Either in high school or junior high, one of my English classes was assigned to read John Knowles's
A Separate Peace. Set at an elite private boys' school on the eve of World War II, it was maybe a poor curriculum choice for a primarily rural school district in the Upper Midwest. The popularity of Skoal and Brooks & Dunn might have been a signal that James Dickey's
Deliverance or anything about the Snopeses would have gone over better. Not for the last time, I adopted the reverse-snobbery of my classmates, who had little interest in a moral novel about friendship between elite prep school kids. I've stayed skeptical of this particular coming-of-age genre.
But that was more than a decade ago, and on Sunday, I spent my day reading Kazuo Ishiguro's
Never Let Me Go, another story about the morality of a group of kids at an elite prep school, but one with a

chillier heart and big ideas in mind. It's clear from the book's first pages that something is askew. The narrator, Kathy H., is a nurse of unspecified expertise, looking back on her education at a school called Halisham. After vague preliminaries about Kath's unusually long professional tenure, she describes a day from pre-adolescence, in which she and her friend Ruth watch a classmate named Tommy lose his temper in a soccer game.
This is a book about Halisham, and a love story about Kathy, Ruth and Tommy. Ishiguro hints that something is wrong with their world -- from Kathy's vague allusions about undefined carers and donors, and her oddly detached narrative voice. There is plenty of emotional repression, yes, but something larger is at work, and only as the story unfolds does its tragedy incrementally become clearer. A novel about moments that haunt you when you're young expands into bigger themes, about science and love and art and free will.
Some reviewers have described the book as science fiction and others as a cautionary tale, and though I don't think either label gets the job done, they'll do for the sake of allusion. But unlike many reviewers, I don't think of the book as a genre piece, or anything close to pulp. Its views about science are to be taken seriously, but I agree with Michiko Kakutani's description of the book as fundamentally "an oblique and elegiac meditation on mortality and lost innocence: a portrait of adolescence as that hinge moment in life when self-knowledge brin

gs intimations of one's destiny, when the shedding of childhood dreams can lead to disillusionment, rebellion, newfound resolve or an ambivalent acceptance of a preordained fate."
Conservative commentors seem to view the book as a warning against unrestrained science. This is a plausible interpretation, but it didn't occur to me as I read it. Instead, I viewed it as having E.M. Forster's soul in Alduous Huxley's body. In much the way that the mafia setting of
The Sopranos crystallizes family conflicts that would otherwise seem routine, the genre undertones of
Never Let Me Go permit Ishiguro to shed shopworn adolescent baggage and focus his narrative on what matters.
I don't want to say any more about the plot than that. I came into this book without any background -- no Amazon reviews or professional reviews -- and it's best experienced that way. My lack of preparation allowed me to learn about the characters' world alongside them. If I'd known more, I might have loved this book less. I read all 290 pages in a day, staying up until 3 a.m. to finish, at which point I re-read the first chapter and responded in a way appropriate to a five-year-old who's watching
Bambi for the first time: a blubbering baby breakdown.
Time Magazine selected
Never Let Me Go as one of the
100 best English-language novels since 1923, which sounds about right. In story, narration, and clarity, the book stands on par with Ian McEwan's
Atonement. Between McEwan, Ishiguro and Zadie Smith, the Brits are teaching their American counterparts some knockout lessons in how to write a novel. Why the U.S. hasn't yet produced a young-ish writer in the caliber of Smith and Ishiguro, I'll think about some other time.