Given the depiction of artificially created people, the story challenges the boundaries of our biological identity once it is liable to scientific modifications.
The main assumption is that both, novel and film, are philosophically rich in addressing some of the most fundamental concerns about the very nature of who we are as human beings, though the conclusions one reaches on these issues might vary due to the differences between the novel and the film. It focuses on Kazuo Ishiguro's Never Let Me Go and it analyzes the story with reference to its dual nature, humanistic and bioethical. This paper is intended as a contribution to the ongoing discussion within philosophy of film and literature regarding the extent to which film and literary works can be a medium for raising philosophical concerns. The parallels between her life and the life of her friend Sachiko as well as her dubious narration, a consequence of creating a false version of traumatic events as a protective measure against their impact, serve to emphasize the incompleteness of both her migration and her story. Written from the point of view of an unreliable narrator, the novel is a discontinuous narrative marked by indeterminacy and ambiguity, which “travels” from Britain to Japan and back, and which evinces biographical gaps and uncertainties that blur the boundary between Etsuko’s past and present, making it impossible for her to fully cross that boundary. This essay focuses on the ways in which trauma is narrated in the novel, arguing that in representing the protagonist’s life, Ishiguro mimics the narrative strategies used by trauma survivors. Kazuo Ishiguro’s novel A Pale View of Hills (1982) represents both trauma and migration as continuous processes rather than finite stages in the life of Etsuko, the novel’s protagonist.
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