具体描述
From the Booker Prize-winning author of The Remains of the Day and When We Were Orphans, comes an unforgettable edge-of-your-seat mystery that is at once heartbreakingly tender and morally courageous about what it means to be human.
Hailsham seems like a pleasant English boarding school, far from the influences of the city. Its students are well tended and supported, trained in art and literature, and become just the sort of people the world wants them to be. But, curiously, they are taught nothing of the outside world and are allowed little contact with it.
Within the grounds of Hailsham, Kathy grows from schoolgirl to young woman, but it’s only when she and her friends Ruth and Tommy leave the safe grounds of the school (as they always knew they would) that they realize the full truth of what Hailsham is.
Never Let Me Go breaks through the boundaries of the literary novel. It is a gripping mystery, a beautiful love story, and also a scathing critique of human arrogance and a moral examination of how we treat the vulnerable and different in our society. In exploring the themes of memory and the impact of the past, Ishiguro takes on the idea of a possible future to create his most moving and powerful book to date.
作者简介
Sir Kazuo Ishiguro (カズオ・イシグロ or 石黒 一雄), OBE, FRSA, FRSL is a British novelist of Japanese origin and Nobel Laureate in Literature (2017). His family moved to England in 1960. Ishiguro obtained his Bachelor's degree from the University of Kent in 1978 and his Master's from the University of East Anglia's creative writing course in 1980. He became a British citizen in 1982. He now lives in London.
His first novel, A Pale View of Hills, won the 1982 Winifred Holtby Memorial Prize. His second novel, An Artist of the Floating World, won the 1986 Whitbread Prize. Ishiguro received the 1989 Man Booker prize for his third novel The Remains of the Day. His fourth novel, The Unconsoled, won the 1995 Cheltenham Prize. His latest novel is The Buried Giant, a New York Times bestseller. He was awarded the Nobel Prize in Literature 2017.
His novels An Artist of the Floating World (1986), When We Were Orphans (2000), and Never Let Me Go (2005) were all shortlisted for the Man Booker Prize.
In 2008, The Times ranked Ishiguro 32nd on their list of "The 50 Greatest British Writers Since 1945". In 2017, the Swedish Academy awarded him the Nobel Prize in Literature, describing him in its citation as a writer "who, in novels of great emotional force, has uncovered the abyss beneath our illusory sense of connection with the world".
目录信息
读后感
a delicately woven story you never imagine the British japanese to be writing science fiction. But go on reading and u find he's still the writer of "remains of the day." He puts such emotions into his characters: futility, desperation, tender love leading ...
评分a delicately woven story you never imagine the British japanese to be writing science fiction. But go on reading and u find he's still the writer of "remains of the day." He puts such emotions into his characters: futility, desperation, tender love leading ...
评分只是因为姓氏的相同，村上春树与村上龙在日本文坛被称为“双村上”，但在中国读者心中村上春树的地位要高于村上龙很多。同样只是因为相似的背景，石黑一雄与拉什迪、奈保尔并称为“英国文坛移民三雄”，但石黑一雄的国际主义风格却完全看不出移民作家的痕迹。我一直觉得把...
评分很多人大概会觉得跟克隆人有关的一定是科幻小说。 我并不认为这本书可以划入普遍意义上的科幻小说里。 虽然这本书是以未来为背景，但他所描写的日常生活细节与我们并无二样，充满了真实感，而且细腻的感情描写引人入胜。就像是不久以后，就像是几十年以后会发生的事情一样。 小...
评分1.感觉本书内敛的笔调并不很适合克隆人这么一种激进的伦理题材。 2.虽然也是五星之选，但相比于《疾病解说者》还是有所差距。 3.编辑的功课不够到位。纵然不是推理小说，封面封底简介译序中无处不在的泄底依然十分可恨。和《捕蜂机》可谓难兄难弟。 4.装祯好难看。尤其封底介绍...
用户评价
这本书最让我感到震撼的，是它对“爱”的描绘，那是一种极度纯粹、近乎禁忌的依恋。这不是我们通常理解的那种轰轰烈烈的浪漫爱情，而是一种建立在共同命运和深刻理解之上的相互支撑。它没有过多的甜腻或激烈的表达，更多的是在日常的陪伴、细微的体谅中流露出来。我特别喜欢其中描绘的友谊，那种即使面对无法改变的终局，依然选择紧密相连、共同面对的勇气，是整本书中最温暖却也最令人心碎的部分。这种爱，是建立在对残酷现实清醒认知之上的，因此显得格外沉重而珍贵。它不像烟花般绚烂，更像是冬日里一盏摇曳的烛火，微弱，却坚韧地抵抗着四面八方的寒冷。每当角色之间进行眼神交流或做出一个不经意的身体接触时，那种情感的张力都能让我的心跳漏掉一拍，完全沉浸在他们那个封闭世界的情感逻辑里无法自拔。
评分这本书的叙事节奏如同慢火细熬的汤，初读时或许会觉得有些平淡，情节推进得异常缓慢，人物的内心挣扎也大多是隐忍和克制，没有那种直冲脑门的戏剧冲突。然而，正是这种不动声色的铺陈，让那种弥漫在字里行间的疏离感和宿命感愈发浓烈。作者的笔触极其细腻，对环境的描摹，特别是对童年生活场景的追溯，充满了那种带着阳光却又冰冷的质感。我常常在阅读时产生一种强烈的代入感，仿佛自己也置身于那个被严格约束却又努力寻找“意义”的空间里。书中对“记忆”的探讨尤其深刻，那些被小心翼翼珍藏起来的过往片段，对于理解人物当下的抉择起到了至关重要的作用。这种回忆与现实的交织，使得故事的深度被层层剥开，每一次重读都会发现新的细微之处。它不是那种读完后让人拍案叫绝的类型，更像是需要时间去沉淀，让那些潜藏的情绪慢慢渗透进你的骨血里，待合上书本，那种挥之不去的惆怅感才会真正显现出来。
评分我不得不说，这本书的语言风格简直就是一场文字的解剖课。它用词的精准度和选择的场景，都透露出一种令人敬畏的克制美学。很多关键的情感爆发点，作者都选择了用极其日常、甚至略显平淡的对话来带过，力量感却反而被放大了无数倍。比如对某个重大转折事件的反应，角色们没有歇斯底里，只是默默地做着手头的事情，那种“一切如常”背后的巨大悲怆，比任何激烈的哭喊都更具穿透力。这种处理方式极大地挑战了习惯了快节奏、强情感刺激的现代读者，需要你主动去填补那些被刻意留白的空白地带。我个人非常欣赏这种“留白”的艺术，它迫使读者将自己的情感经验和对人性的理解投射进去，从而达成了阅读体验上的高度个性化。读到后期，我甚至开始模仿书里角色的语气来思考问题，那种被驯化的、带着一丝无奈的语调，深深地影响了我的思维定式。
评分如果用一个词来形容这本书给我的总体感受，那大概是“优雅的悲剧”。作者处理宏大、沉重的主题时，展现出了一种惊人的冷静和对戏剧性的精准把控。它没有试图去控诉或激烈反抗，而是将所有的冲突都内化到了角色的性格和日常的互动之中。这种内敛的处理方式，反而让悲剧的力量更加持久和深刻。读完之后，我花了很长时间才从那种“宿命论”的氛围中抽离出来，因为它让你不得不去思考，在面对不可抗拒的力量时，个体能做出的最有尊严的抵抗是什么？是选择遗忘，是选择坚守，还是仅仅是选择真诚地度过剩下的每一分每一秒？书中的环境描写，那种常常伴随着阴郁天气和略显陈旧的建筑的场景，完美地烘托了故事的基调，营造出一种与世隔绝的、带着历史厚重感的氛围。这本书要求读者有足够的耐心去体会，但它给予的回报，远超乎表面的故事本身，是一种对人性深处脆弱与坚韧的深刻体悟。
评分从结构上看，这本书的叙事结构非常巧妙，它不是线性的简单推进，而是通过多重视角和时间错位，像剥洋葱一样，一层层揭示出世界的真相。起初读到一些设定时，会感到困惑，觉得有些情节安排得过于突兀或不合逻辑，这可能是作者故意为之，旨在模仿角色们在信息不对等环境下的认知状态。随着故事的展开，每一个看似不经意的细节，比如某个特定的地点、某句约定俗成的口号，都会被重新放置到更宏大的背景下进行审视。这种解构和重构的过程，让读者体验到一种智力上的参与感。尤其是对“特殊性”与“普通性”的探讨，达到了一个哲学的高度。它提出了一个令人不安的问题：当我们被赋予了特定的使命，我们对于“正常生活”的渴望，究竟是本能的挣扎，还是一种虚妄的自我安慰？这种对存在本质的拷问，让本书超越了一般的文学作品范畴，带有了强烈的思辨色彩。
评分读到凌晨，泪流满面/开头有悬念有谜团，很怪异的用词和口吻，一开始是个成长小说，看到一半，哇，是个爱情故事！平淡的叙事和克制的情感被最后几章汹涌而来的事实真相所淹没/超出了科幻小说的范畴/Lucy和Emily之争，是告诉孩子们等待他们的是什么，还是给他们一个无忧无虑的童年/Emily和外界之争，克隆人究竟有没有灵魂/Emily和Madame之争，收集孩子们的画作和诗作有没有意义/Tommy下车跑进野地里的发泄怒吼/Kathy抱着枕头听着Never let me go闭上眼睛起舞的场景/Ruth对possible和办公室生活的向往/你怎么能说他们没有灵魂/但是他们那么认命那么顺从，捐献四次器官直到死去，当carer累到精疲力尽/只有最后，Kathy在好友都离去后来到Norfolk寻找失去的所有
评分impressive and powerful
评分都那么喜欢剧和电影了，没想到还会更喜欢原作。不落言筌，最是伤人不见血…。另外感慨森下佳子这位“改编家”…变换视角的重塑力，让原作党也不得不佩服一二…将Kathy拆分成恭子和真实，极端隐忍与彻底顽抗，才得以完成两处高潮；坏处是性格缺陷太过赤裸，难免牵强；原著三人情感脉络就相当流畅。Why Hailsham at all？既然已有克隆人，又如何会有答案。
评分"I keep thinking about this river somewhere, with the water moving really fast. And these two people in the water, trying to hold onto each other, holding on as hard as they can, but in the end it's just too much. The current's too strong. They've got to let go, drift apart. That's how it is with us."
评分BBC Radio 4 abridged 2016/2016】"We kissed, a small kiss. "
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