Never Let Me Go

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Hailsham Symbol Icon
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 institutions, and so Hailsham loses its funding. This means that Kathy has not only lost her connection to some of her Hailsham friends; she has lost the physical reality of the school itself. At the close of the novel, however, after Tommy’s and Ruth’s deaths, Kathy realizes that her memories of Hailsham will never deteriorate, and that the bond she shared there with her friends was a real and powerful one.

Hailsham Quotes in Never Let Me Go

The Never Let Me Go quotes below all refer to the symbol of Hailsham. For each quote, you can also see the other characters and themes related to it (each theme is indicated by its own dot and icon, like this one:
Maturation and “Growing Up” Theme Icon
). Note: all page and citation info for the quotes below refers to the Vintage edition of Never Let Me Go published in 2006.
Chapter 1 Quotes

So I reached forward and put a hand on his arm. Afterwards, the others thought he’d meant to do it, but I was pretty sure it was unintentional. His arms were still flailing about, and he wasn’t to know I was about to put out my hand. Anyway, as he threw up his arm, he knocked my hand aside and hit the side of my face.

Related Characters: Kathy H. (speaker), Tommy
Related Symbols: Hailsham
Page Number: 11
Explanation and Analysis:

Tommy's "wild furies" are one of his defining features as a character. In the beginning of his time at Hailsham, these furies are viewed—by students and those in positions of authority—as part of his immature state. Tommy, by the administrators' logic, is an aberration, a student who needs to be normalized to behave more quietly like the other Hailsham students. 

Kathy, however, seems to understand that Tommy's anguish runs deeper. Tommy, in this instance, is not just mad that he has ruined his shirt, or that he has been made a fool of in the schoolyard. Kathy senses that Tommy's fits are in some way involuntary (particularly in their physical manifestations), and that he is actually upset by the constraints of the school itself—even if Tommy himself does not understand why Hailsham is such a hard place for him to live and study. This behavior of Tommy's, his willingness to test, without exactly knowing why, the norms of his life, will induce in Kathy a desire to question some of the rules she lives by—and that society places on her and the other donors.

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Chapter 2 Quotes

Well . . . . The thing is, it might sound strange. It did to me at first. 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.

Related Characters: Tommy (speaker), Kathy H. , Miss Lucy
Related Symbols: Hailsham
Page Number: 23
Explanation and Analysis:

At this point in the novel, Tommy has developed a willingness to discuss some of his more complex emotional states and problems with Kathy. Tommy's conversation with Miss Lucy—in which Lucy argues that Tommy doesn't have to be creative at Hailsham, despite an institutional emphasis on art classes—is one instance of an emotionally thorny and confusing episode.

What is especially odd about the conversation between Lucy and Tommy is the fact that, as revealed later, Tommy really is creative. He is a talented cartoonist, and his "animals," as he and Kathy call them, are intricately modeled and imaginative representations of his inner life. What Lucy appears to be telling Tommy, in a halting manner, is that Tommy, Kathy, and the other students have lives that are set out for them in advance. They do not have before them the kinds of choices that others must make as they mature. In some sense, this makes Hailsham a prep school that prepares its students for non-life—for organ donation and eventual death. It also means that Hailsham "classes" are, in a sense, just filler until the realities of the students' fates set in. 

Chapter 3 Quotes

The gallery Tommy and I were discussing was something 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.

Related Characters: Tommy (speaker), Kathy H.
Related Symbols: Hailsham
Page Number: 31
Explanation and Analysis:

The Gallery is an example of a persistent and convincing rumor that is maintained among the students of Hailsham. It claims that the Headmaster of the school selects the students' best art to adorn a Gallery, one that is then, presumably, shown to others in some capacity—although the students are not allowed to leave Hailsham, and therefore do not know exactly where this Gallery could be.

This passage is important for several reasons. It demonstrates the Hailsham students' desire to learn about the world beyond the school's walls. The myth of the Gallery generates among the students a real interest in creative work, not just for self-expression but for a way to become, in a sense, "famous," an exhibited artist showing work to others. It also shows the way that stories of the outside world are generated within Hailsham, and how they attempt to explain what is ultimately beyond the donors' control. The students' lives, even after Hailsham, are circumscribed by their institutionally-determined role as people who will give organs to non-clones. But the students also live a kind of gentle fantasy, in which their art might be shown to the world, and their creative efforts might be praised alongside those of non-cloned individuals.

If she doesn’t like us, why does she want our work? Why doesn’t she just leave us alone? Who asks her to come here anyway?

Related Characters: Laura (speaker), Madame
Related Symbols: Hailsham
Page Number: 35-36
Explanation and Analysis:

Laura, a minor character in the story and one of Kathy's friends, approaches the Madame to ask about the Gallery. What surprises Laura—and Kathy, Ruth, and the others—is the utter "repulsion" they see on the Madame's face. Laura and the others have always had a sense that they are marked, or "other"—that they are students in a "special" school. But they do not quite understand what makes them special, even if they are told from an early age that they are clones, and that they will donate their organs to others. 

The episode with the Madame thus makes clear for the first time that non-clones are deeply afraid of the clone students, even as they run their lives with precision and a degree of humanity, treating them to a boarding-school-like environment. Laura, Kathy, and Ruth feel like humans—they think, they emote, they wonder about their futures. Indeed, they are human, but the prejudice of non-clones against them keeps them separate and dehumanized, with no chance to change their own fates.

Chapter 4 Quotes

I accepted the invisible rein she was holding out, and then we were off, riding up and down the fence, sometimes cantering, sometimes at a gallop. I’d been correct in my decision to tell Ruth I didn’t have any horses of my own, because after a while with Bramble, she let me try her various other horses one by one, shouting all sorts of instructions about how to handle each animal’s foibles.

Related Characters: Kathy H. (speaker), Ruth
Related Symbols: Hailsham
Page Number: 47
Explanation and Analysis:

Kathy's relationship with Ruth is one of the central relationships in the novel. Kathy finds in Ruth someone she can talk to—but Ruth for a long time acts superior to Kathy, as though she knows things about Hailsham Kathy doesn't know. Ruth, to Kathy, appears to be someone whose future is not necessarily marked out in advance. For Kathy this is intoxicating. Ruth's imagination, like Tommy's, is different from that of the run-of-the-mill Hailsham student.

Ruth's horse-riding, as an imaginary activity, is indicative of her view of life. Ruth pretends that she can "grow up" the way other people (non-clones) do. Like them, Ruth believes she might have a future where she achieves wealth or fame, or has a family. Ruth's relationship with Tommy, once it develops, has in it a kind of seriousness that, to Kathy, appears more mature and separate from other sexual dalliances that are common at Hailsham. Thus, in "extending the reins" to Kathy in this scene, Ruth both opens the possibility of friendship and pairs with it a slight feeling of superiority—as though she is deigning to speak to Kathy despite Kathy's relative immaturity. 

Chapter 5 Quotes

When it came down to it, though, I don’t recall our taking many practical steps towards defending Miss Geraldine; our activities always revolved around gathering more and more evidence concerning the plot itself.

Related Characters: Kathy H. (speaker), Ruth, Miss Geraldine
Related Symbols: Hailsham
Page Number: 51
Explanation and Analysis:

Ruth's earlier fantasy of riding imaginary horses on the Hailsham grounds is a prelude to some of her more involved fantasies. The "plot" against Miss Geraldine is Ruth's idea. The other girls follow it, including Kathy, although, as Kathy here notes, they do so not because they think the plot is actually true. Instead, they want to appease Ruth, who is more or less the leader of their group. They want to show her they are "cool" and capable of thinking "outside the box" of normal Hailsham students.

The idea that Miss Geraldine might be kidnapped points to a larger threat of violence, which creeps in as the novel goes on. For the clones at Hailsham will, in fact, be subjected to terrible, painful procedures as they age—their organs will be harvested until they expire. Their fate is the stuff of science fiction horror. That is the primary dramatic irony of the book—that the students fantasize about a world of mythical and violent behavior, yet they themselves will be subject to institutional violence as they mature. 

Chapter 6 Quotes

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.

Related Characters: Miss Lucy (speaker), Kathy H. , Ruth, Tommy
Related Symbols: Hailsham
Page Number: 68
Explanation and Analysis:

Miss Lucy clearly wants to speak as forthrightly as possible to the students of Hailsham. She does not want to sugarcoat their futures. But Miss Lucy also most operate within the institutional structures of Hailsham—she cannot just yell out to the students, at least not at this point, what their violent fate must be. 

This passage is an example of Lucy splitting the difference, doing her best to be honest to the students without jeopardizing her own position within the Hailsham structure. Smoking is not permitted for any of the Hailsham students because their health is paramount—it is, in fact, their primary contribution to society. Their organs must be as "pristine" as possible, which is why, before they even reach early middle age, the students begin donating to others who might need them. Lucy thus does not disrupt the established order of Hailsham—she is still invested in making sure the students don't smoke. But she hopes to explain the policy in more detail as a way of relating more directly and honestly to the student population, whom she clearly cares about. 

I froze in shock. Then within a second or two, I began to feel a new kind of alarm, because I could see there was something strange about the situation. The door was almost half open . . . but Madame hadn’t nearly come up to the threshold. She was out in the corridor, standing very still . . . . And the odd thing was she was crying. It might even have been one of her sobs that had come through the song to jerk me out of me dream.

Related Characters: Kathy H. (speaker), Madame
Related Symbols: The Judy Bridgewater Tape, The Judy Bridgewater Tape, Hailsham
Page Number: 71
Explanation and Analysis:

This is one of the most important passages in the novel. Kathy believes that the song "Never Let Me Go" is about a mother who does not wish to "let go" of her child, and by dancing to herself in her room, miming this song, Kathy is participating in a fantasy of motherly love. Kathy, like some other Hailsham students, expresses a dim and abstract desire to have a family. She wonders what it would be like to care for someone in that way, to maintain that form of "normal" human connection she has witnessed in representations (film and book) of life outside the school's gates. 

What Kathy does not quite realize, however, is what Madame knows all too well: Kathy can never have a family. She is condemned to a life in which she must "care" for others by giving of herself in the most serious and sustained way. Kathy's donation of organs is a kind of selflessness beyond anything conceivable for a non-clone. And though the reader is slowly putting together the nature of Kathy's sacrifice, it is Madame's teary understanding of Kathy's humanity, in this scene, that sets the stage for further revelations later on in the novel. 

Chapter 7 Quotes

The problem, as I see it, is that you’ve been told and not told. You’ve been told, but none of you really understand, and I dare say, some people are quite happy to leave it that way. But I’m not. If you’re going to have decent lives, then you’ve got to know and know properly. . . . 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.

Related Characters: Miss Lucy (speaker), Kathy H. , Ruth, Tommy
Related Symbols: Hailsham
Page Number: 81
Explanation and Analysis:

This is another very important passage in the novel, and a scene in which Miss Lucy's relationship to the students changes somewhat. Before, Lucy has been content in maintaining Hailsham policy while also engaging with the students more directly and openly, telling them that they are special, that their lives will be determined by rules that don't necessarily apply for non-clones. Lucy has not, till this point, used the term "clone," but she nevertheless feels that the "special" status of Hailsham students must be addressed and explained to them.

What changes in this section is the directness with which Lucy addresses the students. She has overhead some of them discussing possible careers they might like to entertain in later life, and some of them, just before Lucy begins to speak, have said they would like to be actors. This, for Lucy, is simply too much, and she has to speak. She notes that any career other than organ donation, or caring for other donors, is utterly impossible for Hailsham students. Here the reader learns just how serious and unchangeable the fate of Hailshamites is—they have no choice regarding their future, and their lives are wholly predetermined. 

Chapter 8 Quotes

And you didn’t want to do it in the fields even when it was warm enough, because you’d almost certainly discover afterwards you’d had an audience watching from the house passing round binoculars. In other words, for all the talk of sex being beautiful, we had the distinct impression we’d be in trouble if the guardians caught us at it.

Related Characters: Kathy H. (speaker)
Related Symbols: Hailsham
Page Number: 95
Explanation and Analysis:

In this passage, Kathy note the ambivalence Hailsham seems to have toward sexual activity among its students. On the one hand, Hailsham students are, for reasons that are not explained, sterile—they cannot bear children of their own. This means that sexual activity will not have any pregnancy consequences, and that, therefore, the school seems not to mind too much that the students are having sex. Indeed, the school argues that students should be healthy and enjoy their bodies. It is implied that sex might somehow be better for them, and might lead to better organ health and improved donations later on.

But the school also doesn't really make it possible for the students to have sex. There might be several intertwining reasons for this—a kind of prudishness, or a feeling that sex between clones is something that non-clones find repellent or wrong. At any rate, Kathy understands that sex is neither prohibited nor explicitly a part of school life—and it is this relatively consequence-less quality of sex that makes the act feel less romantic, less a part of human maturation, than it might be for non-clones. 

Chapter 9 Quotes

Don’t you realize, we won’t be here together like this much longer?
I do realize that, Kath. That’s exactly why I can’t rush back into it with Ruth. We’ve got to think about the next move really carefully . . . . Like you say, Kath. We’re going to be leaving here soon. It’s not like a game any more. We’ve got to think carefully.

Related Characters: Kathy H. (speaker), Tommy (speaker), Ruth
Related Symbols: Hailsham
Page Number: 110
Explanation and Analysis:

One of the threads running throughout the novel is the love triangle between Tommy, Ruth, and Kathy. Ruth, who in many ways presents herself as someone who "knows the ropes" and is mature and world-wise, snags Tommy early on. They date for some time, and though their relationship seems largely happy, they break up toward the end of their time at Hailsham.

But Ruth quickly realizes that she wants Tommy back, and she enlists Kathy to help her do this. Kathy talks to Tommy, and when Tommy says he is weighing his options in getting back with Ruth, Kathy also seems to demonstrate real concern for Tommy, although she never tells him outright that she has romantic feelings for him. 

Kathy's inability to assert herself quite so strongly as Ruth is therefore a refrain in the novel. Ruth, in Kathy's eyes, gets "what she wants." Kathy is more passive, she tends to listen, to offer advice when asked—but she has a harder time maintaining a romance, or even identifying to herself what she wants. The reader often has the feeling that he or she knows more than Kathy about Kathy's own emotional state. 

Chapter 11 Quotes

You were different. I remember. You were never embarrassed about your collection and you kept it. I wish now I’d done that too.

Related Characters: Ruth (speaker), Kathy H.
Related Symbols: Hailsham
Page Number: 131
Explanation and Analysis:

This is a moment that occurs before Ruth's comment about Kathy's sex life at the Cottages, but that Kathy relates to the reader only after the other conversation. Ruth, because of her desire to seem mature, gets rid of her "collection" of gifts and other objects from Hailsham. She does not want to be tethered to memories of that place, the way that Kathy and perhaps Tommy do. Ruth looks only forward, into a future where she wonders whether she can't escape the life prescribed to her as a donor.

This passage also sheds light on Kathy's relationship to her own past and future. Kathy loves Hailsham—she thinks of it fondly, and when Hailsham closes later in the novel, Kathy mourns its loss even though she knows she can never go back there. Hailsham represents a time of companionship and learning—even though her "preparation" was to be a clone donor, and not for any other worldly future. But Kathy also has a sense of her own future that is in line with the one prepared for her at Hailsham. Kathy wants to be a caretaker—she looks forward to helping other people. 

Chapter 12 Quotes

The point about Chrissie—and this applied to a lot of the veterans—was that for all her slightly patronizing manner towards us when we’d first arrived, she was awestruck about our being from Hailsham. It took me a long time to realize this.

Related Characters: Kathy H. (speaker), Chrissie
Related Symbols: Hailsham
Page Number: 141
Explanation and Analysis:

Kathy informs the reader that the "Hailsham" name carries a great deal of weight, especially among those who were not educated there. It has a pedigree—it is a school unlike other academies where donors are prepared for their jobs. 

Kathy does not tell the reader how she was selected for Hailsham, or how that process works—which donors are assigned to which schools as young children. But she does convey just how special Hailsham is to her. What one learns in this passage, then, is that others feel the Hailsham "mystique" as strongly as Kathy herself does.

Later in the novel, however, Hailsham will be revealed to be just one method of socializing young donors—and it gains its "pedigree" because of how comfortable and progressive it is compared to other clone schools. Other methods are not so developed, and many are even quite barbaric. Instead of resembling prep schools, other donor academies are more like prisons or barracks, where donors are fed and housed but not enriched culturally. 

Chapter 18 Quotes

It was that exchange, when we finally mentioned the closing of Hailsham, that suddenly brought us close again, and we hugged, quite spontaneously, not so much to comfort one another, but as a way of affirming Hailsham, the fact that it was still there in both of our memories.

Related Characters: Kathy H. (speaker), Laura
Related Symbols: Hailsham
Page Number: 211
Explanation and Analysis:

Laura and Kathy, unlike Ruth, are attracted to Hailsham as a place and as an idea. For them Hailsham has been a source of real comfort. It was one of the highlights of Kathy's life—a time when she was surrounded by good friends and genuine companionship. Kathy takes great pains to point out to the reader that, after Hailsham, life for donors becomes increasingly isolated, until the donor has only one meaningful relationship remaining—that of the donor and the caretaker, who will also become a donor in due time.

Laura and Kathy therefore reconnect because they are happy to see each other. But, more importantly, they are happy to remind each other of a time they both shared, a time when they were embedded in a meaningful and sustained community. This is exactly what each of them, and many of the others donors, have been lacking since leaving Hailsham several years before. 

Chapter 21 Quotes

Poor creatures. What did we do to you? With all our schemes and plans?

Related Characters: Madame (speaker), Kathy H. , Tommy
Related Symbols: Hailsham
Page Number: 254
Explanation and Analysis:

Here, Madame wonders aloud whether Hailsham was, after all, a good thing. The initial idea of Hailsham, as she goes on to explain, was to help clones to feel like members of society‚to make sure they had hobbies, friends, and fond memories—before becoming donors and caretakers. The idea undergirding the Hailsham system was thus a fundamentally humanist and benevolent one, even if the reality that that system supported was inhumane.

But as the Madame and Miss Emily go on to explain, the Hailsham system was something like a Band-Aid over a disturbed and upsetting system, wherein humans were used and "mined" to keep others alive. The enrichment that Hailsham therefore afforded the young donors came to seem, to many, like an ever-greater cruelty. Because, of course, neither Tommy nor Kathy could actually live the kind of "normal" life that was, in some sense, modeled for them at Hailsham. The Madame therefore reveals the ambivalence built into the institution of Hailsham: a desire to ready clones for their jobs without necessarily explaining directly what those jobs would be—to build up their hopes and dreams and then crush them.

Chapter 22 Quotes

I was thinking about back then, at Hailsham, when you used to go bonkers like that, and we couldn’t understand it. We couldn’t understand how you could ever get like that. . . . 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.

Related Characters: Kathy H. (speaker), Tommy (speaker)
Related Symbols: Hailsham
Page Number: 275
Explanation and Analysis:

Kathy realizes at the end of the text just how deep and intuitive Tommy's sense of himself has always been. Tommy has known, and been frustrated by, the total impossibility of a "normal" life for the clones. Tommy knew this, and harbored this frustration, even in his early days at Hailsham, when he used to get angry when others would make fun of him. Tommy saw what was at the end of the road, beyond the Hailsham gates, and he saw this far more clearly than anyone else.

Kathy, too, has sensed that clone life did not really fit in with the mirage of a more normal life that was made apparent to the clones at Hailsham. But Kathy was not so openly angry about this. Instead, Kathy's tone throughout the book has been one of wistfulness, a nostalgia touched with sadness but never completely angry. This feeling of the loveliness of the past, and the fact that the past can never be reclaimed, is something that knits Tommy and Kathy together by the novel's end. 

Chapter 23 Quotes

. . . and if I waited long enough, a tiny figure would appear on the horizon across the field, and gradually get larger until I’d see it was Tommy, and he’d wave, maybe even call. . . . and though the tears rolled down my face, I wasn’t sobbing . . . I just waited a bit, then turned back to the car, to drive off to wherever it was I was supposed to be.

Related Characters: Kathy H. (speaker), Tommy
Related Symbols: Hailsham
Page Number: 288
Explanation and Analysis:

This is one of the most affecting and beautiful passages in the novel. What becomes painfully clear, by the end, is the depth of Kathy's love for Tommy. Their romance has been, and remains, impossible. Each must die, and before that, each must care for another donor. Their lives cannot be changed. Their love, powerful as it is, cannot alter their circumstances.

But this does not mean that Kathy and Tommy cannot love each other. That is one of the deep and affirming lessons of "Never Let Me Go." Tommy and Kathy remain attached to one another even after Tommy's death, because Kathy tries as hard as she can to remember her friend and lover as he was, to place him in her mind among the beautiful fields of Hailsham. It is a great sadness that this past cannot extend indefinitely into the future. But the past really did happen—it was real. And Kathy insists on this reality until the end of her own life. 

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Hailsham Symbol Timeline in Never Let Me Go

The timeline below shows where the symbol Hailsham appears in Never Let Me Go. The colored dots and icons indicate which themes are associated with that appearance.
Chapter 1
Maturation and “Growing Up” Theme Icon
Individual Goals vs. Social Expectations Theme Icon
Loving, Caring, and Donation Theme Icon
...England, in the 1990s, and the narrator is Kathy H., a former student at the Hailsham school. Kathy now works as a “carer,” although the details of her job she does... (full context)
Maturation and “Growing Up” Theme Icon
Individual Goals vs. Social Expectations Theme Icon
Life, Death, and Humanity Theme Icon
Loving, Caring, and Donation Theme Icon
Kathy notes that she enjoys thinking about Hailsham, and she often tries to choose the people she cares for (something that is only... (full context)
Maturation and “Growing Up” Theme Icon
Individual Goals vs. Social Expectations Theme Icon
Loving, Caring, and Donation Theme Icon
Kathy often thinks about Hailsham when she drives around the English countryside, visiting her donors. In particular, a certain kind... (full context)
Chapter 2
Maturation and “Growing Up” Theme Icon
Individual Goals vs. Social Expectations Theme Icon
Losing and Finding Theme Icon
Loving, Caring, and Donation Theme Icon
...later, Tommy came up to her—in a line for “medical checkups,” which occur weekly for Hailsham students—to apologize for accidentally hitting her, and for being rude when she expressed concern about... (full context)
Maturation and “Growing Up” Theme Icon
Individual Goals vs. Social Expectations Theme Icon
Loving, Caring, and Donation Theme Icon
...and Kathy discussed a meeting of art class with a kind guardian (the term for Hailsham instructors) named Miss Geraldine, who took a particular liking to Tommy. Tommy’s art for that... (full context)
Maturation and “Growing Up” Theme Icon
Individual Goals vs. Social Expectations Theme Icon
Losing and Finding Theme Icon
Loving, Caring, and Donation Theme Icon
...by Tommy’s admission, since creativity is made to be such a big part of their Hailsham education. Tommy tells Kathy he will give her more information when they can talk in... (full context)
Chapter 3
Maturation and “Growing Up” Theme Icon
Individual Goals vs. Social Expectations Theme Icon
Losing and Finding Theme Icon
Loving, Caring, and Donation Theme Icon
...Kathy, to be angry while talking to Tommy—not at Tommy, but at the system of Hailsham itself. Miss Lucy also mentions to Tommy that Hailsham ought to be “teaching the students... (full context)
Maturation and “Growing Up” Theme Icon
Individual Goals vs. Social Expectations Theme Icon
Loving, Caring, and Donation Theme Icon
...Tommy why “Madame” (a very businesslike woman, whom they believe to be the superintendent of Hailsham, though she only visits every so often) always takes away certain samples of their art... (full context)
Maturation and “Growing Up” Theme Icon
Individual Goals vs. Social Expectations Theme Icon
Losing and Finding Theme Icon
Life, Death, and Humanity Theme Icon
Loving, Caring, and Donation Theme Icon
...the reader a little about the Gallery. Every so often, the Madame would come to Hailsham, and the students assumed that, when she did so, she would take with her certain... (full context)
Maturation and “Growing Up” Theme Icon
Losing and Finding Theme Icon
Life, Death, and Humanity Theme Icon
Kathy then flashes back to another striking scene in her time at Hailsham—a scene that, like her conversation with Tommy about creativity, seemed to point to something interesting... (full context)
Maturation and “Growing Up” Theme Icon
Losing and Finding Theme Icon
Life, Death, and Humanity Theme Icon
...her humor, asks painfully why Madame “wants their art,” if she finds the students at Hailsham repulsive. And Kathy thinks to herself that she and the other girls began to see,... (full context)
Chapter 4
Maturation and “Growing Up” Theme Icon
Individual Goals vs. Social Expectations Theme Icon
Losing and Finding Theme Icon
Kathy briefly details an event at Hailsham, dating from around the time she was ten, which she calls “the Tokens controversy.” She... (full context)
Maturation and “Growing Up” Theme Icon
Individual Goals vs. Social Expectations Theme Icon
Loving, Caring, and Donation Theme Icon
Kathy also describes, briefly, the sales, which, unlike the exchanges, were held at Hailsham so that students could “buy” (with tokens given by the guardians) objects from “the outside... (full context)
Chapter 5
Maturation and “Growing Up” Theme Icon
Individual Goals vs. Social Expectations Theme Icon
Losing and Finding Theme Icon
Life, Death, and Humanity Theme Icon
Loving, Caring, and Donation Theme Icon
...Miss Eileen and Mr. Rogers, were in charge, and that somehow also the woods surrounding Hailsham were to be the location of the kidnapping. But Kathy also notes that, after a... (full context)
Chapter 6
Maturation and “Growing Up” Theme Icon
Individual Goals vs. Social Expectations Theme Icon
Losing and Finding Theme Icon
Life, Death, and Humanity Theme Icon
Loving, Caring, and Donation Theme Icon
...a dress—but because Bridgewater was smoking in the picture, and smoking was expressly banned at Hailsham. Kathy goes off on another tangent, noting that the rule against smoking was a hard-and-fast... (full context)
Chapter 7
Maturation and “Growing Up” Theme Icon
Individual Goals vs. Social Expectations Theme Icon
Losing and Finding Theme Icon
Life, Death, and Humanity Theme Icon
...Tommy by the pond, when they were thirteen, to be the “marker” between eras at Hailsham. Before this time was a “golden period” when the worries of the world did not... (full context)
Maturation and “Growing Up” Theme Icon
Individual Goals vs. Social Expectations Theme Icon
Losing and Finding Theme Icon
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...the only guardian watching them; some of the students are discussing their dream jobs after Hailsham, and one says he’d like to move to America to pursue an acting career. But... (full context)
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...she is telling them this information with such emotion, since, technically, all the students at Hailsham, by age thirteen, understand their fates. Lucy then stops speaking after “revealing” this information, and... (full context)
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...even much later, when Kathy is Tommy’s carer, and Tommy offers a theory for how Hailsham prepared its students for their fates. Tommy believes that Hailsham very carefully calibrated the revelation... (full context)
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...very real possibility. In all, Kathy recalls that many conversations with the teenaged students at Hailsham revolved around health and wellbeing, with an eye to keeping them ready for their eventual... (full context)
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...again involving Tommy, who cuts his elbow in a small accident and goes to the Hailsham infirmary to have it bandaged. Afterward, some of the other male students tell him that... (full context)
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...does not know why she didn’t think about Miss Lucy more, during her time at Hailsham. (full context)
Chapter 8
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Kathy notes that, during the year in which she turned 16 (her final year at Hailsham), things became “mixed up” and confused. Some of this she attributes to the fact that... (full context)
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Kathy mentions that other students begin having very obvious sex lives, and that Hailsham rules seemed rather ambiguous as regarded sex. Ruth and Tommy had become an “item,” although... (full context)
Chapter 9
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...But in the following days, Kathy is startled to learn that Miss Lucy has left Hailsham and won’t be coming back. Kathy wonders why this could be, and runs off to... (full context)
Chapter 10
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...begins Part 2 by reminiscing about her essay, which is the final assignment given to Hailsham students when they leave at the end of their age-16 year. Kathy chose to write... (full context)
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...they were terrified of their freedom, the lack of guardians, and the new world beyond Hailsham they were meant to inhabit. Kathy also states that, although their time at the Cottages... (full context)
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...fires back, however, that Kathy need not try to maintain the old social order of Hailsham, and that Kathy ought to “grow up” and enjoy the life of the Cottages more.... (full context)
Chapter 11
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...chats in their rooms, over steaming cups of tea, the way they used to at Hailsham. During one of these chats, Kathy had asked Ruth if Ruth ever got “urges” to... (full context)
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...time, Ruth appeared to be doing her best to mature quickly, to lead the other Hailsham students into maturity. Kathy also notes that Ruth told her, much later, that she never... (full context)
Chapter 12
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...especially interested in the three of them (Tommy, Ruth, and Kathy), because they were from Hailsham, and because they seemed to think that Hailsham students received special treatment, fundamentally different from... (full context)
Chapter 13
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...spent months talking about with each other—the possibility of a “deferral” of caring duties for Hailsham couples who can “prove that they’re properly in love.” Ruth nods heatedly in assent, as... (full context)
Chapter 14
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...always useful to have around), and there, Kathy overhears Ruth telling the couple that, at Hailsham, people knew about the “deferral” rumor but didn’t say much about it. Kathy pretends not... (full context)
Chapter 15
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...and asks what present it could be—Tommy responds that it’s the tape Kathy lost at Hailsham (Tommy learned long ago from Ruth that the tape was missing). Tommy tells her he... (full context)
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...of other used, old cassettes. She understands that this isn’t the actual lost tape from Hailsham, and Tommy is upset with himself that he didn’t spot it first, but he nevertheless... (full context)
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...shop, and waiting for the others, Tommy tells Ruth that he has another theory about Hailsham, one he’s been thinking about since they left. Tommy fears that the Gallery was used... (full context)
Chapter 16
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...has once again grown strained. Ruth begins to pretend that she can’t remember things about Hailsham—even though Kathy knows that Ruth shares her associations about the guardians and parts of the... (full context)
Chapter 17
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...the spring and then summer of their second year. Kathy is one of the few Hailsham students still to be working on her Victorian novel essay—she knows that the essay doesn’t... (full context)
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At the end of this conversation, Kathy makes a comment about the rhubarb patches at Hailsham—a reference she assumes Ruth will understand—but when Ruth “only vaguely” remembers what Kathy is talking... (full context)
Chapter 18
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...it. Kathy runs into Laura after several years on the job—one of her acquaintances from Hailsham, who was always cracking a joke—at a treatment center, where Laura is also working as... (full context)
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...Kathy says that might not be a good idea. Laura also mentions the fact that Hailsham is closing—a piece of information Kathy heard several weeks before. Kathy does not know what... (full context)
Chapter 19
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...which they all find beautiful. Tommy wonders aloud if the decrepit boat looks the way Hailsham looks now, although Ruth dismisses this notion abruptly. (full context)
Chapter 21
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...they reach the gate of her house, they introduce themselves, saying that they are former Hailsham students who want to talk to her, and who don’t want trouble. Although Madame seems... (full context)
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...while Madame goes upstairs to prepare for their talk. Tommy points out a picture of Hailsham, but it’s a view of the school Kathy does not recognize, and Tommy urges her,... (full context)
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...Madame wheels out to speak to Kathy and Tommy—it’s Miss Emily, the former head of Hailsham. Madame defers to Miss Emily, and says “it’s she Kathy and Tommy wish to talk... (full context)
Chapter 22
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...Madame, or “Marie-Claude” as she calls her, is now somewhat disillusioned with the idea of Hailsham—that Madame now wonders whether the school “did any good at all.” But Miss Emily, who... (full context)
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...of those clones that already existed. This negative tide caused financial support for institutions like Hailsham to “dry up,” and by the 1990s, Hailsham and other places like it had run... (full context)
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...defend her firing of Lucy, saying that things were better the way they went at Hailsham, and that Lucy’s method would have been no better for the clones in the long... (full context)
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...find Tommy having one of his tantrums, just like he did when he was in Hailsham. Kathy this time manages to grab hold of Tommy and calm him down, and Tommy... (full context)
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...Kathy’s response to Tommy and his tantrum is different. Kathy tells Tommy that, “back at Hailsham,” when Tommy would have tantrums, perhaps it wasn’t because he was immature, but because “he... (full context)
Chapter 23
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...if Ruth would have liked to have known everything Tommy and Kathy found out, about Hailsham and their own lives, from Emily and Madame. But Tommy notes that Ruth “wanted to... (full context)
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...so long.” But mostly Kathy recognizes that, because Ruth died before knowing the truth about Hailsham, there’s “a line with Tommy and Kathy on one side and Ruth on the other,”... (full context)
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...fourth donation. She remarks to herself that, though she has “lost Tommy and Ruth and Hailsham,” she still has memories of these places, and she can keep these memories with her,... (full context)