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Which lines from Never Let Me Gomost clearly support the idea that the Hailsham students have been deprived of free will? Never Let Me Go "You'll become adults, then before you're old, before you're even middle-aged, you'll start to donate your vital organs. That's what each of you was created to do. You're not like the actors you watch on your videos, you're not even like me. You were brought into this world for a purpose, and your futures, all of them, have been decided." 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. Sure enough, she was soon saying things Tommy found difficult to follow. But she kept repeating it until eventually he began to understand. If Tommy had genuinely tried, she was saying, but he just couldn't be very creative, then that was quite all right, he wasn't to worry about it. It was wrong for anyone, whether they were students or guardians, to punish him for it, or put pressure on him in any way. It simply wasn't his fault. "No explanations, nothing, she just starts off saying something like: 'Tommy, I made a mistake, when I said what I did to you. And I should have put you right about it long before now.' Then she's saying I should forget everything she told me before. That she'd done me a big disservice telling me not to worry about being creative. That the other guardians had been right all along, and there was no excuse for my art being so rubbish."

"You'll become adults, then before you're old, before you're even middle-aged, you'll start to donate your vital organs. That's what each of you was created to do. You're not like the actors you watch on your videos, you're not even like me. You were brought into this world for a purpose, and your futures, all of them, have been decided."

Read the excerpt from Never Let Me Go. I want to move on now to our last years at Hailsham. I'm talking about the period from when we were thirteen to when we left at sixteen. In my memory my life at Hailsham falls into two distinct chunks: this last era, and everything that came before. The earlier years—the ones I've just been telling you about—they tend to blur into each other as a kind of golden time, and when I think about them at all, even the not-so-great things, I can't help feeling a sort of glow. But those last years feel different. Which option most clearly explains the impact of Kathy's first-person narration on the text, as indicated by the excerpt? Never Let Me Go Readers see from Kathy's point of view, and so they can feel a deep level of closeness to and intimacy with Kathy's thoughts and emotions. Readers see from Kathy's point of view, and so they can understand the thoughts and motivations of the people with whom she interacts. Readers see from Kathy's point of view, and so they cannot know the details and information she does not remember or chooses not to tell her audience. Readers see from Kathy's point of view, and so they can clearly perceive the objective truth of actual events as they happened.

Readers see from Kathy's point of view, and so they cannot know the details and information she does not remember or chooses not to tell her audience.

Read the opening lines from Never Let Me Go. 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. Which option most effectively explains how the tone of Kathy's description of herself helps to establish her character? Never Let Me Go The factual, unemotional tone shows that Kathy is a logical, detail-oriented person. The sad, melancholy tone reveals Kathy to be a person who is sensitive and emotional. The warm, lively tone depicts Kathy as a person who is full of life and fun. The angry, hostile tone suggests that Kathy is an unfriendly, unkind person.

The factual, unemotional tone shows that Kathy is a logical, detail-oriented person.

Which excerpts from the story most effectively show how Tommy's interactions with Miss Lucy help to develop her as a nonconformist, somewhat rebellious character in Never Let Me Go? (Select all that apply.) Never Let Me Go Miss Lucy was the only guardian present. She was leaning over the rail at the front, peering into the rain like she was trying to see right across the playing field. I was watching her as carefully as ever in those days, and even as I was laughing at Laura, I was stealing glances at Miss Lucy's back. I remember wondering if there wasn't something a bit odd about her posture, the way her head was bent down just a little too far so she looked like a crouching animal waiting to pounce. And the way she was leaning forward over the rail meant drops from the overhanging gutter were only just missing her—but she seemed to show no sign of caring. Miss Lucy was the most sporting of the guardians at Hailsham, though you might not have guessed it from her appearance. She had a squat, almost bulldoggy figure, and her odd black hair, when it grew, grew upwards so it never covered her ears or chunky neck. But she was really strong and fit, and even when we were older, most of us—even the boys—couldn't keep up with her on a fields run. She was superb at hockey, and could even hold her own with the Senior boys on the football pitch. I remember watching once when James B. tried to trip her as she went past him with the ball, and he was the one sent flying instead. If Tommy had genuinely tried, she was saying, but he just couldn't be very creative, then that was quite all right, he wasn't to worry about it. It was wrong for anyone, whether they were students or guardians, to punish him for it, or put pressure on him in any way. It simply wasn't his fault. And when Tommy had protested it was all very well Miss Lucy saying this, but everyone did think it was his fault, she'd given a sigh and looked out of her window. Then she'd said: "It may not help you much. But just you remember this. There's at least one person here at Hailsham who believes otherwise. At least one person who believes you're a very good student, as good as any she's ever come across, never mind how creative you are." "If no one else will talk to you," she continued, "then I will. The problem, as I see it, is that you've been told and not told. You've been told, but none of you really understand, and I dare say, some people are quite happy to leave it that way. But I'm not. If you're going to have decent lives, then you've got to know and know properly. None of you will go to America, none of you will be film stars. And none of you will be working in supermarkets as I heard some of you planning the other day. Your lives are set out for you."

Tommy thought it possible the guardians had, throughout all our years at Hailsham, timed very carefully and deliberately everything they told us, so that we were always just too young to understand properly the latest piece of information. But of course we'd take it in at some level, so that before long all this stuff was there in our heads without us ever having examined it properly. "If no one else will talk to you," she continued, "then I will. The problem, as I see it, is that you've been told and not told. You've been told, but none of you really understand, and I dare say, some people are quite happy to leave it that way. But I'm not. If you're going to have decent lives, then you've got to know and know properly. None of you will go to America, none of you will be film stars. And none of you will be working in supermarkets as I heard some of you planning the other day. Your lives are set out for you." Yes

Read the excerpt from Never Let Me Go, in which Tommy tells Kathy about an encounter he had with their teacher, Miss Lucy. "Then she said: 'Look, there are all kinds of things you don't understand, Tommy, and I can't tell you about them. Things about Hailsham, about your place in the wider world, all kinds of things. But perhaps one day, you'll try and find out. They won't make it easy for you, but if you want to, really want to, you might find out.' She started shaking her head again after that, though not as bad as before, and she says: 'But why should you be any different? The students who leave here, they never find out much. Why should you be any different?' I didn't know what she was talking about, so I just said again: 'I'll be all right, Miss.' She was quiet for a time, then she suddenly stood up and kind of bent over me and hugged me. Not in a sexy way. More like they used to do when we were little. I just kept as still as possible. Then she stood back and said again she was sorry for what she'd told me before. And that it wasn't too late, I should start straight away, making up the lost time. I don't think I said anything, and she looked at me and I thought she'd hug me again. But instead she said: 'Just do it for my sake, Tommy.'" Which option most accurately explains what could be implied by the excerpt? Never Let Me Go Tommy's conversation with Miss Lucy and her suddenly apologetic, affectionate behavior suggest that Miss Lucy is anticipating she might be leaving soon. Miss Lucy's cheerful words in her conversation with Tommy indicate that she feels he no longer needs her help. Miss Lucy's sharp words in her conversation with Tommy suggest that she is upset with him, but she tries to smooth things over with a hug. Tommy's conversation with Miss Lucy and her cryptic, mysterious behavior indicate that Miss Lucy is intentionally trying to confuse Tommy.

Tommy's conversation with Miss Lucy and her suddenly apologetic, affectionate behavior suggest that Miss Lucy is anticipating she might be leaving soon.

In Never Let Me Go, the Hailsham students have essentially been bred as genetic clones to help save the lives of others, and the students' humanity and individuality have been disregarded. Which excerpts from Never Let Me Gomost effectively support the idea that these characters are still human beings with authentic feelings and emotions? (Select all that apply.) Never Let Me Go "Funny thing is, this talk with her, it did help. Helped a lot. When you were saying earlier on, about how things seemed better for me now. Well, it's because of that. Because afterwards, thinking about what she'd said, I realised she was right, that it wasn't my fault. Okay, I hadn't handled it well. But deep down, it wasn't my fault. That's what made the difference. And whenever I felt rocky about it, I'd catch sight of her walking about, or I'd be in one of her lessons, and she wouldn't say anything about our talk, but I'd look at her, and she'd sometimes see me and give me a little nod. And that's all I needed." 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. We'd been looking at some poetry, but had somehow drifted onto talking about soldiers in World War Two being kept in prison camps. One of the boys asked if the fences around the camps had been electrified, and then someone else had said how strange it must have been, living in a place like that, where you could commit suicide any time you liked just by touching a fence. "If you're going to have decent lives, then you've got to know and know properly. None of you will go to America, none of you will be film stars. And none of you will be working in supermarkets as I heard some of you planning the other day. Your lives are set out for you. You'll become adults, then before you're old, before you're even middle-aged, you'll start to donate your vital organs. That's what each of you was created to do. You're not like the actors you watch on your videos, you're not even like me. You were brought into this world for a purpose, and your futures, all of them, have been decided."

We'd been looking at some poetry, but had somehow drifted onto talking about soldiers in World War Two being kept in prison camps. One of the boys asked if the fences around the camps had been electrified, and then someone else had said how strange it must have been, living in a place like that, where you could commit suicide any time you liked just by touching a fence. Wrong "Funny thing is, this talk with her, it did help. Helped a lot. When you were saying earlier on, about how things seemed better for me now. Well, it's because of that. Because afterwards, thinking about what she'd said, I realised she was right, that it wasn't my fault. Okay, I hadn't handled it well. But deep down, it wasn't my fault. That's what made the difference. And whenever I felt rocky about it, I'd catch sight of her walking about, or I'd be in one of her lessons, and she wouldn't say anything about our talk, but I'd look at her, and she'd sometimes see me and give me a little nod. And that's all I needed." Yes 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.

Read the excerpt from Never Let Me Go. And what's more, now I think about it, I'd say what Miss Lucy said to us that afternoon led to a real shift in our attitudes. It was after that day, jokes about donations faded away, and we started to think properly about things. If anything, the donations went back to being a subject to be avoided, but not in the way it had been when we were younger. This time round it wasn't awkward or embarrassing any more; just sombre and serious. Which word from the excerpt most effectively indicates the meaning of somber (British spelling: sombre)? Never Let Me Go embarrassing properly awkward serious

serious

Read the excerpt from Never Let Me Go. And if these incidents now seem full of significance and all of a piece, it's probably because I'm looking at them in the light of what came later—particularly what happened that day at the pavilion while we were sheltering from the downpour. Which option most effectively identifies the element of narrative structure used in the excerpt and explains its effect on the reader? Never Let Me Go Pacing creates a sense of excitement by speeding up events in the plot. Foreshadowing creates a sense of suspense and mystery by anticipating future events in the plot. Subplot connects unrelated minor characters and events together. Conflict shows a sense of struggle between two opposing characters or actions.

Foreshadowing creates a sense of suspense and mystery by anticipating future events in the plot.

Read the excerpt from Never Let Me Go, in which Tommy, speaking to Kathy, recalls a conversation he had with Miss Lucy. "I'm not sure. Maybe I got it all wrong, Kath, I don't know. Maybe she was meaning something else completely, something else to do with me not being creative. I don't really understand it." Tommy was looking at me as though he expected me to come up with an answer. I went on thinking for a few seconds, then said: "Tommy, think back carefully. You said she got angry ..." "Well, that's what it looked like. She was quiet, but she was shaking." "All right, whatever. Let's say she got angry. Was it when she got angry she started to say this other stuff? About how we weren't taught enough about donations and the rest of it?" "I suppose so ..." "Now, Tommy, think. Why did she bring it up? She's talking about you and you not creating. Then suddenly she starts up about this other stuff. What's the link? Why did she bring up donations? What's that got to do with you being creative?" "I don't know. There must have been some reason, I suppose. Maybe one thing reminded her of the other. Kath, you're getting really worked up about this yourself now." Which option most accurately explains how the excerpt demonstrates the role of creativity in the story? Never Let Me Go The text provides evidence of Tommy's insecurity about his own creativity, showing his low self-confidence and unrealistic self-perception. The text establishes a connection between Miss Lucy and Kathy's mutual irrational dislike of creativity, showing what their priorities are. The text provides evidence that creativity is a skill that can be taught, providing a clue that Miss Lucy feels the students have not been properly educated. The text emphasizes a connection between creativity and donations, providing a clue to the significance of art in a community of clones.

The text emphasizes a connection between creativity and donations, providing a clue to the significance of art in a community of clones.

Read the excerpt from Never Let Me Go. Miss Lucy was the most sporting of the guardians at Hailsham, though you might not have guessed it from her appearance. She had a squat, almost bulldoggy figure, and her odd black hair, when it grew, grew upwards so it never covered her ears or chunky neck. Which words from the text most effectively help indicate the meaning of the word squat as it is used in the passage? (Select all that apply.) Never Let Me Go almost bulldoggy figure chunky neck odd black hair when it grew

almost bulldoggy figure chunky neck

Read the excerpt from Never Let Me Go. Anyway, once you came out to the pond, you'd find a tranquil atmosphere waiting, with ducks and bulrushes and pond-weed. It wasn't, though, a good place for a discreet conversation—not nearly as good as the lunch queue. For a start you could be clearly seen from the house. And the way the sound travelled across the water was hard to predict; if people wanted to eavesdrop, it was the easiest thing to walk down the outer path and crouch in the bushes on the other side of the pond. Which option provides the most accurate definition of the word discreet? Never Let Me Go outraged and angry careful and confidential brief and insignificant separate and distinct

careful and confidential

Read the excerpt from Never Let Me Go, in which Kathy describes Hailsham to an ailing donor who wants to hear all about it. So over the next five or six days, I told him whatever he wanted to know, and he'd lie there, all hooked up, a gentle smile breaking through. He'd ask me about the big things and the little things. About our guardians, about how we each had our own collection chests under our beds, the football, the rounders, the little path that took you all round the outside of the main house, round all its nooks and crannies, the duck pond, the food, the view from the Art Room over the fields on a foggy morning. Sometimes he'd make me say things over and over; things I'd told him only the day before, he'd ask about like I'd never told him. "Did you have a sports pavilion?" "Which guardian was your special favourite?" At first I thought this was just the drugs, but then I realised his mind was clear enough. What he wanted was not just to hear about Hailsham, but to remember Hailsham, just like it had been his own childhood. Which options most effectively explain the ways in which the imagery in the excerpt contributes to the overall meaning of the text? (Select all that apply.) Never Let Me Go The natural, outdoor images of Hailsham that Kathy recollects for her donor reflect the truthful reality of the perfect life found inside the school campus. The beautiful, idealized images of Hailsham that Kathy recollects for her donor represent a deceptive illusion of a privileged school campus. The sweet, nostalgic images of Hailsham that Kathy provides for her donor reveal the spirit of kindness and generosity she shows for him at the end of his life. The factual, impersonal images of Hailsham that Kathy provides for her donor mirror the detached, cold relationships found on campus.

The beautiful, idealized images of Hailsham that Kathy recollects for her donor represent a deceptive illusion of a privileged school campus. The sweet, nostalgic images of Hailsham that Kathy provides for her donor reveal the spirit of kindness and generosity she shows for him at the end of his life.

Read the excerpt from Never Let Me Go. Miss Lucy was the only guardian present. She was leaning over the rail at the front, peering into the rain like she was trying to see right across the playing field. I was watching her as carefully as ever in those days, and even as I was laughing at Laura, I was stealing glances at Miss Lucy's back. I remember wondering if there wasn't something a bit odd about her posture, the way her head was bent down just a little too far so she looked like a crouching animal waiting to pounce. And the way she was leaning forward over the rail meant drops from the overhanging gutter were only just missing her—but she seemed to show no sign of caring. I remember actually convincing myself there was nothing unusual in all this—that she was simply anxious for the rain to stop—and turning my attention back to what Laura was saying. Then a few minutes later, when I'd forgotten all about Miss Lucy and was laughing my head off at something, I suddenly realised things had gone quiet around us, and that Miss Lucy was speaking. Which option most effectively explains how the simile "like a crouching animal waiting to pounce" affects the tone of this part of the text? Never Let Me Go The tone is warm and joyful until the simile "like a crouching animal waiting to pounce" adds an element of anger and hostility, with its image of a predatory animal. The simile "like a crouching animal waiting to pounce" contributes to the overall dark and brooding tone of the text, indicating that Miss Lucy is starting to feel concerned about the rain. The simile "like a crouching animal waiting to pounce" creates heightened suspense and tension, indicating that Miss Lucy is about to say or do something important. The tone is ominous and threatening until the simile "like a crouching animal waiting to pounce" lightens the mood with a sense of fun and amusement.

The simile "like a crouching animal waiting to pounce" creates heightened suspense and tension, indicating that Miss Lucy is about to say or do something important.

Which option most clearly shows how the Hailsham school setting has made Tommy feel like an outcast? Never Let Me Go "It's funny," Tommy said to me when we were remembering it all again a few years ago. "None of us stopped to think about how she felt, Miss Lucy herself. We never worried if she'd got into trouble, saying what she did to us. We were so selfish back then." "But you can't blame us," I said. "We'd been taught to think about each other, but never about the guardians. The idea the guardians had differences between them, that never occurred to us." "But we were old enough," Tommy said. "By that age, it should have occurred to us. But it didn't. We didn't think about poor Miss Lucy at all. Not even after that time, you know, when you saw her." "Then she said: 'Look, there are all kinds of things you don't understand, Tommy, and I can't tell you about them. Things about Hailsham, about your place in the wider world, all kinds of things. But perhaps one day, you'll try and find out. They won't make it easy for you, but if you want to, really want to, you might find out.' She started shaking her head again after that, though not as bad as before, and she says: 'But why should you be any different? The students who leave here, they never find out much. Why should you be any different?' I didn't know what she was talking about, so I just said again: 'I'll be all right, Miss.'" But that had been Miss Lucy's point exactly. We'd been "told and not told," as she'd put it. A few years ago, when Tommy and I were going over it all again, and I reminded him of Miss Lucy's "told and not told" idea, he came up with a theory. Tommy thought it possible the guardians had, throughout all our years at Hailsham, timed very carefully and deliberately everything they told us, so that we were always just too young to understand properly the latest piece of information. But of course we'd take it in at some level, so that before long all this stuff was there in our heads without us ever having examined it properly. When she'd first asked him to come to her study after Art Appreciation, Tommy explained, he'd expected yet another lecture about how he should try harder—the sort of thing he'd had already from various guardians, including Miss Emily herself. But as they were walking from the house towards the Orangery—where the guardians had their living quarters—Tommy began to get an inkling this was something different. Then, once he was seated in Miss Lucy's easy chair—she'd remained standing by the window—she asked him to tell her the whole story, as he saw it, of what had been happening to him. So Tommy had begun going through it all. But before he was even half way she'd suddenly broken in and started to talk herself. She'd known a lot of students, she'd said, who'd for a long time found it very difficult to be creative: painting, drawing, poetry, none of it going right for years. Then one day they'd turned a corner and blossomed. It was quite possible Tommy was one of these.

When she'd first asked him to come to her study after Art Appreciation, Tommy explained, he'd expected yet another lecture about how he should try harder—the sort of thing he'd had already from various guardians, including Miss Emily herself. But as they were walking from the house towards the Orangery—where the guardians had their living quarters—Tommy began to get an inkling this was something different. Then, once he was seated in Miss Lucy's easy chair—she'd remained standing by the window—she asked him to tell her the whole story, as he saw it, of what had been happening to him. So Tommy had begun going through it all. But before he was even half way she'd suddenly broken in and started to talk herself. She'd known a lot of students, she'd said, who'd for a long time found it very difficult to be creative: painting, drawing, poetry, none of it going right for years. Then one day they'd turned a corner and blossomed. It was quite possible Tommy was one of these.

Read the excerpt from Never Let Me Go. I think that was all she said. When I was discussing it with Ruth a few years ago at the centre in Dover, she claimed Miss Lucy had told us a lot more; that she'd explained how before donations we'd all spend some time first as carers, about the usual sequence of the donations, the recovery centres and so on—but I'm pretty sure she didn't. Okay, she probably intended to when she began talking. But my guess is once she'd set off, once she'd seen the puzzled, uncomfortable faces in front of her, she realised the impossibility of completing what she'd started. It's hard to say clearly what sort of impact Miss Lucy's outburst at the pavilion made. Word got round fast enough, but the talk mostly focused on Miss Lucy herself rather than on what she'd been trying to tell us. Some students thought she'd lost her marbles for a moment; others that she'd been asked to say what she had by Miss Emily and the other guardians; there were even some who'd actually been there and who thought Miss Lucy had been telling us off for being too rowdy on the veranda. But as I say there was surprisingly little discussion about what she'd said. If it did come up, people tended to say: "Well so what? We already knew all that." Which options most clearly explain how this passage provides sufficient evidence that Kathy might be an unreliable narrator? (Select all that apply.) Never Let Me Go Words like "lost her marbles" and "Miss Lucy's outburst" show that Kathy did not like Miss Lucy, thus making Kathy's reports biased against Miss Lucy. Words like "I'm pretty sure" and "my guess is" reveal that Kathy is uncertain about how and why things happened. Kathy reports that other people have different memories of what happened, thereby creating doubt about the accuracy of all of Kathy's memories. Kathy reports that other people have different memories of what happened, indicating that no one can remember that time very clearly.

Words like "I'm pretty sure" and "my guess is" reveal that Kathy is uncertain about how and why things happened. Yes Kathy reports that other people have different memories of what happened, thereby creating doubt about the accuracy of all of Kathy's memories.