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Ian McEwan's works have always shown an interest in the question of how fiction operates. This interest does not usually manifest on the formal level. A few of the early stories aside, his fictions are not formally experimental. McEwan tends to opt for those reliable patternings of space, time and narrative progression that enable readers to trust the authorial environment sufficiently to identify with characters and become invested, to some extent, in what happens to them. Despite McEwan's commitment, by and large, to naturalistic means of telling a story, his later novels also demonstrate a concern with opacity, as characters often pursue courses of action for reasons that are unclear to them. Equally often, these actions bear some relation to the intrinsic opacity or enigma of one's sexual desires, one's relation to one's mortality, or one's relation to the actions of those human beings who have gone before one, as this book will show. It is this focus on enigma in McEwan's work, whether sexual, mortal, or historical, that lends it to a psychoanalytic reading such as the kind pursued in this book, because for psychoanalysis there is no such thing as full access to one's self or to one's feelings or motivations. Given that one's relation to history is also opaque in the sense that one grasps fully-or imagines one grasps fully-only those historical events which predate or otherwise excludes one, this study seeks historical reasons for why McEwan sometimes blocks readerly identification with characters in the early fiction. For these characters are also products of their environments, environments which the characters' relative opacity and unlikeability seems to offset and exaggerate or present in a manner showcased for one's judgment. And in this way the characters' environment is denaturalized, to say the least. This book reveals how all of these works explore, to some extent, the human tendency to act and feel, in particular situations, in profound contradistinction to how one might prefer to think one would. This failure to coincide with one's image of how one would have expected, or preferred, to behave-The Innocent's Leonard Marnham is not the cool, experienced lover of his imaginings, any more than Solar's Michael Beard is going to revamp his lifestyle or career-produces instances of affective or imaginative excess, troubling images or feelings that can often only be allayed or dealt with by a further failure to coincide with one's desires. In this book, author Eluned Summers-Bremner shows that McEwan's interests in opacity not only become clear in significance and import but that his interests in human failure to coincide with one's views about the past and hopes for the future also appear as what they are: an ongoing concern with how one relates to the complex operation of human history.
NOW A MAJOR MOTION PICTURE The #1 bestselling author of Saturday and Atonement brilliantly illuminates the collision of sexual longing, deep-seated fears and romantic fantasy in his unforgettable, emotionally engaging novel. The year is 1962. Florence, the daughter of a successful businessman and an aloof Oxford academic, is a talented violinist. She dreams of a career on the concert stage and of the perfect life she will create with Edward, the earnest young history student she met by chance and who unexpectedly wooed her and won her heart. Edward grew up in the country on the outskirts of Oxford where his father, the headmaster of the local school, struggled to keep the household together and his mother, brain-damaged from an accident, drifted in a world of her own. Edward’s native intelligence, coupled with a longing to experience the excitement and intellectual fervour of the city, had taken him to University College in London. Falling in love with the accomplished, shy and sensitive Florence—and having his affections returned with equal intensity—has utterly changed his life. Their marriage, they believe, will bring them happiness, the confidence and the freedom to fulfill their true destinies. The glowing promise of the future, however, cannot totally mask their worries about the wedding night. Edward, who has had little experience with women, frets about his sexual prowess. Florence’s anxieties run deeper: she is overcome by conflicting emotions and a fear of the moment she will surrender herself. From the precise and intimate depiction of two young lovers eager to rise above the hurts and confusion of the past, to the touching story of how their unexpressed misunderstandings and fears shape the rest of their lives, On Chesil Beach is an extraordinary novel that brilliantly, movingly shows us how the entire course of a life can be changed—by a gesture not made or a word not spoken.
In one of the most striking opening scenes ever written, a bizarre ballooning accident and a chance meeting give birth to an obsession so powerful that an ordinary man is driven to the brink of madness and murder by another's delusions. Ian McEwan brings us an unforgettable story—dark, gripping, and brilliantly crafted—of how life can change in an instant.
Provides a thorough overview of Ian McEwan's fiction, articulating his place in the canon of contemporary fiction.
NEW YORK TIMES BEST SELLER • A NEW YORKER ESSENTIAL READ • From the best-selling author of Atonement and Saturday comes the epic and intimate story of one man's life across generations and historical upheavals. From the Suez Crisis to the Cuban Missile Crisis, the fall of the Berlin Wall to the current pandemic, Roland Baines sometimes rides with the tide of history, but more often struggles against it. A BEST BOOK OF THE YEAR: Vogue • The New Yorker “Masterful.... McEwan is a storyteller at the peak of his powers…. One of the joys of the novel is the way it weaves history into Roland’s biography…. The pleasure in reading this novel is letting it wash over you.” —Associated Press When the world is still counting the cost of the Second World War and the Iron Curtain has closed, eleven-year-old Roland Baines's life is turned upside down. Two thousand miles from his mother's protective love, stranded at an unusual boarding school, his vulnerability attracts piano teacher Miss Miriam Cornell, leaving scars as well as a memory of love that will never fade. Now, when his wife vanishes, leaving him alone with his tiny son, Roland is forced to confront the reality of his restless existence. As the radiation from Chernobyl spreads across Europe, he begins a search for answers that looks deep into his family history and will last for the rest of his life. Haunted by lost opportunities, Roland seeks solace through every possible means—music, literature, friends, sex, politics, and, finally, love cut tragically short, then love ultimately redeemed. His journey raises important questions for us all. Can we take full charge of the course of our lives without causing damage to others? How do global events beyond our control shape our lives and our memories? And what can we really learn from the traumas of the past? Epic, mesmerizing, and deeply humane, Lessons is a chronicle for our times—a powerful meditation on history and humanity through the prism of one man's lifetime.
From the Booker Prize winner and bestselling author of Atonement—”a sharply intelligent novel of ideas” (The New York Times) that asks whether a machine can understand the human heart, or whether we are the ones who lack understanding. Set in an uncanny alternative 1982 London—where Britain has lost the Falklands War, Margaret Thatcher battles Tony Benn for power, and Alan Turing achieves a breakthrough in artificial intelligence—Machines Like Me powerfully portrays two lovers who will be tested beyond their understanding. Charlie, drifting through life and dodging full-time employment, is in love with Miranda, a bright student who lives with a terrible secret. When Charlie comes into money, he buys Adam, one of the first generation of synthetic humans. With Miranda's assistance, he codesigns Adam's personality. The near-perfect human that emerges is beautiful, strong, and smart—and a love triangle soon forms. Ian McEwan's subversive, gripping novel poses fundamental questions: What makes us human—our outward deeds or our inner lives? Could a machine understand the human heart? This provocative and thrilling tale warns against the power to invent things beyond our control. Don’t miss Ian McEwan’s new novel, Lessons, coming in September!
Disrupted Intersubjectivity investigates two classes of phenomena creating failures of understanding in social interaction, referred to as 'paralysis' and 'invasion.' Both can be understood as disrupted forms of intersubjectivity, the former being characterized by a lack/deficiency of ways of relating to others, and the latter by an unnecessary surplus. By studying the literary accounts of these phenomena in a selection of Ian McEwan's literary works (“Homemade,” On Chesil Beach, Enduring Love, and Atonement), Andrei Ionescu sheds light on the epistemological potential of literature and the structure of human relationships in general. Part of the developing field of cognitive literary studies, Disrupted Intersubjectivity not only uses cognitive scientific theories in order to clarify literary issues, but also investigates to what extent can literature itself contribute to the process of understanding the workings of the human mind. By investigating the metacognitive issues staged and reflected upon in literary works, Ionescu challenges and refines contemporary cognitive and philosophical approaches to intersubjectivity and opens directions for further theoretical and empirical research.
NATIONAL BESTSELLER • A “suspenseful, dazzlingly clever and gravely profound” (The Washington Post) novel that brilliantly recasts Shakespeare and lends new weight to the age-old question of Hamlet's hesitation, from the Booker Prize winner and bestselling author of Atonement. Trudy has been unfaithful to her husband, John. What’s more, she has kicked him out of their marital home, a valuable old London town house, and in his place is his own brother, the profoundly banal Claude. The illicit couple have hatched a scheme to rid themselves of her inconvenient husband forever. But there is a witness to their plot: the inquisitive, nine-month-old resident of Trudy’s womb. As Trudy’s unborn son listens, bound within her body, to his mother and his uncle’s murderous plans, he gives us a truly new perspective on our world, seen from the confines of his. Don’t miss Ian McEwan’s new novel, Lessons, coming in September!
Offering a world full of traumatized characters trapped in a consumerist society where men, women, sex and gender have become unstable commodities, Chuck Palahniuk has become one of the most controversial of contemporary novelists. This book is the first guide to bring together scholars from a full range of critical perspectives to explore three of Palahniuk's most widely-studied novels: Fight Club, Invisible Monsters and Choke. Examining these works in light of such key critical themes as violence, masculinity, postmodern aesthetics and trauma, the book also explores the ethical dimension of Palahniuk's work that is often lost in the heat of the controversies surrounding his books. Together with annotated guides to further reading, Chuck Palahniuk also includes section introductions surveying the contexts and reception of each novel, making this an essential guide for students and scholars of contemporary literature.
Orphaned siblings create a macabre secret world for themselves in this “irresistibly readable” novel by the New York Times-bestselling author (The New York Review of Books). This “powerful and disconcerting” novel by the Booker Prize-winning author of The Children Act and Atonement (The Daily Telegraph) tells the story of a dying family who live in a dying part of the city. A father of four children decides, in an effort to make his garden easier to control, to pave it over. In the process, he has a heart attack and dies, leaving the cement garden unfinished and the children to the care of their mother. Soon after, the mother too dies and the children, fearful of being separated by social services, decide to cover up their parents’ deaths: they bury their mother in the cement garden. The story is told from the point of view of Jack, one of the sons, who is entering adolescence with all of its attendant curiosity and appetites. Julie, the eldest, is almost a grown woman. Sue is rather bookish and observes all that goes on around her. And Tom is the youngest and the baby of the lot. The children seem to manage in this perverse setting rather well—until Julie brings home a boyfriend who threatens their secret by asking too many questions. “[A] beautiful but disturbing novel.”—The AV Club “McEwan’s evocative detail and perfect British prose lend a genteel decorum to the death and decay that surround the family.”—The New Yorker