, one can hopefully see the possibility of
coming close to understanding what it fully entails to be the Other in our society, and how the
novel, and not just Ishiguro’s, stands as the most effective medium for conveying this
understanding. Cacho’s work as a theory comparable to Never Let Me Go is likewise able to name
some of the aspects of the story, but also reveals the shortcomings inescapable in theory. However,
when Ishiguro’s novel is put to use with the theories of Cacho and Agamben, or any relevant
theories, it can reveal very complex mechanisms of dehumanization that reach far beyond the
world of the novel and raise important issues within our own society.
Tate 7