Mind Map on 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, created by rebelenglish67 on 03/26/2015.
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
1 What is dystopian liteature
1.1 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
1.2 "the way the world is supposedly going in order to provide urgent propaganda for a change in
1.2.1 Stableford, Brian (1993). "Dystopias". In
John Clute & Peter Nicholls (eds.). The
Encyclopedia of Science Fiction (2nd
edition ed.). Orbit, London. pp. 360–362.
2 never let me go- identity
2.1 Kathy H
2.1.1 I accepted the invisible rein she was holding out,
188.8.131.52 power to direct and control
2.1.2 If we’re really going,
2.1.3 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
2.1.4 I just waited a bit, then turned back to the car,
to drive off to wherever it was I was supposed
2.2.1 ' 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.'
184.108.40.206 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
2.2.2 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.
2.3.1 You were different. I remember.
You were never embarrassed
about your collection and you kept
it. I wish now I’d done that too
220.127.116.11 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?
18.104.22.168.1 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
2.4 miss lucy and miss emily
2.4.1 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.
22.214.171.124 miss lucy -
2.4.2 miss lucy
126.96.36.199 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.
188.8.131.52.1 chapter 7
2.7.1 Poor creatures. What did we
do to you? With all our
schemes and plans?
2.8 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
2.8.1 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