Kazuo Ishiguro - Never Let Me Go

Tommy and I waited several more minutes. Then the wall at the back of the room began to move. I saw almost immediately it wasn’t really a wall, but a pair of sliding doors which you could use to section off the front half of what was otherwise one long room. Madame had rolled back the doors just part of the way, and she was now standing there staring at us. I tried to see past her, but it was just darkness. I thought maybe she was waiting for us to explain why we were there, but in the end, she said:

“You told me you were Kathy H. and Tommy D. Am I correct? And you were at Hailsham how long ago?”

I told her, but there was no way of telling if she remembered us or not. She just went on standing there at the threshold, as though hesitating to come in. But now Tommy spoke again:

“We don’t want to keep you long. But there’s something we have to talk to you about.”

“So you say. Well then. You’d better make yourselves comfortable.”

She reached out and put her hands on the backs of two matching armchairs just in front of her. There was something odd about her manner, like she hadn’t really invited us to sit down. I felt that if we did as she was suggesting and sat on those chairs, she’d just go on standing behind us, not even taking her hands away from the backs. But when we made a move towards her, she too came forwards, and—perhaps I imagined it—tucked her shoulders in tightly as she passed between us. When we turned to sit down, she was over by the windows, in front of the heavy velvet curtains, holding us in a glare, like we were in a class and she was a teacher. At least, that’s the way it looked to me at that moment. Tommy, afterwards, said he thought she was about to burst into song, and that those curtains behind her would open, and instead of the street and the flat grassy expanse leading to the seafront, there’d be this big stage set, like the ones we’d had at Hailsham, with even a chorus line to back her up. It was funny, when he said that afterwards, and I could see her again then, hands clasped, elbows out, sure enough like she was getting ready to sing. But I doubt if Tommy was really thinking anything like that at the time. I remember noticing how tense he’d got, and worrying he’d blurt out something completely daft. That was why, when she asked us, not unkindly, what it was we wanted, I stepped in quickly.

It probably came out pretty muddled at first, but after a while, as I became more confident she’d hear me out, I calmed down and got a lot clearer. I’d been turning over in my mind for weeks and weeks just what I’d say to her. I’d gone over it during those long car journeys, and while sitting at quiet tables in service-station cafés. It had seemed so difficult then, and I’d eventually resorted to a plan: I’d memorised word for word a few key lines, then drawn a mental map of how I’d go from one point to the next. But now she was there in front of me, most of what I’d prepared seemed either unnecessary or completely wrong. The strange thing was—and Tommy agreed when we discussed it afterwards—although at Hailsham she’d been like this hostile stranger from the outside, now that we were facing her again, even though she hadn’t said or done anything to suggest any warmth towards us, Madame now appeared to me like an intimate, someone much closer to us than anyone new we’d met over the recent years. That’s why suddenly all the things I’d been preparing in my head just went, and I spoke to her honestly and simply, almost as I might have done years ago to a guardian. I told her what we’d heard, the rumours about Hailsham students and deferrals; how we realised the rumours might not be accurate, and that we weren’t banking on anything.

“And even if it is true,” I said, “we know you must get tired of it, all these couples coming to you, claiming to be in love. Tommy and me, we never would have come and bothered you if we weren’t really sure.”

“Sure?” It was the first time she’d spoken for ages and we both jolted back a bit in surprise. “You say you’re sure? Sure that you’re in love? How can you know it? You think love is so simple? So you are in love. Deeply in love. Is that what you’re saying to me?”

Her voice sounded almost sarcastic, but then I saw, with a kind of shock, little tears in her eyes as she looked from one to the other of us.

“You believe this? That you’re deeply in love? And therefore you’ve come to me for this… this deferral? Why? Why did you come to me?”

If she’d asked this in a certain way, like the whole idea was completely crazy, then I’m sure I’d have felt pretty devastated. But she hadn’t quite said it like that. She’d asked it almost like it was a test question she knew the answer to; as if, even, she’d taken other couples through an identical routine many times before. That was what kept me hopeful. But Tommy must have got anxious, because he suddenly burst in:

“We came to see you because of your gallery. We think we know what your gallery’s for.”

“My gallery?” She leaned back on the window ledge, causing the curtains to sway behind her, and took a slow breath. “My gallery. You must mean my collection. All those paintings, poems, all those things of yours I gathered over the years. It was hard work for me, but I believed in it, we all did in those days. So you think you know what it was for, why we did it. Well, that would be most interesting to hear. Because I have to say, it’s a question I ask myself all the time.” She suddenly switched her gaze from Tommy to me. “Do I go too far?” she asked.

I didn’t know what to say, so just replied: “No, no.”

“I go too far,” she said. “I’m sorry. I often go too far on this subject. Forget what I just said. Young man, you were going to tell me about my gallery. Please, let me hear.”

“It’s so you could tell,” Tommy said. “So you’d have something to go on. Otherwise how would you know when students came to you and said they were in love?”

Madame’s gaze had drifted over to me again, but I had the feeling she was staring at something on my arm. I actually looked down to see if there was birdshit or something on my sleeve. Then I heard her say:

“And this is why you think I gathered all those things of yours. My gallery, as all of you always called it. I laughed when I first heard that’s what you were calling it. But in time, I too came to think of it as that. My gallery. Now why, young man, explain it to me. Why would my gallery help in telling which of you were really in love?”

“Because it would help show you what we were like,” Tommy said. “Because…”

“Because of course”—Madame cut in suddenly—“your art will reveal your inner selves! That’s it, isn’t it? Because your art will display your souls!” Then suddenly she turned to me again and said: “I go too far?”

She’d said this before, and I again had the impression she was staring at a spot on my sleeve. But by this point a faint suspicion I’d had ever since the first time she’d asked “I go too far?” had started to grow. I looked at Madame carefully, but she seemed to sense my scrutiny and she turned back to Tommy.

“All right,” she said. “Let us continue. What was it you were telling me?”

“The trouble is,” Tommy said, “I was a bit mixed up in those days.”

“You were saying something about your art. How art bares the soul of the artist.”

“Well, what I’m trying to say,” Tommy persisted, “is that I was so mixed up in those days, I didn’t really do any art. I didn’t do anything. I know now I should have done, but I was mixed up. So you haven’t got anything of mine in your gallery. I know that’s my fault, and I know it’s probably way too late, but I’ve brought some things with me now.” He raised his bag, then began to unzip it. “Some of it was done recently, but some of it’s from quite a long time ago. You should have Kath’s stuff already. She got plenty into the Gallery. Didn’t you, Kath?”