You're an idiot.

"'Of course not, stupid'" (Never Let Me Go, 243).

Shortest quote yet, woohoo! This part reminded me of another part in the book that reminded me of something I couldn't remember (page 170):

"'It's not going to be in Woolworth's now, you idiot!'"

"'Tommy, you idiot.'"

"'All right. You're a complete idiot, but all right.'"

Obviously, a common theme in the relationship between Kathy and Tommy is Kathy's persistence that Tommy's an idiot. It's kind of cute! Actually, I don't think it's kind of cute -- I think I'm supposed to think it's cute.

As I said, the excerpt from page 170 reminded me of something that I couldn't remember, and when I came across Kathy's calling Tommy stupid a second time, I just had to pursue it. I talked with a reliable source, and got this information:

"Robin [from How I Met Your Mother] says 'You're an idiot,' instead of 'I love you,' and if she DOES say 'I love you,' Ted says it means she's already broken up with you in her mind" (reliable source).

So I think the conclusion we can draw here is that Kathy and Robin have a lot in common. Hey, this is my first How I Met Your Mother reference!

Predestination Predictions

"'I was pretty much ready when I became a donor. It felt right. After all, it's what we're supposed to be doing, isn't it?'" (Never Let Me Go, 227).

Again, we have a reminder of the recurring theme of predestination. Ruth's words in this quote were enhanced a few pages later when they saw the poster of the office, reminding them of Ruth's old aspirations. At that point, I believe, Ruth had some sort of epiphany that people should at least try to do things that sound unfeasible. I think that's why Ruth told Kathy that she should try to get a deferral with Tommy.

The theme of predestination in Brave New World was presented through a few rebellious people. Bernard and Helmholtz both left their positions in civilization to be banished to a place where they could express themselves more freely. John, the protagonist (I think), tried to rebel against the order of civilization when he threw soma out the window. I'm adding a late prediction to my list:

6. I think it's going to be similar in Never Let Me Go. Kathy and Tommy are going to try to rebel against the social norm and try to get a deferral at their age. (By the way, they're basing all of this on theory, so they could be after something that doesn't exist.) I'm a little nervous that it's going to turn out like it did in Brave New World with the characters' inability to behave how they want to in society. John's ultimate failure was a good warning against predestination, and I think it's probably going to be a similar failure with Kathy and Tommy.

Mm, cheese . . .

"'And do you suppose' -- I said this gently, without a hint of sarcasm -- 'if we're driving all that way, we should think about calling in on Tommy? Seeing his centre's just down the road from where this boat's meant to be?'" (Never Let Me Go, 216).

Kathy's discussion with Ruth in chapter eighteen revealed her to be a dynamic character. When she was a teenager, she was very sarcastic (as I quoted in an earlier post):

"'It didn't hurt, did it? When I hit you?' 

'Sure. Fractured skull. Concussion, the lot. Even Crow Face might notice it. That's if I ever get up there'" (Never Let Me Go, 14).

Additionally, the two of them were able to talk without any quarreling. The mature conversation effectively demonstrates that the characters are no longer children or teenagers but adults. Even Ruth, now, is comfortable reflecting on the past without trying to pretend it didn't happen.

I also want to point out another euphemism in the book: Kathy said that donors "complete" rather than die. I feeeeel like that was the exact same word used in Brave New World to describe death, but I might be wrong about that.

Speaking of being comfortable reflecting on the past, there's one thing I forgot to include in an earlier blog. One of the veterans talked about how "eating cheese late at night always disturbed your sleep" (189); it reminded Kathy of Hailsham, but it reminded me of how I always eat cheese late at night. The word "always" in that sentence was not a hyperbole.

Supporting a Hypothesis (that cooouuuld be right)

"'What does it matter anyway? What's the rhubarb patch got to do with anything? Just get on with what you were saying'" (Never Let Me Go, 190 and 202).

My goal of this post is to support this hypothesis: Kathy's motivation for leaving the Cottages is that her unique connection to the past has weakened her ties with her friends.

My first piece of evidence is the symbol of the "essays" (197). Few people at the Cottages took their assigned essay as seriously as Kathy did. The essays didn't seem all that important even to Kathy, but she read and took notes enthusiastically. She figured that since essays were important at Hailsham, if she treated them with importance at the Cottages, she could maintain the binding between the Hailsham students.

My second piece of evidence is the above quote that showed up twice in chapters sixteen and seventeen. Kathy continued to make references to things that happened at Hailsham to Ruth, but Ruth never responded to them well. Kathy wanted to keep her present life connected with her past, whereas her friend was more intent on cutting off that connection.

Once Kathy's difference from her friends weakened their relationships, she had no second thoughts about beginning her training to become a carer (202). I've known since the beginning of the novel that Kathy is, for some reason, a special person (since being a carer for twelve years is apparently a big deal [3]), and I think that stems from her special connection with the past.

Thus ends Part Two.

Getting Things Straight

"Suppose two people say they're truly in love, and they want extra time to be together. Then you see, Kath, there has to be a way to judge if they're really telling the truth" (Never Let Me Go, 175).

Now that I've read chapter fifteen, I'm going to differentiate between three things that have been confused in my mind for my whole life: symbols, motifs, and themes. I'll give one example of each of them.

1. Symbol: "'Judy Bridgewater. Songs After Dark'" (170). Symbols stand for something bigger than them, and I'm sure this tape has to symbolize something(s). For me, it stands for the connection between Kathy's past and her present. The reason that these flashbacks are happening is that they're important to the person into whom she developed, and the tape "brings back memories of that afternoon in Norfolk every bit as much as it does our Hailsham days" (173).

2. Motif: "'Like I said, Kath, Ruth doesn't know about the animals'" (179). A motif is a recurring idea, and I feel like the strong connection between Tommy and Kathy versus the weak connection between Tommy and Ruth is everywhere in the novel. When they were in the shop, Kathy was very aware that they were the only two people in it. Tommy and Kathy can have heart-to-heart conversations that Tommy and Ruth cannot have.

3. Theme: the complexity of love (quoted at the beginning of this post). Love is an important part of human life, and throughout the novel, especially in Part Two, the characters have been trying to figure out what it means and implies. They've already recognized that love is something extremely difficult to judge and lies with "'our souls'" (176). There have also been hints of the idea that physical intimacy cannot stand for emotional connection, another common theme about love.