This book explores the central fictional minds in three of Ian McEwan's most popular narratives. Mind presentation constitutes the main part of characterization in the second phase of McEwan's writing, where his plot structure depends to a large degree on the presentation of the characters’ mental workings. In Amsterdam (1998), Atonement (2003), and On Chesil Beach (2007), the construction process of the fictional minds, the degree their functioning is impacted by their experiences, and the way their mental aspect controls their behavior and relationships is critical to the stories. Relying on insights and methods from cognitive narratology, this study follows two purposes: It firstly analyzes the function of fictional minds and their operational modes in these narratives. Secondly, it explores the impact of the characters' experiences on both their mental functioning and their behavior, especially with view of their relationships. Nayebpour reveals that the plot structure of these narratives highly depends on the lack of a sound balance between the two aspects of the represented minds (intermental/joint thought and intramental/individual thought) as well as on the dominance of the intramental one. The tragic atmosphere in these narratives, Nayebpour argues, is the result of this imbalance.

This book is a pragma-stylistic study of Ian McEwan’s fiction, providing a qualitative analysis of his selected novels using (im)politeness theory. (Im)politeness is investigated on two levels of analysis: the level of the plot and the story world (intradiegetic level) and the level of the communication between the implied author and implied reader in fiction (extradiegetic level). The pragmatic theory of (im)politeness serves the aim of internal characterisation and helps readers to better understand and explain the characters’ motivations and actions, based on the stylistic analysis of their speech and thoughts and point of view. More importantly, the book introduces the notion of “the impoliteness of the literary fiction” – a state of affairs where the implied author (or narrator) expresses their impolite beliefs to the reader through the text, which has face-threatening consequences for the audience, e.g. moral shock or disgust, dissociation from the protagonist, feeling hurt or ‘put out’. Extradiegetic impoliteness, one of the key characteristics of McEwan’s fiction, offers an alternative to the literary concept of “a secret communion of the author and reader” (Booth 1961), describing an ideal connection, or good rapport, between these two participants of fictional communication. This book aims to unite literary scholars and linguists in the debate on the benefits of combining pragmatics and stylistics in literary analysis, and it will be of interest to a wide audience in both fields.

This book offers a discussion of seven “canonical” novels by Ian McEwan (The Cement Garden, The Comfort of Strangers, The Child in Time, The Innocent, Black Dogs, Atonement, On Chesil Beach), introducing radical new readings, which are offered not as ultimate and conclusive “solutions” of the textual puzzles, but as possibilities to engage with the text creatively, to enrich the critical consensus and restore interpretative freedom to the readers. This project formulates a strategy of “inclusive reading” – an approach to the text that does not seek to reduce it to a single interpretation, and yet is comprehensively informed through the analysis of the primary text, critical discussion, authorial comments and the context of the composition. Each reading demonstrates the metafictional structure of the texts, indicating that McEwan’s works may be treated as invitations to roam within their worlds, examining the multiple frames of their structure and the meanings generated thereby. All the chapters attend to submerged, repressed, or deliberately masked voices. The Cement Garden is seen as a multi-layered dream, with a shifting hierarchy of dreamers; The Comfort of Strangers is viewed as an inverted metafiction, with insubstantial characters corrupting more complex heroes; The Child in Time is read as Stephen’s book written for his dead daughter; The Innocent as a memory narrative of Leonard who refuses to notice Maria’s role as a spy. In Black Dogs the over-exposure of unreliability is studied as a screen for personal trauma; in the analysis of Atonement Briony’s claim to authorship is questioned and Cecilia is suggested as an alternative narrative agent. Finally, examining On Chesil Beach, both characters’ voices are reconstructed in search of the superior narrative power, which in the end is seen to be elusive, as the text seeks to undermine the hierarchy of voices.

George Eliot (1819-1880) is known for her psychoanalysis of the majority of her characters in her literary works. In her second novel, The Mill on the Floss (1860), she focuses on the fictional minds’ subjective first thoughts and intentions. She shows how their unsympathetic workings cause private and collective tragedy by the end of narrative. The novel has frequently been acclaimed by critics and readers alike. However, this book presents a re-evaluation of the text with the help of terminologies borrowed from cognitive narratology in order to shed new light on the significance of one-track minds in this narrative. The book explores the mental functioning of the individual fictional minds, and examines how different modes of mental activities influence the interpersonal relationships between and among the characters. Accordingly, the study argues that the main cause of tragedy in The Mill on the Floss stems from at least two factors. First, the central fictional minds primarily function on the basis of their self-centered thoughts and emotions, over which they usually do not have control. Second, the tragedy is an effect of the social minds’ or public opinion’s unforgetting, unforgiving, and unsympathetic perspectives of any unconventional behavior.

“Charming and erudite," from the author of Rationality and Enlightenment Now, "The wit and insight and clarity he brings . . . is what makes this book such a gem.” —Time.com Why is so much writing so bad, and how can we make it better? Is the English language being corrupted by texting and social media? Do the kids today even care about good writing—and why should we care? From the author of The Better Angels of Our Nature and Enlightenment Now. In this entertaining and eminently practical book, the cognitive scientist, dictionary consultant, and New York Times–bestselling author Steven Pinker rethinks the usage guide for the twenty-first century. Using examples of great and gruesome modern prose while avoiding the scolding tone and Spartan tastes of the classic manuals, he shows how the art of writing can be a form of pleasurable mastery and a fascinating intellectual topic in its own right. The Sense of Style is for writers of all kinds, and for readers who are interested in letters and literature and are curious about the ways in which the sciences of mind can illuminate how language works at its best.

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.

"Dazzling. . . . Profound and urgent" —Observer "A book of great maturity, beautifully alive to the fragility of happiness and all forms of violence. . . . Everyone should read Saturday" —Financial Times Saturday, February 15, 2003. Henry Perowne, a successful neurosurgeon, stands at his bedroom window before dawn and watches a plane—ablaze with fire like a meteor—arcing across the London sky. Over the course of the following day, unease gathers about Perowne, as he moves among hundreds of thousands of anti-war protestors who’ve taken to the streets in the aftermath of 9/11. A minor car accident brings him into confrontation with Baxter, a fidgety, aggressive man, who to Perowne’s professional eye appears to be profoundly unwell. But it is not until Baxter makes a sudden appearance at the Perowne family home that Henry’s earlier fears seem about to be realized. . .