Introduction
Throughout his work, author Ian McEwan often builds narratives around a single traumatic set piece.
(2002) Ian McEwan, the art of fiction. Paris Review (162), summer. Available at https://www.theparisreview.org/interviews/393/ian-mcewan-theartoffiction-no-173-ian-mcewan (accessed 26 September 2017).
(2006) Ian McEwan, Reinventing Himself Still.
Available at https://www.powells.com/post/interviews/ian-mcewan-reinventing-himself-still (accessed 26 September 2017).
2007
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Saturday by Ian McEwan New York: Doubleday, 2005, 289 pp.
2115 Eunice Street
Berkeley, CA 94709
(510) 524-9708
Sleepless in the early hours, you make a nest out of your own fears.
Ian McEwan, Saturday, p. 40
“Terrorism” has become a familiar signifier of our post-9/11 consciousness, evoking an anticipation of something we dread and yet expect.
But of course Henry Perowne's consciousness, as we are given it, is more than that of a singular character: it is permeated by the literary consciousness of Ian McEwan, the implied author behind the scenes who extends the
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character's discourse by a layered poetic manipulation of language that teases out all its latent ambiguities and literary echoes, and draws the reader into its associative spaces.
2012
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On Chesil Beach by Ian McEwan New York: Nan A.
A feminist-psychoanalytic critic, she has written on hysterical narrative in British fiction, representations of Holocaust trauma, and, most recently, perversion in the fictions of Ian McEwan.
2115 Eunice St.
It certainly characterizes time in the fiction of Ian McEwan, which often foregrounds the protagonist's relation to temporality as a major theme.
Wanting some kind of confirmation of this intuitive and totally subjective leap, I Googled The Good Soldier, and came upon a short piece in The Guardian about the novel and its context by Julian Barnes (2008), a friend of McEwan's, that included this bit of information:
Recently, I was talking to Ian McEwan, who told me that a few years ago he'd been staying in a house with a well-stocked library.
2016
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Solar By Ian Mcewan New York: Nan A.
Berkeley, CA. 94709
(510) 524-9708
crkahane@berkeley.edu
Questioning Comic Relief in the Psychology of Global Warming
Although there is a consensus among scientists that global warming threatens the very existence of the planet, until recently, the general public and its political representatives have remained resistant to the news. In Solar, Ian McEwan takes on the psychological reasons for that resistance and attempts to engage readers in confronting its potentially disastrous consequences.
See environmental correspondent David Adams's article, “Ian McEwan: Failure at Copenhagen climate talks prompted novel rewrite.” Retrieved from http://www.theguardian.com/environment/2010/mar/05/ian-mcewan-climate-copenhagen-solar
McEwan has a penchant for starting a novel with an almost freestanding story that has its own climax after which the denouement unwinds as the rest of the novel.
(2010). Ian McEwan: Failure at Copenhagen climate talks prompted novel rewrite.
In this essay I wish to present some psychoanalytic reflections on Michael Beard, the protagonist of Solar, an engrossing satirical novel by Ian McEwan, in my opinion one of the world's greatest living writers.