Within both novels, societies are constructed off of unequal power
dynamics which operate through fear, hierarchy and dehumanisation.
Shelley, in Frankenstein, presents power through the pursuit of scientific
ambition within a Romantic Framework whilst Ishiguro in NLMG presents a
quiet lethal dystopian power which operates through an early capitalist
era pursuing the curiosities of bioethics and cloning. Overall within both
novels, power and control operates within rigid structures presenting a
divide between creators and creations.
In Frankenstein and Never Let Me Go (NLMG), the most powerful from of
control is arguably one in which creators in both texts hold over their
creations. Whilst Victor as an individual creates the creature as a
fulfilment for the emotional and physical barriers in his life, Hailsham as
an institution in NLMG creates the clones as to fulfil a purpose and
ulimatley act as a sacrifice. Both treat their creations as possessive
commodities rater then individuals illuminating the corruption of power
hierarchies in both novels. Victors thirst for power as a creator is evident
through his overreaching desires and God like complex overriding natural
order. His declaration of ‘a new species would bless me as it’s creator’
presents how Victor’s need for control and rule over the natural world
overtakes all ethical morals. Ultimately, this blind scientific pursuit acts as
a criticism of the Enlightenment Era in which science was depicted as an
absolute pursuit of the truth failing to warn society of the consequences
when aiming to overtake natural capabilities. Furthermore, this is
foregrounded as through Victor’s supposed power he ‘selects’ the
creatures ‘features as beautiful’ yet this is an illusion as once brought to
life ‘disgust filled’ Victor’s heart reflecting how his ‘ardour’ had been
extinguished and the natural world would ultimately hold all power. This
alludes to a Christian belief in the grave consequences placed upon
someone when aiming to play God. Whilst Shelley presents the theme of
power and control through Victor’s individual ambition, Ishiguro in NLMG
presents power and control through a different lens, showing institutional
power as creators of the clones, and rather than losing power, like Victor,
they maintain it throughout the entire novel. In NLMG the clones are made
for the specific purpose only of organ donation. The power and control the
institutions have over the clones are evident as the Guardians declare
that the clones were ‘made for a purpose’ and their ‘lives’ have already
been ‘set out’. Their predetermined fates present the control society has
over the clones presenting them as collectives ‘in a system’ removing all
aspects of individuality. As the clones' fate is to ‘donate’ and die Ishiguro
sheds a light on the ethical issues surrounding cloning similar to Shelley’s
allusion to the ethical issues surrounding a desire to pursue scientific
ambition with the intent of overriding natural capability. The control and
dynamics which operate through fear, hierarchy and dehumanisation.
Shelley, in Frankenstein, presents power through the pursuit of scientific
ambition within a Romantic Framework whilst Ishiguro in NLMG presents a
quiet lethal dystopian power which operates through an early capitalist
era pursuing the curiosities of bioethics and cloning. Overall within both
novels, power and control operates within rigid structures presenting a
divide between creators and creations.
In Frankenstein and Never Let Me Go (NLMG), the most powerful from of
control is arguably one in which creators in both texts hold over their
creations. Whilst Victor as an individual creates the creature as a
fulfilment for the emotional and physical barriers in his life, Hailsham as
an institution in NLMG creates the clones as to fulfil a purpose and
ulimatley act as a sacrifice. Both treat their creations as possessive
commodities rater then individuals illuminating the corruption of power
hierarchies in both novels. Victors thirst for power as a creator is evident
through his overreaching desires and God like complex overriding natural
order. His declaration of ‘a new species would bless me as it’s creator’
presents how Victor’s need for control and rule over the natural world
overtakes all ethical morals. Ultimately, this blind scientific pursuit acts as
a criticism of the Enlightenment Era in which science was depicted as an
absolute pursuit of the truth failing to warn society of the consequences
when aiming to overtake natural capabilities. Furthermore, this is
foregrounded as through Victor’s supposed power he ‘selects’ the
creatures ‘features as beautiful’ yet this is an illusion as once brought to
life ‘disgust filled’ Victor’s heart reflecting how his ‘ardour’ had been
extinguished and the natural world would ultimately hold all power. This
alludes to a Christian belief in the grave consequences placed upon
someone when aiming to play God. Whilst Shelley presents the theme of
power and control through Victor’s individual ambition, Ishiguro in NLMG
presents power and control through a different lens, showing institutional
power as creators of the clones, and rather than losing power, like Victor,
they maintain it throughout the entire novel. In NLMG the clones are made
for the specific purpose only of organ donation. The power and control the
institutions have over the clones are evident as the Guardians declare
that the clones were ‘made for a purpose’ and their ‘lives’ have already
been ‘set out’. Their predetermined fates present the control society has
over the clones presenting them as collectives ‘in a system’ removing all
aspects of individuality. As the clones' fate is to ‘donate’ and die Ishiguro
sheds a light on the ethical issues surrounding cloning similar to Shelley’s
allusion to the ethical issues surrounding a desire to pursue scientific
ambition with the intent of overriding natural capability. The control and
