KATSORCHI 66 War on the Posthuman Narrative as Resistance and the Reinvention of the Self in Kazuo Ishiguro’s Never Let Me Go Stavroula Anastasia Katsorchi University of Athens, Greece ABSTRACT Within a world of grand narratives, testimonies from the margins carry the potential to rewrite history. Through an examination of Kazuo Ishiguro’s renowned novel Never Let Me Go, which places an emphasis on the posthuman subject, this paper approaches the documentation of one’s experiences as a revolutionary act. The memoir kept by the cloned protagonist Kathy H. not only sheds light on the inhuman practices exercised by the state, but it also provides a fictional space for the self to be perpetuated. When one’s fate is decided beforehand, when the potential of identity development is confined, the documentation of one’s experiences constitutes a subversive act that allows the subject to regain control over their self-realization. This is portrayed through the interplay between the narrating, the experiencing, and the narrated self, whose interdependence can be translated into the fluidity of identity. The physical body is complemented and sometimes even replaced by the textual body, while the self is liberated within the ongoing process of becoming offered by the imaginative and reconstructing act of autobiographical narration. Ultimately, the preservation of one’s memories constitutes an act of agency that illuminates the dark, silenced side of history. KEYWORDS memory, narrative resistance, posthumanism, Kazuo Ishiguro, Never Let Me Go INTRODUCTION The world today always anticipates the future. The present has become an evasive entity, and before it is grasped, it has already become the past. Yet history, though still in the hands of the state for the most part, has become histories and her-story. Testimonies of a once-evasive present rise to the surface, oftentimes in the form of art, and shed light on silent voices, oppressed identities, and censored histories and her-stories. In times of war, climate change, and relentlessly advancing technologies, the creation of an artwork not only allows one to preserve a memory, but also constitutes a medium through which one can make sense of the world and even of oneself, by providing a fictional space for the self to develop on its own terms. For the oppressed and the downtrodden, for those whose present and future are decided and imposed by external sources, creating a fictional space of one’s own is not only a sheltering act of self-preservation, but it is an act of agency and resistance in itself. The documentation of memory in the form of writing, in