书名：Never Let Me Go别让我走

难度：Lexile蓝思阅读指数970L
作者：Kazuo Ishiguro石黑一雄
出版社名称：Vintage
出版时间：2006
语种：英文
ISBN：9781400078776
商品尺寸：13.2 x 1.7 x 20.3 cm
包装：平装
页数：288
Never Let Me Go《别让我走》是2017年诺贝尔文学奖得主石黑一雄的作品，一经问世就在欧美引起强烈反响，被《纽约时报》、《时代》周刊、英国《卫报》等诸多报刊媒体列入年度图书，并荣获了当年的英国布克奖提名。2010年，该小说被改编为电影，由凯瑞·穆里根、凯拉·奈特莉和安德鲁·加菲尔德主演。

精彩书评：
“表现杰出……石黑一雄针对人类关系的磨炼做了一次深入的陈述……堪称石黑先生迄今描绘为精准、感人的一部作品。” ──英国《卫报》（The Guardian）

“作者观察细腻，即便是为平凡的事物与人际互动，也能赋予充满洞见、活跃生动的超凡想象。同时，这个反乌托邦的故事为本书积蓄特殊电荷……这是一个史诗般的伦理恐怖小说，体现有如椎心之痛的经历故事……石黑一雄创造出了一本笔锋严厉的警世小说，讽喻超越伦理纲常的科学。” ──《出版人周刊》（Publishers Weekly）

“本书无疑是创作先驱，堪为当年度不凡的小说作品。” ──英国《泰晤士报》（The Times）

“石黑是个独创性高、成就卓越的天才。” ──《纽约时报》（The New York Times）

“石黑一雄引人争议的题材与井然有序、具说服力的文体，为他赢得了多次的文学奖章，包括法国政府所颁发的一级文学骑士勋章，以及英国皇室文学骑士勋衔。他在本书中提出超人的见识，灵巧地悠游于情感的国度，呈现现在与过去之间的必然联系，以及怜悯与残酷、愉悦与苦痛之间的细微分界。” ──《书单杂志》（Booklist）

“充满哀悼、惊叹的不凡世界，教人惴惴不安却又为之深深感动。” ──英国《周日先锋报》（SundayHerald）

“石黑一雄优雅的文笔与巧妙的性格刻画，创造出一个关于回忆、自我认识与爱的动人故事。” ──《图书馆月刊》（LibraryJournal）

“石黑是的知名作家，更是一位洞悉未经言说之真理的作家。” ──加拿大《麦克莱恩杂志》（Maclean’s）

“此人堪称当代杰出的知名散文作家。” ──《英伦情人》作者翁达杰（Michael Ondaatje）

“石黑的作品有如禅园一般，没有花俏的譬喻，非但无风，更无蔓生的野草足以威胁侵扰作品情节。” ──加拿大《环球邮报》（The Globe and Mail）

“石黑一雄的作品出类拔萃，不啻为失落一代诗人当中的头号雄辩家。” ──《泰晤士报．文学副刊》（Times Literary Supplement）

From the winner of the Nobel Prize in Literature and author of the Booker Prize-winning novel The Remains of the Day comes a devastating novel of innocence, knowledge, and loss.
As children Kathy, Ruth, and Tommy were students at Hailsham, an exclusive boarding school secluded in the English countryside. It was a place of mercurial cliques and mysterious rules where teachers were constantly reminding their charges of how special they were. Now, years later, Kathy is a young woman. Ruth and Tommy have reentered her life. And for the first time she is beginning to look back at their shared past and understand just what it is that makes them special—and how that gift will shape the rest of their time together. Suspenseful, moving, beautifully atmospheric, Never Let Me Go is modern classic.
Review
“A page turner and a heartbreaker, a tour de force of knotted tension and buried anguish.”  — Time
“A Gothic tour de force.... A tight, deftly controlled story... . Just as accomplished [as The Remains of the Day] and, in a very different way, just as melancholy and alarming.”  — The New York Times
“Elegaic, deceptively lovely.... As always, Ishiguro pulls you under.”  — Newsweek
“Superbly unsettling, impeccably controlled... The book’s irresistible power comes from Ishiguro’s matchless ability to expose its dark heart in careful increments.”  — Entertainment Weekly

一个她内心明白已经不再存在的地方，但她还是紧抓着不放，
恳求它别放开她的手……
人，失去什么，是痛苦的？
享誉全球文坛亚裔作家石黑一雄，写出穿越疆界深刻的人性共鸣！
这是一段令人心碎、惴惴不安的故事，
勾勒出一幅人性的脆弱与希望、罪恶与软弱、爱与救赎的风貌，
在流顺的文字间，呈现惊人真相的伦理惊悚画面……
海尔森是一所迷人的英国寄宿学校。
然而，海尔森隐藏了一个大秘密！
在海尔森，每个学生都有一名监护人；学生们每星期都得接受某种健康检查；
他们从未学习任何有关外面世界的事物，与外界也少有接触。
他们知道总有一天会发生在他们身上的事─―器官捐赠！
他们的未来没有任何可能！
在海尔森，卡西从女孩蜕变为少女，但直到她和好友鲁思、汤米离开这个安全国度以后，他们才真正明了全部的真相，而且逐渐发现，记忆中美好的成长过程，处处皆是无法追寻的骇人问号；
他们的寿命将随着“器官捐献”而慢慢步入死亡……
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 Gobreaks 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.

2017年，石黑一雄获得诺贝尔文学奖。瑞典学院给出的获奖理由为“石黑一雄的小说，以其巨大的情感力量，发掘了隐藏在我们与世界联系的幻觉之下的深渊。”
石黑一雄文体以细腻优美著称，几乎每部小说都被提名或得奖，其作品已被翻译成二十八种语言。
虽然拥有日本和英国双重的文化背景，但石黑一雄却是极为少数的、不专以移民或是国族认同作为小说题材的亚裔作家之一。他致力于写出一本对于生活在任何一个文化背景之下的人们，都能够产生意义的小说。于是，石黑一雄的每一本小说几乎都在开创一个新的格局，横跨了欧洲的贵族文化、现代中国、日本，乃至于1990年代晚期的英国生物科技实验，而屡屡给读者带来耳目一新的惊喜。
石黑一雄的出版作品如下：1982年《群山淡景》（A Pale View of Hills），获得“英国皇家学会”（Royal Society of Literature）温尼弗雷德．霍尔比奖（Winifred Holtby Prize）。1986年《浮世画家》（An Artist of the Floating World），获英国及爱尔兰图书协会颁发的“惠特布莱德”年度小说奖（Whitbread Book of the Year Award）和英国布克奖（Booker Prize）的提名。1989年《长日留痕》（The Remains of the Day），荣获英国布克奖，并荣登《出版家周刊》的畅销排行榜。1995年《无可慰藉》（The Unconsoled）赢得了“契尔特纳姆”文学艺术奖（Cheltenham Prize）。2000年《我辈孤雏》（When We Were Orphans），再次获得布克奖提名。2005年《别让我走》（Never Let Me Go），也入围了布克奖后决选名单，并获全世界文学奖奖金zui高的“欧洲小说奖”（European Novel Award）。2009年短篇故事集《夜曲》（Nocturne）。2015年，睽违十年后推出长篇小说《被掩埋的巨人》，再度席卷欧美与亚洲书市。
Kazuo Ishiguro is the 2017 winner of the Nobel Prize in Literature. His work has been translated into more than 40 languages. Both The Remains of the Day and Never Let Me Go have sold more than 1 million copies, and both were adapted into highly acclaimed films. Ishiguro’s other work includes The Buried Giant, Nocturnes, A Pale View of the Hills, and An Artist of the Floating World.
My name is Kathy H. I’m thirty-one years old, and I’ve been a carer now for over eleven years. That sounds long enough, I know, but actually they want me to go on for another eight months, until the end of this year. That’ll make it almost exactly twelve years. Now I know my being a carer so long isn’t necessarily because they think I’m fantastic at what I do. There are some really good carers who’ve been told to stop after just two or three years. And I can think of one carer at least who went on for all of fourteen years despite being a complete waste of space. So I’m not trying to boast. But then I do know for a fact they’ve been pleased with my work, and by and large, I have too. My donors have always tended to do much better than expected. Their recovery times have been impressive, and hardly any of them have been classified as “agitated,” even before fourth donation. Okay, maybe I am boasting now. But it means a lot to me, being able to do my work well, especially that bit about my donors staying “calm.” I’ve developed a kind of instinct around donors. I know when to hang around and comfort them, when to leave them to themselves; when to listen to everything they have to say, and when just to shrug and tell them to snap out of it.

Anyway, I’m not making any big claims for myself. I know carers, working now, who are just as good and don’t get half the credit. If you’re one of them, I can understand how you might get resentful—about my bedsit, my car, above all, the way I get to pick and choose who I look after. And I’m a Hailsham student—which is enough by itself sometimes to get people’s backs up. Kathy H., they say, she gets to pick and choose, and she always chooses her own kind: people from Hailsham, or one of the other privileged estates. No wonder she has a great record. I’ve heard it said enough, so I’m sure you’ve heard it plenty more, and maybe there’s something in it. But I’m not the first to be allowed to pick and choose, and I doubt if I’ll be the last. And anyway, I’ve done my share of looking after donors brought up in every kind of place. By the time I finish, remember, I’ll have done twelve years of this, and it’s only for the last six they’ve let me choose.
And why shouldn’t they? Carers aren’t machines. You try and do your best for every donor, but in the end, it wears you down. You don’t have unlimited patience and energy. So when you get a chance to choose, of course, you choose your own kind. That’s natural. There’s no way I could have gone on for as long as I have if I’d stopped feeling for my donors every step of the way. And anyway, if I’d never started choosing, how would I ever have got close again to Ruth and Tommy after all those years?
But these days, of course, there are fewer and fewer donors left who I remember, and so in practice, I haven’t been choosing that much. As I say, the work gets a lot harder when you don’t have that deeper link with the donor, and though I’ll miss being a carer, it feels just about right to be finishing at last come the end of the year.
Ruth, incidentally, was only the third or fourth donor I got to choose. She already had a carer assigned to her at the time, and I remember it taking a bit of nerve on my part. But in the end I managed it, and 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’s ever since then, I suppose, I started seeking out for my donors people from the past, and whenever I could, people from Hailsham.
There have been times over the years when I’ve tried to leave Hailsham behind, when I’ve told myself I shouldn’t look back so much. But then there came a point when I just stopped resisting. It had to do with this particular donor I had once, in my third year as a carer; it was his reaction when I mentioned I was from Hailsham. He’d just come through his third donation, it hadn’t gone well, and he must have known he wasn’t going to make it. He could hardly breathe, but he looked towards me and said: “Hailsham. I bet that was a beautiful place.” Then the next morning, when I was making conversation to keep his mind off it all, and I asked where he’d grown up, he mentioned some place in Dorset and his face beneath the blotches went into a completely new kind of grimace. And I realised then how desperately he didn’t want reminded. Instead, he wanted to hear about Hailsham.