However, by the end of the novel these values are healed through the effect McMurphy’s individualism has upon her dictatorship and the rest of the patients within the asylum and this is most accurately represented through the character of Chief Bromden who turns from a shadow of his former self, who would rather be assumed as deaf mute, to a giant of a man who holds enough strength to literally break through his captivity. The narrator later describes how McMurphy was “a giant come out of the sky to save” them and it is this influence McMurphy has which portrays that the strength of an individual can force through the power of an oppressive oligarchy however, only if he can rally those around him to support his cause. The size of this uprising is very much dependent upon the size of those oppressed as while McMurphy gains the support of the majority of the ward, in 1984 Winston is nowhere close to summoning the strength of the proles who make up 85% of the population. What Winston fails to do through his fear of Big Brother, McMurphy succeeds as through his charisma and belief that he can change the system he gives those around him, the patients, the ability to take back their masculinity and power back from Nurse Ratched. Kesey creates a martyr in McMurphy who can be relied upon to vouch for those around him, even giving up his life for his fellow men on the ward. Although on the other hand Orwell creates a character so ordinary the support of others is compulsory in order to have any success, thus reinforcing his message. In this way the characters themselves are representations for the unique messages on individualism placed forth to the reader by the authors themselves.

After this exposure she orders the lobotomy on McMurphy although she still fails as he is quelled of his suffering by being suffocated by Chief Bromden, thus allowing him to be preserved as a symbol of the rebellion instead of a representation of a triumph by the hegemony over the common man. This is an important input by Kesey as he is expressing that for one to defeat the oppression he/she has to look beyond the facade created by the oppressors themselves and ultimately leave an ever lasting mark upon it.

familiar narrative voice through its lack of formality. Sentences begin with “anyway” and “actually” and this provides a spontaneity to Kathy’s story but also a sense of restriction as it is almost as if she doesn’t know which aspects of her story take priority. The prose style of the narrator is clipped with impeccable manners, shown at the start when telling of her qualities as a carer she’s “not trying to boast”. It’s as if she is afraid of speaking out, or of saying something unfair which could potentially embarass people.

able to recollect her memories to others she is still as, or even more so, isolated than she was at the beginning of her time at Hailsham, where her story begins. The people in her life who she has loved the most have left her, specifically Tommy and Ruth, and it is the fault of the state itself in which she witnesses those around her depleting to the point in the end of the novel where she is completely alone. It is this isolation and segregation from mainstream society which leads Kathy and the other clones to chase up the theory of possibles. Kathy describes how “one big idea behind finding your model was that when you did, you’d glimpse your future” so as a result will portray a different route of existence to what they have. It is clear that the theory is a symbol of the clones’ yearning for different, better lives in the face of a society where their fates are designed around the lives of others.

Another symbol used by Ishiguro is the title itself, with “Never Let Me Go” being in reference to Kathy’s favorite song, which is a part of the Judy Bridgewater cassette tape which Kathy found in the auctions. The fictional constructs are linked to one of the defining moments of Kathy’s time at Hailsham, this being the singing of the song whilst she was “holding an imaginary baby” to her “breast”. Both song and artist are fictional and are ultimately symbols of Kathy’s aspirations which can never become reality. All clones are infertile and the obligations of being a carer would rule out any other forms of parenthood for Kathy so the scene Madame sees in front of her can never become a reality. This moment is defining as again it is symbolic of her lack or normality in purpose through the presence of a crying Madame watching her. The protagonist recounts how “she just went on standing out there, sobbing”, clearly upset when faced with a scene that would not seem as unusual to a non-clone. This passage in the novel further highlights her alienation as she can never live the fulfilling life society obligates, this being to reproduce. Babies are representations of reproduction and Kathy and her friends have never had the possibility of being able to produce future generations, thus highlighting their lack of normality. This lack of normality is put across through the title, making it a symbol for their predestined futures, futures they ultimately fail to escape from

Kathy recounts how “the woman was too close, much closer than we’d ever really wanted” and this input from the narrator shows how herself and the other clones weren’t ready to follow up on their theory. They weren’t ready to believe that their rebellious dreams and aspirations could actually become a reality and in effect defeat the oppression which sentences them to confinement.

Ishiguro crushes each insurgency without allowing the reader to become attached to a new possible storyline and this what makes his novel so devastating as there is no change from the beginning to the end of the novel. Within the dystopia he creates, there are no heroes or villains, just an oppressive hegemony in which there is unwavering conformity, from clones and humans alike. The art gallery has brought a harsh reality to the potential dream futures of the clones and this is ironically done in a space full of creativity, something almost completely stifled once the clones reach the cottages.