Never Let Me Go - Kazuo Ishiguro [60]
“You remember last week, when Chrissie and Rodney were away? They’d been up to this town called Cromer, up on the north Norfolk coast.”
“What were they doing there?”
“Oh, I think they’ve got a friend there, someone who used to live here. That’s not the point. The point is, they claim they saw this . . . person. Working there in this open-plan office. And, well, you know. They reckon this person’s a possible. For me.”
Though most of us had first come across the idea of “possibles” back at Hailsham, we’d sensed we weren’t supposed to discuss it, and so we hadn’t—though for sure, it had both intrigued and disturbed us. And even at the Cottages, it wasn’t a topic you could bring up casually. There was definitely more awkwardness around any talk of possibles than there was around, say, sex. At the same time, you could tell people were fascinated—obsessed, in some cases—and so it kept coming up, usually in solemn arguments, a world away from our ones about, say, James Joyce.
The basic idea behind the possibles theory was simple, and didn’t provoke much dispute. It went something like this. Since each of us was copied at some point from a normal person, there must be, for each of us, somewhere out there, a model getting on with his or her life. This meant, at least in theory, you’d be able to find the person you were modelled from. That’s why, when you were out there yourself—in the towns, shopping centres, transport cafés—you kept an eye out for “possibles”—the people who might have been the models for you and your friends.
Beyond these basics, though, there wasn’t much consensus. For a start, no one could agree what we were looking for when we looked for possibles. Some students thought you should be looking for a person twenty to thirty years older than yourself—the sort of age a normal parent would be. But others claimed this was sentimental. Why would there be a “natural” generation between us and our models? They could have used babies, old people, what difference would it have made? Others argued back that they’d use for models people at the peak of their health, and that’s why they were likely to be “normal parent” age. But around here, we’d all sense we were near territory we didn’t want to enter, and the arguments would fizzle out.
Then there were those questions about why we wanted to track down our models at all. One big idea behind finding your model was that when you did, you’d glimpse your future. Now I don’t mean anyone really thought that if your model turned out to be, say, a guy working at a railway station, that’s what you’d end up doing too. We all realised it wasn’t that simple. Nevertheless, we all of us, to varying degrees, believed that when you saw the person you were copied from, you’d get some insight into who you were deep down, and maybe too, you’d see something of what your life held in store.
There were some who thought it stupid to be concerned about possibles at all. Our models were an irrelevance, a technical necessity for bringing us into the world, nothing more than that. It was up to each of us to make of our lives what we could. This was the camp Ruth always claimed to side with, and I probably did too. All the same, whenever we heard reports of a possible—whoever it was for—we couldn’t help getting curious.
The way I remember it, sightings of possibles tended to come in batches. Weeks could go by with no one mentioning the subject, then one reported sighting would trigger off a whole spate of others. Most of them were obviously not worth pursuing: someone seen in a car going by, stuff like that. But every now and then, a sighting seemed to have substance to it—like the one Ruth told me about that night.
ACCORDING TO RUTH, Chrissie and Rodney had been busy exploring this seaside town they’d gone to and had split up for a while. When they’d met up again, Rodney was all excited and had told Chrissie how he’d been wandering the side-streets off the High Street, and had gone past an office with a large