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Joe Rose, a science writer, has a traumatic experience, and then is stalked. I could never tell where this book was going, and I was surprised and thrilled by McEwan’s allegiance to truth that is nuanced, complex, and founded in the way we really feel and act, rather than manipulated via neat literary tricks that are so popular in commercial fiction and, to me, feel packaged.
Enduring Love is my ninth Ian McEwan book and I now have a sense that I can group his work by certain characteristics. This book belongs in the “stories of intrigue” group that includes Amsterdam and Sweet Tooth. In some ways, I suppose these books are more commercial than the ones that ride on even more nuanced undercurrents of denied, sublimated, and repressed human feeling (although, to be honest, all of his books contain these), but I actually prefer the subtler books (Saturday, The Children Act, On Chesil Beach). Atonement straddles both categories, and Nutshell (hilarious) and The Cement Garden (first novel) occupy their own categories. But honestly, why quibble and categorize? I will read anything this man writes. Why?
I think of the famous obvious answer, “It’s the economy, stupid.” With McEwan, “It’s the writing.”
I can pick any page and find wonderful writing. I always draft my reviews as I’m reading, and I happen to be on page 95 for this thought. Here’s a sentence:
And later, page 213, there’s this:
Enduring Love is my ninth Ian McEwan book and I now have a sense that I can group his work by certain characteristics. This book belongs in the “stories of intrigue” group that includes Amsterdam and Sweet Tooth. In some ways, I suppose these books are more commercial than the ones that ride on even more nuanced undercurrents of denied, sublimated, and repressed human feeling (although, to be honest, all of his books contain these), but I actually prefer the subtler books (Saturday, The Children Act, On Chesil Beach). Atonement straddles both categories, and Nutshell (hilarious) and The Cement Garden (first novel) occupy their own categories. But honestly, why quibble and categorize? I will read anything this man writes. Why?
I think of the famous obvious answer, “It’s the economy, stupid.” With McEwan, “It’s the writing.”
I can pick any page and find wonderful writing. I always draft my reviews as I’m reading, and I happen to be on page 95 for this thought. Here’s a sentence:
There was another thing too, like a skin, a soft shell around the meat of my anger, limiting it and so making it appear all the more theatrical.
And later, page 213, there’s this:
What I had thought was an expression was actually his face at rest. I had been misled by the curl of his upper lip, which some genetic hiatus had boiled into a snarl.This is writing I feel in my teeth—as if they are sinking into the meat he references—and my mouth waters.