The London Review of Books weighs in with its appraisal of Ian McEwan's new novel Solar.
The elements of farce in Solar have the unintended side-effect of pointing up how farcical many of the events in McEwan’s previous, more serious novels are: the lengths the children go to in The Cement Garden to try to conceal their mother’s corpse, inexpertly disposed of in the cellar; the drunk ex-husband in The Innocent falling asleep in his ex-wife’s wardrobe while waiting for her to come home with her new fiancé; the nervous young man, also in The Innocent, struggling round Berlin failing to get rid of a pair of suitcases stuffed with body parts; the young man in Atonement sending the drastically wrong draft of a letter to the young woman he’s just realised he’s in love with. In The Cement Garden or The Innocent, the incongruous elements of farce make the stories darker. But McEwan hasn’t been interested in that kind of darkness for some time, and in his more recent novels, such as Saturday or even the intermittently dazzling Atonement, the farcical elements are merely incongruous. At least Solar is meant to be funny.
Comic literature is baaaaack!
Posted by: Niall | March 23, 2010 at 08:50 AM
Thanks for posting that segment from The London Review of Books. I read the review of Solar and found its dissection of Ian McEwan's most recent work sharper and deeper than anything I've read in the NYTimes Book Review. Another reason your blog has become as addictive as coffee.
Posted by: Ward Jones | March 23, 2010 at 02:40 PM
So good to have access to the London Review for this. Thank you thank you! Such a fascinating review.
Posted by: Ana | March 23, 2010 at 06:41 PM