quotes

"What we know now is that we didn't think enough.

We didn't
worry about the right things. We know we aren't careful enough and that's about all we know." (18)

The world is large and complicated, with

too many parts relying on other parts and they
all octopus out".

"tribesman

waiting for a smoke signal".

meeting

place

"probably the

safest place in the world".

"Picture
this: the future is a

hospital, packed with sick people, packed with hurt people, people on stretchers
in the halls, and suddenly the lights go out, the water shuts off, and you know in your heart that
they're never coming back on. That's the future." (18)

Authorities and government officials take charge implementing
intransigent and heartless decrees that are underpinned by mercenary motives.

"I only ever signed up for the money".

"I'll stay as long

as it takes to get them out. It's my job."

He rationalises the more heartless aspect of his job by highlighting the protective nature of the
decrees: "Land Management sends me in to protect them from starvation and flooding.

Also, my job
is to make sure no one gets hurt when the animals on the land nearby finally get so desperate that
they stampede through". (42)

"pitiable vouchers

for relocation"

"Land
Management looks

the other way so long as we clear out the stragglers." (40)

"Today I processed
127 former residents of Brownlee. Checked out their

finances, their lost assets, helped them close out
the mortgages on their exploded houses, dispensed forty

"name an act, a theft, a drug , a social rung, a job, a

dream: we have tried or abstained only for reasons of health or sanity". (108)

"simple security".

"Wouldn't it be nice to know where we're going to be next year?"

"violence: Border clashes, the flu, the weather, and all the migrations they caused

".

like a god, like a king would build a castle on a hill

narrator, "I don't want
you to learn one thing from tonight. Not about how to conduct yourself during times of stress, not
about how to respect other people, not about how to manage your own insane worries.

I want you to
look out the window and watch the trees go by, because that's what I intend to do."

"I'm sorry". "He just keeps rocking, saying sorry, and hugging me as tight as he can
to hold the world still."

utopian landscape "there will be no

more cities"

Their shells
will be ghostly interruptions of the new nation, which will be composed of rural communities

linked in
all directions." (107). "This is where utopia will be." (107)

"state, back when

the state took care of its own"

Problems occurred when she "started seeing the class as more important than
the student". In this case "QUOTE (28). In this new world order, the state
takes priority. The "Central" rules and individuals are forsaken. For a time, she was used as an
experimental victim of the authorities.

the children were lost. I was lost."

Physically the
landscape has been devastated by natural disasters; the "QUOTE" land is "QUOTE" and dry. (112)

endless
parched

To water one's lawn is to become a "law breaker"

"QUOTE" ("The Theft that Got Us Here", 23) yet, central irrigates the tabbacoo to the 'QUOTE,' highlighting their callous disregard for humans suffering

In a landscape of constant rain, Amsterdam notes that "QUOTE". Liz sleeps in the basement with her daughter, and even though it's the worst place, she tries
to escape the noise. He wonders what it takes to "QUOTE, giving up on each other.
(59) They refuse to leave

unlike others.

Mother and daughter cling to each other for comfort as their lives disintegrate. There is no food,
apart from a straggly rat and Liz indulges her addiction to alcohol. Liz is one of the few trying to cling
to familial bonds; she would rather stay "WUOTE" rather than separate from her
daughter, thus exposing herself to potential dangers. (54)

here and stay drunk

Although Liz's and Jenna's relationship is "QUOITE" and "QUOTE", at least it is not severed. Liz is
determined to protect her fragile relationship with her daughter

to the extreme extent of shooting
the narrator during an off

The narrator compares Jenna to other survivors

a girl he had to coerce into "QUOTE". (49)

Liz knows that as a nurse she will be sent to city care centres where she will be confronted with "QUOTE". (54) "QUOTEd". She would end
up in a youth gang, with no hope and no future. At least, she reasons, if they stay where they are "QUOTEr" (54) Jenna records the transformation from the civilised
to the wild.

a
million dying people with no chance
They'd split the two of us up in a second
I
don't have to say goodbye to my daughte

In her diary, Jenna records, for future readers, the transformation from a civilised to a wild lifestyle. It
is the "QUOTE" about expedient lifestyles and people profiting from each other's misery

similar to the
narrator who is "QUOTE".

Jenna writes "it all down, ." (50)

everything that's gone on with the farms, too. Families being scattered,
friends making enemies just so as to stay alive. I've kept dry paper and each night I write down what
happened during the day

It is a story of deprivation and loss, marked initially by the lack of food. "QUOTE". Then there was "one". "QUOTE". (51)

When my family used to eat
at the table ... there were always three foods on the plate every night

The narrator labels her a "romantic that's got no instinct to make it". She's fighting the treeQUOTE ". (50)

fighting
the rain, fighting me, and her whole purpose in life is to record every indignity

In the narrator's fight for survival, he realises it is important to "QUOTE"; as a government
employee he avoids the compassionate and "QUOTE" approach in favour of efficiency.

travel lightly noble

Amsterdam's narrator reflects a view echoed in anthropological works that contend deception is an
important survival tactic.

After his grandfather's license is revoked, the grandparents and their grandson evade authorities at
the Barricade and life becomes an eerie and ominous journey as they re

visit poignant landmarks and
realise the extent of their loss.

As he later recounts to Juliet, it is a transition era in which one lives and thrives on scams; anarchy
reigns and violence is rife. Survival involves "QUOTE."
(103)

sucking water from our neighbours' tanks, hacking credit
accounts, talking our way into gated towns and leaving with backpacks of jewellery and batteries

Whatever trust there is, it is hard

won at best or absent. Everyone acts strategically to benefit
themselves. It is "survival of the fittest'' and survival of the smartest as each try to secure coupons
(allotment coupons or resettlement vouchers) or raid deserted mansions.

To survive, the narrator has to steal, dissemble and manipulate the people he is meant to serve.
Working on his own in a drenched landscape he believes he has a "QUOTE".

lot of autonomyy

In "Dry Land", the narrator's job is to protect people from starvation and flooding and to make sure
the animals don't stampede the properties. The narrator concedes that he is no do

gooder
pretending to help the families "come to terms, deal with their loss, adjust". All he sees is "people
being washed away by life QUOTE". (43). He keeps moving

feels". (43). He keeps moving

riding from one house to another.
In "The Profit Motive", he admits that criminal activity was never a conscious "QUOTE"

The narrator realises just how adept he has become at dissembling

"realising how practised I've
gotten ". (52)

"But nothing heals because,

if you lose everything once, running becomes part
of you and you're always looking back."

Juliet is presented as the prototype of a self

serving politician who deceives the public's trust.

"Despite all the feelings we think we've got for

our loved ones and our attachments, when push
comes to shove most people figure out how to travel light." It is important to rid oneself of
emotional baggage to survive. (This is perhaps why the grandparents suicided as they did not want to
confront the insecurities of the new life). The narrator knows that he has to encourage them to "give
up on each other" in order to "turn them into survivors". (59)

that "sleeping with me could

save her house, might lower the waters
somehow."

"I don't
dissemble in that situation,

but I don't overemphasise the truth either".

"double dose of funds for relocation"

Eventually, she left without any mementoes or messages

He saw his mother, Cate, "two years ago", who had left their father and was "QUOTE ". (109)

full of
disappointments

During his last visit, she is living alone in a desert town, attending a school
that "trained servants for the rich". It was her way of fashioning for herself some "stability". They
hiked around the gorge but become anxious about their lack of water. The mother becomes frantic,
"QUOTE" (109) Margo ends up drinking a "QUOTE" to cope with
hydration (109) and urges the mother to follow suit. (110).

We'll just die out here, people do every day, it's not always reported cause they're not always found,
but we've got no resources, none
tiny cup of pee

margo is a

'real survivor,' 'penlty safe on her own,'

"A dozen times we would

have died, but Margo saved
us. She knows all the nuts and berries. And how to find your way by the stars. And the value of
everything. A real survivor."

Margo finds the ideal tent, but it's too late. There are inhabitants and they keep moving. The
narrator notes, "I've never felt so confident in my life." (78) He is anxious that Margo will lead him in
another direction (71) and that he will honour the "deal he made on the branch". The encounter with
the visitor "changed me", but this appears unlikely. Their common pastime "QUOTE

locked us together

"It's not about god, b

ut about me and the way I want to live and die"

"a plot of fertile land, a return of seasons, and all the time

in the world to watch things grow".

The plague

riddled man asks the 26

"it'll have worked its

way through the population by the end of the year"

"It's the way I've been living as long as I can remember,

always on the
lookout for every unwatched package and every unlocked lock

'pcoket his inheirtenc and plans to go .

As for his plans, he will keep going as far as "the money takes me" ("The Theft That
Got Me Here", 40)

Vinegar becomes a symbol of the devastating environmental conditions and the attempt to
anaesthetise the pain; they need vinegar to cope with the bugs and the contaminated soil. "QUOTE " (85).

If you
drink a quarter cup of it a day (vinegar), the Brazilian stingers seem to leave you alone.

acerbic, vinegar represents the way in which the citizens are forced to come to terms with their life. The stings of the 'bugs,' are a metaphor for the deep psycholoigcal and pysical pain inflicted by the innate need to survive, to cope they turn to the bitter 'susitinence orivded by vinegar.' Here, much like IShigruo delineates that the clones find comfort in an eventually painful sipressionof their haipnnes

"It's an anti

nightmare drug

The pills service as a tool of control

their primary role is distraction from suffering and alleviation of
anxiety. Like "soma", their aim is fake happiness. Juliet indulges in sexual and pharmaceutical
pleasures which do not hinder her career

"It's like a wake

for a town".

The narrator becomes traumatised by his work in the Verification unit. He becomes a "sQUOTE". Talking to himself as he looks in the "chipped" mirror he is repulsed: "QUOTE" (92)

cared boy of
thirty
You look like hell."

The narrator has nightmares owing to the constant exposure to tragic events. At one stage, he is
disoriented and desperate to return home: "QUOTEs". (82) So horrific are his nightmares, that he scarcely recognises the
scared boy he has become. Plagued by loss of everything that was dear, he struggles to reconcile his
emotions with his past self

the small boy he once was who has lost everything. He takes the small
boy's hand to lead him home again but he doesn't know that it has been blown up ... I take his hand
to lead him there. And then I wake up." (82) He notes, "QUOTE . (83)

Most of the narrator's sexual relationships are based on instinct rather than love. He is comforted by
Liz's presence but after their encounter she shoots him. In her arms, he notes "QUOTE" but there is no love or commitment. His relationships
are secondary to his government role and he regards the mother and daughter as a necessary part of
his job. In fact, he hopes to take Jenna with him and leave Liz in her drunken squalor in the basement
of the house. While Liz profits from the narrator's sexual favours, she plots to kill him to protect
Jenna.

I'm not cold anymore
because I've got a naked someone in my arms

I'm not cold anymore
because I've got a naked someone in my arms

The scheme to foil Shane is duplicitous: "QUOUTE." (89)

I'll verify Shane, give him a cash grant. Take the identities of
two of Brownlee's least

She watches tearfully the fall of the Barricade and becomes the
"QOUTE". Cynically, the narrator suggests, "QUOTE". (101) Juliet clings to the heterosexual couple as a
cover for her lesbian proclivities. (103)

poster child for peace
people seem to like their laws made by
someone who has always lived beyond them

While the State must sanction all relationships, Margo and the narrator use the "third party" rules to
profit from Juliet's success story. They seek to entice Juliet to sign a union contract which enables a
"third party" to enter into a "QUOTE" (103). The narrator
seeks to install Margo and himself into Juliet's "QUOTE" in order to foster a relationship of
dependency. It would give her stability in the public's mind, but she would be free to pursue her love
interests without public scrutiny: "QUOTE." (106) He tells Margo, "QUOTE." (107)

logical union with members of a proposed union
public story
Her political persona as a uniter would be solidified in the minds of

the people through the sexual metaphor of our three

Juliet also tests his loyalty and commitment in a game of dare. Donning fire

proof suits becomes an
act of faith whereby they implicitly follow the orders of a higher authority. Their individual needs are
subsumed and they indulge Juliet's fantasies.

Juliet devises her own plan for them to prove their love. She drives them to a remote forest location
and they put on the suits, "calibrating oxygen tanks". They lock on "headgear and sync
communication" (114) She lights QUOTEr" and encourages Margo
to throw the light

as a marker of their love" (115) Margo is ecstatic believing that this is proof of
their union. "QUOTE" (115)

"Light one and they all go.

Be a man! We're never going to burn!"

The loss of individuality is complete as the narrator reluctantly participates in the act of larceny and
watches the flames spread. He states, "QUOTE (116)

hold my candle out, touch the fire to the wood, watch it
catch and spread, and spread further." (

Becoming disillusioned, he distances himself from their wanton destruction: "QUOTE" (116)

As it jumps and
multiplies into the world, I look at the women, their excited faces shining from all our layers of
fireproof glass, and realise I no longer want anything at all.

"Karuna
gives me another jab and the man gives me a wink. These are my colleagues now.

I'm part of a whole.
The blue spreads down through my systems."

When the narrator later asks Jeannie to proceed with his job proposal, Karuna accuses him of the
same ignorance: "QUOTE" (155).

You still don't understand what you've joined up for you, do you?

As Tommy's 'QUOTE,' echoes across the field he becomes symbolic of the lives that are fast approaching the clones. Kathy and her groups of friends 'QUOTE,' to the spectacle, foils of the society that will one day passively watch on as the clones are exploited in the pursuit of 'QUOTE.' Much like one day they will be left behind by society, Tommy helplessly watches on at the boys 'QUOTE.' These boys are symbolic of the 'QUOTE,' world which leaves the clones by 'QUOTE,' tediously traversing their liminal existences. Through this ominous foreboding Ishiguro is critical of this system; apathetic to the cruel conditions the helpless are subjected to for their own selfish pursuits.

thunderous bellowing
[take] out
seats
scientific, efficient world
panicked at being left behind
harsh, cruel
themselves

Going 'QUORE,' her memories from Hailsham the 'QUOTE,' between her own memories and her donors begin to 'QUOTE,' almost as if Hailsham had been part of 'QUOTE.' Though these memories are ostensibly manufactured, based on his unlived life rather than his actual one, they become an important source of solace for the man in attempt to cope with a tragic fate. It is through the 'QUOTE,' which befalls the mans face at the prospect of remembering where 'QUOTE,' that Ishiguro delineates that memory is a source of consolation for disenfranchised individuals

over and over
line[s]
blur
his own childhood
grimace
he'd grown up

Even as the 'QUOTE,' of students 'QUOTE,' together metaphorically symbolises the flowing tides of indoctrination at Hailsham, helpless to understand their position to the world, Tommy 'QUOTE,' against this. This physical rebellion against the system 'QUOTE,' in the middle of the stairs highlights his rebellion against this system. Through the retrospective of the narrative, Ishiguro reveals that 'QUOTE,' Tommy rejected the conditioning which occurred at Hailsham, mentally and physically rebelling against the doctrine.

flow
coming down the stairs
'push[es]
stopping dead
somewhere deep down

'the instant I saw her again, at that recovery centre in Dover, all our differences—while they didn't exactly vanish—seemed not nearly as important as all the other things: like the fact that we'd grown up together at Hailsham, the fact that we knew and remembered things no one else did.'
'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'

If I drive past one I keep looking over

to it for as long as possible, and one day I'll crash the car like that, but I keep doing it.

"All I can tell you today is that it's for a good reason. A very important reason. But if I tried to
explain it to you now, I don't think you'd understand.

One day, I hope, it'll be explained to you."

'Pacing slowly and talking under her breath, pointing and directing remarks to an invisible audience in the room,'

'We couldn't really follow her lectures,'
Political experiment of inhumane treatment of clones

'Then he starts talking like he's writing ones of his

letters to the editor,'
'Our independence is unprecedented in history. It's foolish,;

The future is a hospital, packed with sick people, packed

with hurt people, people on stretchers in the halls, and suddenly the lights go out, the water shuts off, and you know in your heart that they're never coming back on. That's the future, my friend.

They say that we should enjoy where we are and not wish we're in the city. Or maybe they're scared of what they might see happening if all the lights go out (and then the TV would go out too).

Amsterdam and Ishiguro converge in their depiction that in times of uncertainty, society is galvanised to be willfully ignorant. While Amsterdam is sympathetic to this ignorance, a recognition that the uncertainty of 'what they might see,' their world become begets a desire to neglect a situation. Indeed, Ishiguro is critical of this notion, condemning the society for being willfully ignorant for a 'scneifntifc, effective world,' one which is 'harsh and cruel,' and randers the clones 'shadowy objects in test tubes.'

"Memories, even your most precious ones, fade surprisingly

quickly. But I don't go along with that. The memories I value most, I don't ever see them fading."

'I lost Ruth, I lost Tommy, but I wont lose my memories of them
they tend to blur into each other as a kind of golden time,
'Ruth said she could only vaguely remember the incident
'There's no way you've forgotten,'

A fickle 'QUOTE,' that sets into motion kathys memory and yet, even as Kathy prompts her, an attempt 'QUOTE' Kathy stubbornly 'QUOTE,'
'QUOTE,' poster of people in an 'QUOTE,' along the roads 'reminded us of Hailsham,'
' QUOTE,'
'It's funny remembering it all now,'
'Its just something I once dreamt aou

gust of wind
clinch it for her memory,
pretend[s] to remember nothing
Inoccous
open

The school setting... [is] a clear physical manifestation of the way all children are
separated off from the adult world and are drip

fed little pieces of information about
the world that awaits them, often with generous doses of deception, kindly meant or otherwise. In other words, it serves as a very good metaphor for childhood in
general"
y, Hailsham represents itself as the all

his 'QUOTE' is 'QUOTE,'

fantasy
limited to dowanloads

the irony that their lives and understnding of the world is consricted to quote and quote

wild

But the fact was, I suppose, there were powerful tides tugging us apart by then, and it only

needed something like that to finish the task. If we'd understood that back then—who knows?—maybe we'd have kept a tighter hold of one another.

d. It never occurred to me that our lives, until then so closely

interwoven, c interwoven, could unravel and separate over a thing like thaould unravel and separate over a thing like tha

no one really

believed the essays were that importan

they would fade from our minds, but for a while those essays

helped keep us afloat in our new surroundings

more distant Hailsham

grew, the less important the essays seemed.

with us there for support

she seemed to lose her fear of the fence

'so much concentration,'

for all of the 'mechanical features,' there is 'something sweet,' 'each one of them vulnerable,'

soon too become a system of opression, as their dream is simply a 'wishful rumour,'

represents all of them; humans cannot be defined in sihc neat terms