1.  Lesson 1: Introduction

2.  At the end of this lesson we will know how we will tackle reading the novel, and discussed dystopian literature.

3.  Key plot points  Characters  Themes  Issues

4. dystopia: (n) an imaginary place or condition in which everything is bad

5.  When we think about the dystopian novel, what might first come to mind is George Orwell's Nineteen-Eighty- Four.  Published in 1949; he prophesied the advent of a flawless totalitarian society, in which the individual is of literally no significance.

6.  Aldous Huxley's Brave New World  Anthony Burgess' A Clockwork Orange  Ray Bradbury Fahrenheit 451  Cormack McCarthy’s The Road  Margaret Atwood’s The Handmaid’s Tale, Oryx and Crake, The Year of the Flood  Douglas Coupland’s Generation A  Susan Collins’ The Hunger Games trilogy  Veronica Roth’s Divergent trilogy

7.  The critic Bernard Richards once said 'dystopias are useful; they warn us about what might happen'.

8.  This seems fair enough; you can finish a copy of Margaret Atwood's The Handmaid's Tale and breathe a sigh of relief, safe in the knowledge that you don't live in the repressive state of Gilead in which the sole functions of women are as sex-objects and baby- machines. Even if you happen to be a man.

9.  The dystopian novel is a comforter to the human psyche; we like to read about death and corruption, as long as we know that it can't happen to us. Or do we?

10.  Could we all awaken one morning to find our bank accounts mysteriously cancelled? The world a changed, oppressive place? Maybe, and perhaps it is this that compels us to read dystopias; they provide a spark of danger in our otherwise mundane lives.

11.  1) Nasty Things Happen but Everything Turns out Right.  This plot is followed in LP Hartley's 1960 novel Facial Justice, in which the heroine, Jael 97, beats the Establishment at its own game and everyone lives happily ever after.

12.  2) Nasty Things Happen but Despite Everyone's Best Efforts the Establishment Wins.  An example of this scenario can be seen in Aldous Huxley's Brave New World of 1932, in which babies are created in bottles, meaningful relationships are obsolete and in the end John... no, best not give that away. Suffice it to say, that the novel's conclusion is suitably depressing.  Most authors of dystopian novels choose this option. Question Which of these categories does Never Let Me Go fit into?

13.  As with plot, almost all dystopias deal with the same fundamental concepts. Of these, the most common include: o The Status of the Individual o The Nature of Power o Communication Question Which of these categories does Never Let Me Go fit into?

14.  In a word - low.  The individual is of little, if any consequence, the desire being for uniformity within society.

15.  There is some variation here. The seat of power in a dystopian society can rest with an individual corrupt dictator or a corrupt governmental entity, but the effect is much the same; the individual is crushed and freedom curtailed.

16.  Poor, artificial, stilted; these are all words that could apply to communication in a dystopian novel.  Communication is just another method of control in the dystopian society.

17.  A Dystopian Novel  Set in a slightly skewed version of contemporary England, in which people are produced to provide ‘donations’ to the general public.  Follows Kathy H from her childhood at Hailsham school through to her work as a carer.

18.  Groups of 4 – 5.  Read a specific section before each meeting.  Complete one role each for each meeting. You should complete each role at least once.  Meet and discuss your findings and the section of the novel you’ve read.

19.  Discussion Director – Leads the discussion. Asks for clarification or further detail. Summarises points raised before the group moves on. Should have a good knowledge of the section.  Character Specialist – Focuses on U,A,E character motivations and development.  Themes Master – Focuses on recognising emergent themes and motifs and how these affect the reader’s understanding/expectations.  Language Leader – Focuses on aspects of the writer’s style and how this contributes to understanding and enjoyment.  Narrative Executive – Focuses on key plot points in the reading, this may include exposition, conflict, turning points or character epiphany.

20.  Discussion Director – Leads the discussion. Asks for clarification or further detail. Summarises points raised before the group moves on. Should have a good knowledge of the section.  Character Specialist – Focuses on U,A,E character motivations and development.  Themes Master – Focuses on recognising emergent themes and motifs and how these affect the reader’s understanding/expectations.  Language Leader – Focuses on aspects of the writer’s style and how this contributes to understanding and enjoyment.  Narrative Executive – Focuses on key plot points in the reading, this may include exposition, conflict, turning points or character epiphany.

21.  Section 1: pages 1 - 36  Section 2: pages 37 - 109  Section 3: pages 113 – 153  Section 4: pages 154 – 199  Section 5: pages 203 – 240  Section 6: pages 241 – 282