The House of Scorpion Book by Nancy Farmer Fan Art

Never Let Me Go & The House of the Scorpion

The work of Nancy Farmer and Kazuo Ishiguro, The House of the Scorpion (2002) and Never Let Me Become (2005) respectively, were published only iii years autonomously; however, these 2 novels offering two very different narratives, only share similarities in the themes they tackle and the expansive timeline that the story takes place over. With the rapid advocacy of biotechnology, the two authors question what it means to exist human. Given the complication of the question at hand, readers can safely assume that this comparison will be much longer than the others. And though these two works though not unexpectedly placed together, individually, they offering powerful messages on the concept of clones and cloning.

From childhood to boyhood, The House of the Scorpion follows the narrative of the protagonist, Matteo "Matt" Alacrádue north—the clone of El Patrón, and his turbulent childhood in the Alacrán household as he attempts to navigate amid humans given his despised condition. In the country of Opium that sits between Aztlán and the Us, clones are abominations of nature and Matt accepts that even though he appears human being, he does not differ from an animal. Yet, through the compassion of supporting characters—María, Celia, and Tam Lin—Matt slowly comes to realize what it ways to exist human.

From babyhood to adulthood, Never Let Me Become centers on the story of Kathy, her life at Hailsham, and her relationship with her friends, Ruth and Tommy. The Hailsham offers its students 'fulfilling' childhoods earlier informing the clones of their truthful purpose and identity—clones destined for a life of organ donations. Yet, earlier reaching adulthood, Kathy and her friends discover the truth and question what information technology means to be human, but in a way that differs from Matt in The House of the Scorpion.

            In The House of the Scorpion, Farmer emphasizes themes apropos the freedom of choice and those who control it, dehumanization, nature versus nurture, and the humanity of the naïve and also those who are oft disregarded. For those living in Opium, El Patrón controls both clones and people through disciplinarian rule, whether through fear or forceful implants that render victims mindless. In Aztlán, Farmer illustrates a different form of control: brainwashing.

            In terms of dehumanization, in the novel, all those within the Alacrán household consider Matt an animal. They emphasize how, although he is the clone of a powerful drug lord, considering an animal birthed him, he is besides an animal himself. Matt internalizes his label, and although he consistently tries to challenge information technology throughout the novel. Matt frequently compares himself to El Patrón, someone he should be similar and oft tries to be similar but is ultimately unlike from. He describes himself every bit "only a photograph of a human", an imitation rather than the original. Yet, Matt seems very different from El Patrón and seems to exist capable of greater levels of compassion and agreement.

Matt's claiming towards the labels attached to his clone identity comprises constantly trying to prove his humanity and divergence from other clones through his upbringing, intelligence, education, and musical talent—the thing he has which El Patrón never did. Notwithstanding, all these things practice not affair to El Patrón. El Patrón views Matt's pedagogy as a mercy; he offers his clones a childhood that he never had, before the clones donate their organs, much like in Never Let Me Go, to go along El Patrón alive. Information technology seems Matt is in a constant boxing against what others believe he is and what he desires others to see him as. Opium'south normalization of the animalization of clones plants the idea within Matt that no matter how like he is to other people, others still do not meet him as 'homo'. Notwithstanding, even though the Alacrán household treats Matt unfairly, Celia, Tam Lin, and María—his simply allies—recognize the humanity within Matt, regardless of his clone identity. Those with the most compassion and empathy seem to be the ones about overlooked in Opium'southward authoritarian lodge.

Ultimately, the only marking of difference between Matt and other 'humans' is a characterization stamped on the bottom of his pes.

            In Never Let Me Go, Ishiguro offers a very unlike concept of what information technology means to be human. Hailsham not only aims to offer 'fulfilling' childhoods to clones destined for a life of organ donations. However, the directors of the institution seem to have the aim of emphasizing the humanity of clones through the fine art that clones create and their creativity to evidence that clones likewise have consciousness, dreams, desires, and emotion like other humans. Unlike Farmer'south novel, the gild in Never Allow Me Get does not view clones every bit monstrous, but rather, as pitiful 'projects' catered for the greater adept of the rest of the population.

Furthermore, the clones in Never Permit Me Become are modelled after individuals traditionally looked down upon by society, such as criminals, rather than powerful figures such equally El Patrón in Farmer's novel. Kathy's order uses the modelling of clones after figures that are social outcasts to overlook the unethical and immoral practices of science. The novel emphasizes how the lives saved by the donations from clones, and the appeal of the implications of the presence of clone, makes information technology hard for most to admit to the humanity of clones.

Similar Matt, the characters struggle against their fate and try to challenge the direction of their lives, but their efforts are futile because the remainder of society does not want to give up the solution that clones offer.

            Both Farmer and Ishiguro's novel presents a powerful bulletin concerning the ideals of cloning and the immorality of scientific discipline, as selfish individuals try to justify the murder of clones for the 'greater skillful' of the rest of society, ignoring the evidence of humanity that clones have. Fifty-fifty in attempts to offer clones a 'fulfilling' childhood and adolescence both as supposed mercy but also seems like an endeavour at repayment, the authors show how robbing the lives of clones is the same every bit murdering 'real' humans. The message that The House of the Scorpion and Never Let Me Go leaves us with is that denying the humanity of clones does not make them any less man, and whatsoever life is worth far more than immoral solutions.

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Source: https://maudlinhouse.net/clones-intelligence-art-and-what-it-means-to-be-human/

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