By Greg Banker, Dave Watson, Jim Kromka, Golden Books Publishing Company
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203–18 (pp. 203, 204, 206). , pp. 212, 213. 2 Shock-lit: the short stories and The Cement Garden McEwan’s first three books made him notorious, as the author of unpleasant – or challenging – shorter fictions (depending on your point of view), which were preoccupied with violence and deviant sexuality. This ‘literature of shock’ is at its most prominent in his two short story collections, First Love, Last Rites and In Between the Sheets, as well as in his first novel The Cement Garden. Various kinds of brutality and dysfunctional behaviour – including incest, murder and paedophilia – feature in these narratives.
The context of McEwan’s writing this memoir Introduction 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 27 is for inclusion in a festschrift for Ian Hamilton. Hamilton died in 2001, at the age of sixty-three. Richard Reeves and Nicole Veash, ‘A War of Words’, The Observer (22 August 1999), p. 14. See, for example, reports in The Independent on 28 August 1999, p. 4, and 4 September 1999, p. 3. Leith, ‘Form and Dysfunction’, p. 8. McEwan, ‘Mother Tongue’, pp. 41–2. Bradbury, The Modern British Novel, p.
This emphasis on answering questions ‘about who and what we are, about where we are and where we might be going’ constitutes ‘a good life’ in itself, ‘despite the absence of metaphysical foundations, and despite the precarious nature of all attachments and frameworks of belief’. See Achieving ‘At-one-ment’, p. 97. 40 I discuss this issue further, and in several chapters, in The Cambridge Introduction to Modern British Fiction, 1950–2000. 41 See Linda Hutcheon, The Politics of Postmodernism (London: Routledge, 1989), p.