Podcast appearances and mentions of Ian McEwan

This week, the great Sadie Rose Darwish returns to discuss Saoirse's other, failed 2017 Oscar hopeful On Chesil Beach. The story of ill-matched newlyweds dealing with class and gender expectations in 1960s England, the movie, an adaptation of a novella by Atonement scribe Ian McEwan, marks an attempted return to safe territory for Saoirse to somewhat disastrous results. Hosted on Acast. See acast.com/privacy for more information.

La politica italiana, la legge elettorale e “Il giardino di cemento” di Ian McEwan. Fonti: video “Legge elettorale, Conte: Governo e Meloni mirano al Quirinale” pubblicato sul canale Youtube Il Sole 24 ORE il 1 luglio 2026; video “Scontro Toninelli (M5S) vs Ricci (PD): 'Italicum pessima legge', 'Esci dalla campagna elettorale'” pubblicato sul canale Youtube La7 Attualità il 4 luglio 2016; video “Legge elettorale, la maggioranza battuta alla Camera sulle preferenze” pubblicato sul canale Youtube alanews il 14 luglio 2026; video “Legge elettorale, vannacciani si filmano mentre votano per non essere accusati di tradimento” pubblicato sul canale Youtube Il Gazzettino il 15 luglio 2026; video “Meloni: "Legge elettorale per Italia stabile"” pubblicato sul sito tg24.sky.it il 23 giugno 2026. Scopri i corsi della New Media Academy, la scuola di podcasting e digital journalism di Chora e Will: https://newmediacademy.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Wanja Mues ist unerschrocken, vielseitig und begeistert sich immer wieder neu für herausfordernde Projekte. Krimis scheinen seine Leidenschaft, vor allem im Fernsehen, deshalb kennt man ihn aus prominenten Serien wie "Tatort", "Polizeiruf" oder vor allem aus "Ein Fall für zwei", in der er an der Seite von Antoine Monot den Privatdetektiv Leo Oswald spielt. International bekannt ist der Schauspieler durch Rollen in Filmen wie "Der Pianist", "Die Bourne Verschwörung" oder "Martha Liebermann - Ein gestohlenes Leben". Seine Stimme ist markant. Deshalb hat er viele Romane eingelesen von Haruki Murakami, James Baldwin, Martin Suter oder Ian McEwan.In Niedersachsen ist Wanja Mues gerade beim "Festival aufm Platz" zu erleben mit dem Duo Brückner-Ladányi und einer Lesung aus dem Roman "Zum Südpol: Zugvögel" von Charlotte McConaghy. Zu Gast bei NDR Kultur à la carte erzählt Wanja Mues von seinen Rollen und seinem ebenfalls großen Engagement für Arten-, Klima- und Umweltschutz.

Loghan Paylor (MFA'20) didn't set out to win CBC's Canada Reads competition. They were just trying to write the book they needed to write. In this episode, the author of The Cure for Drowning—winner of Canada Reads 2026, Giller Prize longlistee, and Rakuten Kobo Emerging Writer Prize finalist—opens up about non-linear creative processes, writing queer and trans characters with care, the pros and cons of an MFA, and why the best writing advice has nothing to do with aesthetic morning routines.Links & Resources Mentioned in This Episode:TranscriptContact CarolContact JeevanFrom Here ForwardPodium Podcast CompanyLoghan PaylorCanada ReadsLearn more about the UBC MFA in Creative Writing (00:00) - Introduction (01:42) - Meet Loghan Paylor (02:26) - Canada Reads whirlwind (03:02) - Publicity, introversion, and support (04:22) - The “gap” that wasn't: writing life between milestones (05:29) - Favourite passages and hard-won scenes (06:44) - The Post-it drafting method (08:27) - Finding your process (and ignoring aesthetics) (11:18) - Old drafts, saved folders, and ideas that return (13:18) - Characters, POV, and writing identity (14:52) - Writing Ontario: memory, place, and research accuracy (17:11) - Nature and climate grief (18:17) - Bookworm Games and creative balance (20:14) - Reading influences (21:16) - UBC MFA and becoming a professional writer (24:44) - Advice for emerging writers (27:26) - Reader messages and impact (29:14) - Reviews and boundaries (30:16) - Conclusion

Last week the Women's Podcast book club gathered for a live event in Chapters Bookstore in Dublin to discuss what books they'll be packing with them on their summer holidays. Celebrated author Claire Keegan was the special guest who joined book clubbers Róisín Ingle, Bernice Harrison, Ann Ingle and Niamh Towey for the event, alongside an audience of podcast listeners. Keegan spoke about the novel and two short stories that she hopes listeners will enjoy and she treated the audience to a reading from The Great Gatsby.You can find the full list of recommendations here: https://www.irishtimes.com/podcasts/the-womens-podcast/the-womens-podcast-book-club-summer-reading-recommendations-with-claire-keegan/The Great Gatsby by F. Scott FitzgeraldGold Watch by John McGahernLast Day of Summer by Ian McEwan, a short story from his collection, First Love, Last Rites.Famesick by Lena DunhamFew and Far Between by Jan CarsonPortrait of a Lady by Henry JamesYesteryear by Caro Claire BurkeThe Keeper by Tana FrenchThe Spare Room by Helen GarnerExcellent Women by Barbara PymJohn of John by Douglas StuartThe Things We Never Say by Elizabeth StroutLand by Maggie O'FarrellThe Make Believe by Hannah MurrayTatty by Christine Dwyer Hosted on Acast. See acast.com/privacy for more information.

Join me (Anna Stone) and guest host Mariquita Reese from Post Film Clarity Podcast as we dig in to Atonement by Ian McEwan and the 2007 film adaptation. In this episode, I reveal an embarrassing truth, we marvel at the Dunkirk one shot, and both struggle with casting age appropriate modern actors. Follow on Instagram @stonestoptens and @postfilmclaritypod.Email stonestoptens@gmail.com KeywordsAtonement, Ian McEwan, film adaptation, memory, guilt, character analysis, Joe Wright, Kiera Knightley, literature, classic films war, film analysis, Atonement, character development, emotional impact, book adaptation, Dunkirk, storytelling, human experience, memory reliability film analysis, book adaptation, character performance, costume design, soundtrack, modern casting, movie review, literary discussion, cinematic themes, storytelling

Anna and Geoff react to the Pulitzer Prize for Fiction winner, ANGEL DOWN by Daniel Kraus, a World War 1 novel written in one sentence. We also discuss Dwight Garner's New York Times article about the lack of book critics and our views on book influencers and reviews that make news, such as the Harper's review of To Paradise by Hana Yanagihara.   Our book of the week is TRANSCRIPTION by Ben Lerner. This novel about a writer who writes an article about his mentor from his memory of their interview after dropping his phone in a sink tackles issues such as phone addiction, parenting and eating disorders. It was a Telegraph 'most anticipated book of 2026' and a New York Times 'book everyone will be talking about'. Recommended for book clubs.   We had to ask: Why did he not put his phone in a bowl of rice? Is this a book about tech addiction? How does it differ from an Ian McEwan novel? How many unreliable narrators do we have here? Read-alikes: AUDITION by Katie Kitamura LEAVING THE ATOCHA STATION by Ben Lerner   Coming up: LONDON FALLING by Patrick Radden Keefe Follow us! Email: Booksonthegopodcast@gmail.com Instagram: @abailliekaras  Substack: Books On The Go Credits Artwork: Sascha Wilkosz

ESSENTIEL, les rendez-vous du jeudi – Un monde de livres Émission présentée par Josyane Savigneau qui reçoit Olivia Elkaim pour plusieurs de ses livres et Christine Jordis pour son livre « Passion anglaise - Lire, voyager, rêver » aux éditions Bouquins. À propos du livre : « Passion anglaise - Lire, voyager, rêver » paru aux éditions Bouquins Un voyage érudit et sensible au cœur de la Grande-Bretagne d'hier et d'aujourd'hui, de sa littérature, de ses paysages. Passion anglaise donne à lire deux des ouvrages les plus reconnus de Christine Jordis consacrés à une littérature qui ne cesse de nous fasciner. Les voici réunis autour d'une même célébration de la langue et des écrivains d'outre-Manche dans une édition totalement révisée et mise à jour. Ce n'est pas seulement à la découverte d'une fabuleuse histoire littéraire que nous invite cette critique hors pair : se devine également la relation intime, presque organique, qui la lie à une culture devenue pour elle, depuis l'enfance, une seconde patrie. Gens de la Tamise et d'autres rivages dessine un panorama sensible et complet du roman britannique des XXe et XXIe siècles, Commonwealth inclus. De Joyce et Conrad aux talents contemporains, tels Ian McEwan, Zadie Smith, Arundhati Roy ou Sally Rooney, l'autrice explore les lignes de force, les singularités et les variations d'une production littéraire en mouvement constant. À la lumière de ce que la France lit, traduit, retient – et de ce qu'elle oublie – sont révélés quelques écarts de perception entre les deux rives de la Manche. Avec Promenades anglaises, l'angliciste se fait voyageuse. Des falaises de Douvres aux landes du Yorkshire, des cités ouvrières du Nord aux campagnes du Devon, Christine Jordis semble croiser Emily Brontë, Jane Austen ou Virginia Woolf, surprend en haut d'un arbre le sourire du chat du Cheshire, rencontre à Glastonbury des excentriques de tout poil, participe devant les pierres de Stonehenge à la " nuit du champ des haricots "... Mais ces paysages ne sont jamais figés dans la carte postale : ils disent aussi l'évolution d'un pays, ses métissages, ses fractures, ses silences. Hommage vibrant aux écrivains aimés, ce volume appelle à se replonger dans les classiques comme à découvrir des voix nouvelles. Une invitation enchantée à la lecture comme art de vivre.

Beth Golay speaks with Ian McEwan on his novel, "What We Can Know." Plus, Suzanne Perez reviews "The Midnight Show" by Lee Kelly and Jennifer Thorne.

One hundred years in the future, a lonely British scholar longs for our time as he chases a poem written in 2014. He's captivated by what he imagines were the freedoms and possibilities of human life at its zenith. It's the carefully plotted literary novel, “What We Can Know” by Ian McEwan.

We swing by the SPIDER-MAN NOIR series trailer (AMAZON PRIME), glove up with the 2026 revival series of SCRUBS (DISNEY+), preview FANTASTIC FILM FESTIVAL AUSTRALIA 2026, recite Ian McEwan's Science Fiction novel WHAT WE CAN KNOW (JONATHAN CAPE - PENGUIN RANDOM HOUSE 2025) and play with Keza MacDonald's gaming history book SUPER NINTENDO (GUARDIAN FABER 2026)

Julian Barnes says his new novel is his final. It's called Departure(s), and it's about two people who fall in love when they're young and then meet again decades later. The story is told through the perspective of a writer named Julian … who has a lot in common with the author himself. The book was released on Julian's 80th birthday, and after four decades of writing and a Booker Prize win under his belt, Julian is finally putting down the pen. This week, he joins Mattea Roach to reflect on his literary legacy, why he feels less afraid of death and his recent secret wedding. Liked this conversation? Keep listening:Ian McEwan has hope for humanity — here's why For Jeanette Winterson, stories are essential to survival Check us out on Instagram @cbcbooks and TikTok @cbcbooks

Bestselling author Marie Benedict is back with another wonderful historical fiction, titled Daughter of Egypt.  We are introduced to two remarkable women whom history nearly erased. One is Evelyn Herbert, who was present at the archaeological discovery of Tutankhamun's burial site, and the other is Hatshepsut, a powerful woman who ruled as Pharaoh during the 18th dynastyAuthor ReadsWhat We Can Know by Ian McEwan

If you had to tell a story to stay alive … what story would you tell? Jeanette Winterson's new book, One Aladdin Two Lamps, is a nonfiction exploration of storytelling, culture, politics and the things that make us human. It's based on the One Thousand and One Nights, the famous collection of Middle Eastern folk tales home to characters like Aladdin, Sinbad and Ali Baba. At the centre of it all is Scheherazade, a woman who tells a vengeful Sultan stories for 1001 nights to stop him from executing her. Like Scheherazade, Jeanette sees storytelling as a means of survival. In the book, she uses those tales to muse on the way that stories shape our identities and our lives … and how they're a tool to better ourselves and the world around us. Liked this conversation? Keep listening:Zadie Smith never thought she'd tell this story Ian McEwan has hope for humanity — here's why Check us out on Instagram @cbcbooks and TikTok @cbcbooks

In this episode, Shruti and Neha discuss What We Can Know, Ian McEwan's latest speculative novel about a lost poem, climate change, and the power of stories. We discuss this novel through the themes of memory and preservation, and talk about our differing opinions on some of the major twists in the novel.Shelf Discovery & Books Mentioned:Possession by A.S. ByattStation Eleven by Emily St. John MandelTo the Lighthouse by Virginia WoolfUniversality by Natasha BrownIf you would like to get additional recommendations, analyses, and behind-the-scenes content related to this and all of our episodes, subscribe to our free email newsletter on Substack.We love to hear from listeners about the books we discuss - you can connect with us on Instagram or by emailing us at thenovelteapod@gmail.com.This episode description contains links to Bookshop.org, a website that supports independent bookstores. If you use these links we may earn a small commission at no additional cost to you. Hosted on Acast. See acast.com/privacy for more information.

Sinema yazarı ve çevirmen Fatma Cihan Akkartal ve yazar Hakan Bıçakcı ile Gece Vardiyası, ayda 2 defa Pazartesi akşamları karşınızda... 

What We Can Know by Ian McEwan, Super-Frog Saves Tokyo by Haruki Murakami and Murderland by Caroline Fraser. 

Julian Barnes and Ian McEwan are widely celebrated as two of the finest writers of their generation. Along with Salman Rushdie and Kazuo Ishiguro, they were included on Granta's prescient Best Young British Novelists list in 1993 and have gone on to write some of the most memorable novels of the past three decades. In January 2026 they came together to discuss the book that Barnes says will be his last, Departure(s). It follows a man named Stephen and a woman called Jean who fall in love when they are young and again when they are old. Barnes and McEwan will draw on the themes of the book to discuss topics including philosophy, art, the slipperiness of memory, the passage of time, mortality and grief.This was a rare opportunity to hear two of the most celebrated voices in contemporary British literature discussing their craft and reflections on life. This event was presented in partnership with Waterstones. If you'd like to become a Member and get access to all our full ad free conversations, plus all of our Members-only content, just visit intelligencesquared.com/membership to find out more. For £4.99 per month you'll also receive: - Full-length and ad-free Intelligence Squared episodes, wherever you get your podcasts - Bonus Intelligence Squared podcasts, curated feeds and members exclusive series - 15% discount on livestreams and in-person tickets for all Intelligence Squared events  ...  Or Subscribe on Apple for £4.99: - Full-length and ad-free Intelligence Squared podcasts - Bonus Intelligence Squared podcasts, curated feeds and members exclusive series … Already a subscriber? Thank you for supporting our mission to foster honest debate and compelling conversations! Visit intelligencesquared.com to explore all your benefits including ad-free podcasts, exclusive bonus content and early access. … Subscribe to our newsletter here to hear about our latest events, discounts and much more. https://www.intelligencesquared.com/newsletter-signup/ Learn more about your ad choices. Visit podcastchoices.com/adchoices

Julian Barnes and Ian McEwan are widely celebrated as two of the finest writers of their generation. Along with Salman Rushdie and Kazuo Ishiguro, they were included on Granta's prescient Best Young British Novelists list in 1993 and have gone on to write some of the most memorable novels of the past three decades. In January 2026 they came together to discuss the book that Barnes says will be his last, Departure(s). It follows a man named Stephen and a woman called Jean who fall in love when they are young and again when they are old. Barnes and McEwan will draw on the themes of the book to discuss topics including philosophy, art, the slipperiness of memory, the passage of time, mortality and grief. This was a rare opportunity to hear two of the most celebrated voices in contemporary British literature discussing their craft and reflections on life. This event was presented in partnership with Waterstones. --- This is the first instalment of a two-part episode. If you'd like to become a Member and get access to all our full ad free conversations, plus all of our Members-only content, just visit intelligencesquared.com/membership to find out more. For £4.99 per month you'll also receive: - Full-length and ad-free Intelligence Squared episodes, wherever you get your podcasts - Bonus Intelligence Squared podcasts, curated feeds and members exclusive series - 15% discount on livestreams and in-person tickets for all Intelligence Squared events  ...  Or Subscribe on Apple for £4.99: - Full-length and ad-free Intelligence Squared podcasts - Bonus Intelligence Squared podcasts, curated feeds and members exclusive series … Already a subscriber? Thank you for supporting our mission to foster honest debate and compelling conversations! Visit intelligencesquared.com to explore all your benefits including ad-free podcasts, exclusive bonus content and early access. … Subscribe to our newsletter here to hear about our latest events, discounts and much more. https://www.intelligencesquared.com/newsletter-signup/ Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this episode, the Spiders discuss the devastating Atonement, by Ian McEwan.

Zum Jahresende blicken die Literaturagenten zurück auf die Schönen Lesungen des Jahres 2026: erinnern sich an besondere Momente, erhellende Aussagen, Lesepassagen, die das Publikum im Großen Sendesaal berührten, nachdenklich stimmten, zum Lachen brachten. Zu hören sind u.a. Daniel Kehlmann, Wolf Haas, Maren Kroymann mit einer Lesung von Margaret Atwood, Dota Kehr und Volker Weidermann in der Hommage an Mascha Kaléko, Albrecht Schuch und Martin Wuttke in der Lesung aus "Westend" von Volker Kutscher und Kat Mensch, Ian McEwan, Ocean Vuong und Sabin Tambrea.

Ian McEwan's latest novel, “What We Can Know,” is many things at once: It's a science fiction imagining of a future world devastated by climate catastrophe; it's a literary mystery about a scholar's search for a long-lost poem; it's a deep dive into complicated marriages; and it's a meditation on how the past lingers and how history morphs with time.“It's the best thing McEwan has written in ages,” our critic Dwight Garner wrote in his review. “It's a sophisticated entertainment of a high order.”In this episode of the Book Review Book Club, the host MJ Franklin discusses “What We Can Know” with his colleagues Sarah Lyall (who profiled McEwan for the Book Review this year) and Leah Greenblatt. You can follow along, and add your own comments to the discussion here.Other Books mentioned in this discussion:“Atonement,” “Saturday,” “On Chesil Beach,” “The Comfort of Strangers,” “The Cement Garden” and “Enduring Love,” by Ian McEwan“Fleishman Is in Trouble,” by Taffy Brodesser-Akner“Fates and Furies,” by Lauren Groff“Marston Meadows: A Corona for Prue,” by John Fuller“How the Word Is Passed,” by Clint Smith“The Stranger's Child,” “The Line of Beauty” and “Our Evenings,” by Alan HollinghurstWe would love to hear your thoughts about this episode, and about the Book Review's podcast in general. You can send them to books@nytimes.com. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app.

It’s the final show of the year, and the Christian O’Connell Show is emptying the tank. Christian fires off his favourite picks of 2025, from the “sensational” Wicked to the gut punch power of The Handmaid’s Tale. Alex wades in with his own obsessions: The Mushroom Daily and Ian McEwan’s What Can We Know. The team trade their best books, TV shows and music of the year, share a few surprises, and wrap it all with a massive washer dryer giveaway. Last show of the year, zero coasting.See omnystudio.com/listener for privacy information.

In Episode 213, Sarah and Chrissie (@ChrissieWhitley) wrap up the year with the Best Books of 2025 Genre Awards. They reveal their Overall Best Books (Fiction and Nonfiction) and a full breakdown by genre, including: Best Literary Fiction, Best Romance, Best Brain Candy, Best Genre Mash-Up, and more! Plus, they share the winners for these same genres as chosen by the Sarah's Bookshelves Live Member Community. This post contains affiliate links through which I make a small commission when you make a purchase (at no cost to you!). CLICK HERE for the full episode Show Notes on the blog. Announcements The 2026 Reading Tracker is out! This year brings upgraded features across the board — including NEW average star rating and 5-star book tracking for every stat on the Dashboard — plus an updated Lite Tracker for those who prefer a streamlined version. Both Trackers are ONLY available to paid Patreon or Substack subscribers ($7/month) and is no longer sold separately. To avoid Apple's 30% fee, be sure to join directly from the Patreon website (mobile or desktop). Join our Patreon Community (here) OR become a Substack Paid Member (here)! Highlights Podcast reflections from 2025 — including top episodes based on download stats. A brief overview of Sarah's and Chrissie's 2025 year in reading. Their favorite books of the year: overall and by genre, including the SBL Member Community's picks. 2025 Genre Awards [12:39] Sarah The River Is Waiting by Wally Lamb (2025) | Amazon | Bookshop.org  [12:45]  The Favorites by Layne Fargo (2025) | Amazon | Bookshop.org  [16:32]  The Death of Us by Abigail Dean (2025) | Amazon | Bookshop.org  [20:13]  One Good Thing by Georgia Hunter (2025) | Amazon | Bookshop.org   [23:48]  The Compound by Aisling Rawle (2025) | Amazon | Bookshop.org  [28:47]  August Lane by Regina Black (2025) | Amazon | Bookshop.org  [36:03]  The Road to Tender Hearts by Annie Hartnett (2025) | Amazon | Bookshop.org  [41:54]  Family of Spies by Christine Kuehn (2025) | Amazon | Bookshop.org  [45:36] This American Woman by Zarna Garg (2025) | Amazon | Bookshop.org  [50:00] Broken Country by Clare Leslie Hall (2025) | Amazon | Bookshop.org  [52:59] The Bright Years by Sarah Damoff (2025) | Amazon | Bookshop.org  [54:44]  Finding Grace by Loretta Rothschild (2025) | Amazon | Bookshop.org  [56:29] Next of Kin by Gabrielle Hamilton (2025) | Amazon | Bookshop.org   [1:00:10]  The Elements by John Boyne (2025) | Amazon | Bookshop.org  [1:03:10] Chrissie Fox by Joyce Carol Oates (2025) | Amazon | Bookshop.org  [13:42]  Joy Moody Is Out of Time by Kerryn Mayne (2025) | Amazon | Bookshop.org [17:36]  Marble Hall Murders (Susan Ryeland, 3) by Anthony Horowitz (2025) | Amazon| Bookshop.org  [21:39]  The Pretender by Jo Harkin (2025) | Amazon | Bookshop.org  [25:51]  What We Can Know by Ian McEwan (2025) | Amazon | Bookshop.org  [30:28]  To Clutch a Razor (Curse Bearer, 2) by Veronica Roth (2025) | Amazon | Bookshop.org  [32:39]  The Love Haters by Katherine Center (2025) | Amazon | Bookshop.org  [37:03]  These Heathens by Mia McKenzie (2025) | Amazon | Bookshop.org  [43:31]  The Zorg by Siddarth Kara (2025) | Amazon | Bookshop.org  [47:11]  Misbehaving at the Crossroads by Honorée Fanonne Jeffers (2025) | Amazon | Bookshop.org  [51:09] A Sea of Unspoken Things by Adrienne Young (2025) | Amazon | Bookshop.org [53:38]  Awake in the Floating City by Susanna Kwan (2025) | Amazon | Bookshop.org[55:11] Heartwood by Amity Gaige (2025) | Amazon | Bookshop.org  [57:16]  Future Boy by Michael J. Fox (2025) | Amazon | Bookshop.org  [1:01:23]  Reports of His Death Have Been Greatly Exaggerated by James Goodhand (2025) | Amazon | Bookshop.org  [1:06:07]  SBL Member Community The Correspondent by Virginia Evans (2025) | Amazon | Bookshop.org [15:43] The Road to Tender Hearts by Annie Hartnett (2025) | Amazon | Bookshop.org  [19:02] Heartwood by Amity Gaige (2025) | Amazon | Bookshop.org  [22:52]  Broken Country by Clare Leslie Hall (2025) | Amazon | Bookshop.org [27:21] The Compound by Aisling Rawle (2025) | Amazon | Bookshop.org [31:28]  The River Has Roots by Amal El-Mohtar (2025) | Amazon | Bookshop.org [35:23]  One Golden Summer by Carley Fortune (2025) | Amazon | Bookshop.org [38:39] Witchcraft for Wayward Girls by Grady Hendrix (2025) | Amazon | Bookshop.org  [40:57] Big Dumb Eyes by Nate Bargatze (2025) | Amazon | Bookshop.org  [45:15] Hot Air by Marcy Dermansky (2025) | Amazon | Bookshop.org  [45:17] Jane and Dan at the End of the World by Colleen Oakley (2025) | Amazon | Bookshop.org  [45:19] The Road to Tender Hearts by Annie Hartnett (2025) | Amazon | Bookshop.org  [45:22] Run for the Hills by Kevin Wilson (2025) | Amazon | Bookshop.org  [45:24] So Far Gone by Jess Walter (2025) | Amazon | Bookshop.org  [45:27] This American Woman by Zarna Garg (2025) | Amazon | Bookshop.org [45:28] Everything is Tuberculosis by John Green (2025) | Amazon | Bookshop.org [48:20] Ordinary Time by Annie Jones (2025) | Amazon | Bookshop.org  [52:32] Wild Dark Shore by Charlotte McConaghy (2025) | Amazon | Bookshop.org [54:31]  Among Friends by Hal Ebbott (2025) | Amazon | Bookshop.org  [59:25] Awake by Jen Hatmaker (2025) | Amazon | Bookshop.org  [1:02:33] Other Books Mentioned Leaving by Roxana Robinson (2024) [13:51]  Heart the Lover by Lily King (2025) [15:35]  Wild Dark Shore by Charlotte McConaghy (2025) [15:58]  Audition by Katie Kitamura (2025) [16:09]  The Names by Florence Knapp (2025) [16:11] Dream State by Eric Puchner (2025) [16:13] Lenny Marks Gets Away with Murder by Kerryn Mayne (2023) [17:45]  Great Big Beautiful Life by Emily Henry (2025) [18:46]  Say You'll Remember Me by Abby Jimenez (2025) [18:56]  The Academy by Elin Hilderbrand and Shelby Cunningham (2025) [19:18] Abigail and Alexa Save the Wedding by Lian Dolan (2025) [19:23] Bright Young Women by Jessica Knoll (2023) [21:28]  The Ghostwriter by Julie Clark (2025) [23:03] The Impossible Fortune by Richard Osman (2025) [23:07]   Dead Money by Jakob Kerr (2025) [23:13] The Boomerang by Robert Bailey (2025) [23:15]   We Were the Lucky Ones by Georgia Hunter (2017) [24:09]  Tell Me an Ending by Jo Harkin (2022) [26:03] What Kind of Paradise by Janelle Brown (2025) [26:55] Atmosphere by Taylor Jenkins Reid (2025) [27:06]   The Stolen Queen by Fiona Davis (2025) [27:12] Isola by Allegra Goodman (2025) [28:13]  Merge by Grace Walker (2025) [31:35] The Memory Collectors by Dete Meserve (2025) [31:43]  Sunrise on the Reaping by Susanna Collins (2025) [31:48] Death of the Author by Nnedi Okorafor (2025) [31:01] The Strange Case of Jane O. by Karen Thompson Walker (2025) [32:05] When Among Crows by Veronica Roth (2024) [33:05]  Katabasis by R. F. Kuang (2025) [34:23] Babel by R. F. Kuang (2022) [34:36] Yellowface by R. F. Kuang (2023) [34:37] A Drop of Corruption by Robert Jackson Bennett (2025) [34:49] The Tainted Cup by Robert Jackson Bennett (2024) [34:54] Onyx Storm by Rebecca Yarros (2025) [34:58] The Everlasting by Alix E. Harrow (2025) [35:05] Bury Our Bones in the Midnight Soil by V. E. Schwab (2025) [35:31] The Art of Scandal by Regina Black (2023) [36:49] The Favorites by Layne Fargo (2025) [38:54]  The Buffalo Hunter Hunter by Stephen Graham Jones (2025) [40:30] Hungerstone by Kat Dunn (2025) [40:37] We Love You, Bunny by Mona Awad (2025) [40:42] The Staircase in the Woods by Chuck Wendig (2025) [41:19] Bat Eater and Other Names for Cora Zeng by Kylie Lee Baker (2025) [41:30] When the Moon Hits Your Eye by John Scalzi (2025) [44:56] The Wager by David Grann (2023) [47:34]  Replaceable You by Mary Roach (2025) [49:04] The Gales of November by John U. Bacon (2025) [49:11] Careless People by Sarah Wynn-Williams (2025) [51:58] All the Way to the River by Elizabeth Gilbert (2025) [52:08] Awake by Jen Hatmaker (2025) [52:24] Nobody's Girl by Virginia Roberts Giuffre (2025) [52:28] One Day, Everyone Will Always Have Been Against This by Omar El Akkad (2025) [52:49] The God of the Woods by Liz Moore (2024) [53:22] Broken Country by Clare Leslie Hall (2025) [54:21] Life, and Death, and Giants by Ron Rindo (2025) [54:27] Woodworking by Emily St. James (2025) [56:16] Buckeye by Patrick Ryan (2025) [58:57] The Elements by John Boyne (2025) [59:15]   Deep Cuts by Holly Brickley (2025) [59:49] My Friends by Fredrik Backman (2025) [59:51] The Heart's Invisible Furies by John Boyne (2017) [1:05:51] James by Percival Everett (2024) [1:08:07]  Top Podcast Episodes Ep. 199: Best Books of 2025 (So Far) with Catherine (@GilmoreGuide) and Susie (@NovelVisits) Ep. 184: Best Books of 2024 Genre Awards with Susie (@NovelVisits) Ep. 185: Winter 2025 Book Preview with Catherine (@GilmoreGuide) Ep. 205: Fall 2025 Book Preview with Catherine (@GilmoreGuide) Ep. 192: Spring 2025 Book Preview with Catherine (@GilmoreGuide) Ep. 198: Best of Thrillers with Anderson McKean of Page & Palette (@PagePalette) Ep. 188: Best of Fantasy with Chrissie (@ChrissieWhitley) Ep. 193: Clare Leslie Hall (author of Broken Country) Ep. 187: State of the Industry in 2024 with Kathleen Schmidt (@KathMSchmidt), author of the Publishing Confidential Substack Ep. 208: Best of Narrative Nonfiction with Elizabeth Barnhill of Fabled Bookshop (@FabledBookshop)

Do You Feel Like an Employee of Your Former Self? Renowned novelist Ian McEwan makes a funny observation about book tours that’s applicable to many familiar situations. Resources & links related to this episode: Get in touch: podcast@gretchenrubin.com Visit Gretchen's website to learn more about Gretchen's best-selling books, products from The Happiness Project Collection, and the Happier app. Find the transcript for this episode on the episode details page in the Apple Podcasts app. See omnystudio.com/listener for privacy information.

David talks to novelist Ian McEwan, who was our first ever guest on PPF, about how the future will view our present once the disasters we are brewing come to pass. How might humanity scrape through the rest of the century? Will future generations see us as intellectually vibrant or essentially trivial? If we turn out to be unknowable to those who follow us, does that mean we are unknowable to ourselves? A wide-ranging conversation about how past, present and future co-exist in time. Ian McEwan's latest novel is What We Can Know https://bit.ly/4ogYN5u If you are looking for Christmas presents we have 6- and 12-month gift subscriptions to PPF+ giving access to all our bonus episodes, ad-free listening and automatic sign-up to our fortnightly newsletter – which can be delivered to the recipient of your choice on Christmas Day! https://ppf.supportingcast.fm/gifts Plus we have gorgeous PPF canvas tote bags and bone china PPF mugs, all available now https://www.ppfideas.com/merch Next time in Politics on Trial: Lady Chatterley's Lover  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Award-winning narrator Shaun Taylor-Corbett joins host Jo Reed to tell listeners about narrating Jon Hickey's debut audiobook, BIG CHIEF, one of our picks for Best Fiction of 2025. It's a story about a political fixer, Mitch Caddo, who must navigate both political and personal dramas, while confronting his identity as a mixed-race Anishinaabe man. Taylor-Corbett shares how he found Caddo's voice in this audiobook, which is a unique look into tribal politics, identity, and how power is both given and taken. Read AudioFile's review of the audiobook: Published by Simon & Schuster Audio AudioFile's 2025 Best Fiction Audiobooks are: AMITY by Nathan Harris, read by André Santana, Angel Pean THE ANTIDOTE by Karen Russell, read by Elena Rey, Sophie Amoss, Mark Bramhall, Shayna Small, Jon Orsini, Natasha Soudek, Karen Russell, James Riding BIG CHIEF by Jon Hickey, Shaun Taylor-Corbett BUCKEYE by Patrick Ryan, read by Michael Crouch JUNIE by Erin Crosby Eckstine, read by Angel Pean WHAT WE CAN KNOW by Ian McEwan, read by David Rintoul, Rachel Bavidge Explore the full list of 2025 Best Audiobooks on our website:   Support for our podcast comes from Dreamscape, an award-winning audiobook publisher with a catalog that includes authors L.J. Shen, Freida McFadden, and Katee Robert. Discover your next great listen at dreamscapepublishing.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In his latest novel, Ian McEwan imagines a future world after a century's worth of disasters. The good news in “What We Can Know” is that humanity still exists, which McEwan calls “nuanced optimism.” He and David Remnick discuss the tradition of the big-themed social novel, which has gone out of literary fashion—“rather too many novels,” McEwan theorizes, hide “their poor prose behind a character.” But is the realist novel, Remnick wonders, “up to the job” of describing today's digital life? It remains “our best instrument of understanding who we are, of representing the flow of thought and feeling, and of representing the fine print of what happens between individuals,” McEwan responds. “We have not yet found a compelling replacement.” And yet he does not care to moralize: “the pursuit has also got to be of pleasure.” McEwan spoke with David Remnick at a public event organized by the 92nd Street Y in New York.  New episodes of The New Yorker Radio Hour drop every Tuesday and Friday. Join host David Remnick as he discusses the latest in politics, news, and current events in conversation with political leaders, newsmakers, innovators, New Yorker staff writers, authors, actors, and musicians.

The Late Show Book Club chats with Ian McEwan, acclaimed author of "Atonement" and the new novel "What We Can Know," our October book club pick, about the real poem that inspired this story, whether writing has become easier for him after 19 novels, and his favorite advice for aspiring writers. Follow @ColbertLateShow on Instagram for more Late Show Book Club updates! To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

The Proving Ground by Michael Connellym – Fictional What Can We Know by Ian McEwan – Fictional How To Build A House In The Mountains by Roger Lucey - Non-fitional Presenter John Maytham is an actor and author-turned-talk radio veteran and seasoned journalist. His show serves a round-up of local and international news coupled with the latest in business, sport, traffic and weather. The host’s eclectic interests mean the program often surprises the audience with intriguing book reviews and inspiring interviews profiling artists. A daily highlight is Rapid Fire, just after 5:30pm. CapeTalk fans call in, to stump the presenter with their general knowledge questions. Another firm favourite is the humorous Thursday crossing with award-winning journalist Rebecca Davis, called “Plan B”. Thank you for listening to a podcast from Afternoon Drive with John Maytham Listen live on Primedia+ weekdays from 15:00 and 18:00 (SA Time) to Afternoon Drive with John Maytham broadcast on CapeTalk https://buff.ly/NnFM3Nk For more from the show go to https://buff.ly/BSFy4Cn or find all the catch-up podcasts here https://buff.ly/n8nWt4x Subscribe to the CapeTalk Daily and Weekly Newsletters https://buff.ly/sbvVZD5 Follow us on social media: CapeTalk on Facebook: https://www.facebook.com/CapeTalk CapeTalk on TikTok: https://www.tiktok.com/@capetalk CapeTalk on Instagram: https://www.instagram.com/ CapeTalk on X: https://x.com/CapeTalk CapeTalk on YouTube: https://www.youtube.com/@CapeTalk567 See omnystudio.com/listener for privacy information.

In this #amwriting podcast episode, Jennie Nash talks about what it means to “play big” on the page. Using Ian McEwan's choice to write his latest novel without research as an example, she shows how true impact comes when a writer fully owns their story and brings it to life with depth and intention. She encourages listeners to think about their own top five most powerful reads, notice what made those books unforgettable, and aim to create that same sense of bigness in their own writingTranscript Below!#AmWriting: A Groupstack is a reader-supported publication. To receive new posts and support our work, consider becoming a free or paid subscriber.SPONSORSHIP MESSAGEHey, it's Jess Lahey. If you've been listening to the Hashtag AmWriting Podcast for any length of time, you know that yes, I am a writer—but my true love, my deepest love, is combining writing with speaking. I get to go into schools, community organizations, nonprofits, and businesses, and do everything from lunch-and-learns to community reads to just teaching about the topics that I'm an expert in—from the topics in The Gift of Failure: engagement, learning, learning in the brain, cognitive development, getting kids motivated—and, yes, the topic of overparenting and what that does to kids' learning. Two topics around The Addiction Inoculation are substance use prevention in kids, and—what I've been doing lately that's the most fun for me, frankly—is combining the two. It makes the topic of substance use prevention more approachable, less scary, when we're talking about it in the context of learning, motivation, self-efficacy, competence, and—yes—cognitive development. So if you have any interest in bringing me into your school, your nonprofit, your business—I would love to come. You can go to JessicaLahey.com. Look under the menu option “Speaking,” and go down to “Speaking Inquiry.” There's also a lot of information on my website about what I do—there are videos there about how I do it. Please feel free to get in touch, and I hope I get to come to your community. If you put in the speaking inquiry that you are a Hashtag AmWriting listener, we can talk about a discount—so that can be one of the bonuses for being a loyal and long-term listener to the Hashtag AmWriting Podcast.Hope to hear from you.EPISODE TRANSCRIPTHi, I'm Jennie Nash, and you're listening to the Hashtag AmWriting Podcast. This is a Write Big session, where I'm bringing you short episodes about the mindset shifts that help you stop playing small and write like it matters.Today we're talking about how writing big shows up on the page—how you know when somebody else has done it, when a writer has really wrestled with their material, when they've really thought about what matters about it and why it matters, and how they want their readers to feel. They've done all the work of making the choices that deliver an experience to their reader. You can feel it—and you want it.Just before Ian McEwan's new novel came out—which is called What We Can Know—I read an interview with him in The Wall Street Journal, and the interviewer, whose name is Jon Mooallem, asked McEwan this: “You seem to savor research for your books. To write about a brain surgeon, in Saturday, you observed brain surgeries. Here you're writing about a future that's so plausible-seeming and specific but diverges dramatically from all the well-worn dystopian tropes. How do you go about researching the future?” And McEwan answers, “I didn't do any research for this novel.” The interviewer says, “Amazing—none?” And McEwan says, “I could have written it from a prison cell. I mean, there are factoids I looked up on the internet in 30 seconds, but as I approach 80, I'd rather revel in taking a walk through my own mind.”I don't normally read dystopian fiction, but when I heard that answer, I went and pre-ordered the book. I've read some of McEwan's other books and have adored them—especially Atonement. So he's on my radar as a writer that I like to read, and a writer that is worth my time. But I pass up a lot of books by writers whose previous work I've liked, so it's not a foregone conclusion that I would have read this one. But that idea—that he did no research for a sci-fi dystopian novel—and those words about how “I'd rather revel in taking a walk through my own mind”—that tells me that this is a book in which he's playing big, and that's a book that I want to read.It's not that there's anything wrong with research, obviously. People who are writing nonfiction are going to need to do a lot of research, and people writing historical fiction or maybe memoir, and people writing sci-fi or fantasy who are making up worlds that have new technologies or thinking about future systems of government or transportation or food delivery or any of that, are going to need to do research. It's not that I'm knocking that. What I heard, though, was this idea of a writer who was just owning this story—who had it alive in their head and was bringing it to life on the page. And that's what I always am looking for, and I suspect it's what you're looking for, too.If I were to ask you to reel off your all-time top favorite five books, I bet you would be able to. These books live in our minds because of the experience that they delivered to us. And sometimes it's because they came at the exact right moment in our lives. A lot of people will reference a book like Charlotte's Web, which maybe was one of the first books that they ever read—or one of the first times they understood what death is about. Or people will talk about Are You There God? It's Me, Margaret, because they felt, for the first time, that this author was really speaking to them and got into their heads and their hearts. So there's a huge part of this about where we are in our lives when we encounter a particular book and why it might hit us in that particular way. But if you really think about that list of five books, you're going to understand that there's something about those books where the author was playing big. They own their story in a very specific way.One of the books that would be on my top-five list would have to be the book Desert Solitaire by Edward Abbey. This is a memoir that I read when I was a teenager. I think I pulled it off of the shelf of my dad's study. It's a story of this guy who spends a season in the wilderness. He is a ranger at Arches National Park, which is one of those beautiful parks out in the middle of the desert. It's a red-rock landscape, and there are arches out there made out of that rock. It's a very harsh environment, and he is out there greeting the people who dared to come visit this space. And the reason that book is on my list is that I read it more than forty-five years ago, and I can still remember exactly what it felt like to open that book and start reading. Edward Abbey writes in a very specific and unique and intense voice, and he has very big and controversial thoughts about comfort and wilderness and what people seek when they go out there. But for me, the reason that book stays on my top all-time list is because that was the book that helped me finally understand my father. And my father was a professor of environmental studies. He spent a lot of time out in the wilderness, in places that were harsh and uncomfortable, and he had a lot of very strong opinions, like Abbey. And he was a hard man to understand because of some of these things. And as a kid growing up and, you know, becoming a teenager, I didn't understand him, and it was a struggle to understand him. And when I read this book, it was as if somebody handed me a whole new understanding. And I just thought, Oh, this is it. I get it. I get him now. And I can call up that feeling all these years later—of how amazing it was to have somebody see me and see my dad in a way that I hadn't been able to see. So when I think about that experience, and I think about what it was like to be immersed in that book…To me, that is a memory of somebody who played big. I think it was one of the first times I encountered—certainly in an adult book—somebody who was writing big. That book just had a bigness about it, a sense that the author was holding nothing back.And what I mean about holding nothing back—I don't mean that all good writing is just dumping your most private or vulnerable thoughts on the page, or forcing that kind of revelatory work on somebody. That's not what I mean. I mean that there's a sense of depth to it, a feeling of authority—of that author having come as close as you can get to bringing their vision to life. That's what makes a reading experience unforgettable. And it's worth noting here that we live in the time of AI, and AI can do a lot for a story. It can analyze your structure. It can flag plot holes. It can suggest fixes. There's a whole lot that you can use it for if you so choose. People can decide whether they want to use these tools in their work or not.But the thing is that, no matter if you're using those tools, AI can never touch this thing that we're talking about. It can never do the work of the heart—of deciding why a story matters, or why a book matters, or why you're willing to risk writing it or going all in on it. It can never connect with the reader who's going to encounter that work on the other side, because it's a machine.And this human work of connecting is what playing big is really about.Playing small is skating across the surface of an idea. It's polishing words while avoiding the deep meaning. It's leaning on formulas or tropes or trends or tools to do the heavy lifting of intention. The result may be polished, it may be clean, it may be publishable—it may even do well in the marketplace—but it lacks that sense of aliveness that only you can bring, that sense that this work mattered to the writer. So what I'd like you to do today is think about the top five books that you have read in your life and that you remember and that hit you with a strong power. And it might be fun to think about what you felt when you read them and why they impacted you in that way. But what I really want you to do is to pin down the reason why that book has a sense of bigness to it. What did the writer do to make you feel what you felt? And I don't mean tactically—we're looking for something ineffable here, some sense about why that writer was playing big. And then you might write down the way you want your reader to feel when they finish your book, and ask yourself: what do I need to put on the page to make that happen?Until next time—stop playing small and write like it matters.NarratorThe Hashtag AmWriting Podcast is produced by Andrew Perrella. Our intro music, aptly titled Unemployed Monday, was written and played by Max Cohen. Andrew and Max were paid for their time and their creative output, because everyone deserves to be paid for their work.#AmWriting is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

A century from now, how will historians look back on your life? In his latest novel, What We Can Know, Ian McEwan imagines the future in 100 years. In a world altered by climate change and nuclear war, human beings are looking back at our current age with a mix of nostalgia, envy and contempt … which is why a scholar becomes fixated on finding a lost poem from 2014. You might know Ian from his breakout hit Atonement, which was made into an Oscar-winning film. This week, he joins Mattea Roach to talk about crafting his own dystopia, his concerns about AI and why we just might be living in a golden age.Liked this conversation? Keep listening:Jeff VanderMeer: How his blockbuster Southern Reach series reflects our own fight against climate change What if your dreams could land you in jail?

The Booker prize-winning author of Atonement and Saturday joins us for the launch of his audacious new novel — a genre-bending, time-traveling tour de force. For decades, Ian McEwan's novels have probed the depths of the human heart, creating unforgettable and utterly relatable characters of extraordinary moral complexity, caught in the crosscurrents of memory, history, and desire. His new novel, What We Can Know, begins at a dinner party in 2014 with the recitation of a love poem among friends and follows to 2119, in the wake of a catastrophic nuclear accident, as a lonely scholar and researcher chases the ghost of that poem. When he stumbles across a clue that may lead to the elusive poem's discovery, a story is revealed of entangled loves and a brutal crime that destroy his assumptions about the world he thought he knew. It is at once a love story and a literary detective story, reclaiming the present from our sense of looming catastrophe, imagining a future world where all is not quite lost. In a special reading and conversation with The New Yorker's editor David Remnick, hear McEwan discuss the genesis of the new novel, his creation of a new kind of speculative literary fiction, why we will never stop longing for the literature of the past even as we reach inexorably toward the future, and much more. The conversation will air on The New Yorker Radio Hour.

Dame Rose Tremain is one of Britain's most prolific and popular writers, having written 17 novels and five collections of short stories over the last 50 years. She was one of only six women on Granta magazine's inaugural 1982 list of the best young British novelists, alongside Martin Amis, Ian McEwan, Salman Rushdie and others. Her fifth novel Restoration was nominated for the Booker Prize in 1989, she won the Whitbread Prize for Music And Silence in 1999, and was awarded the 2008 Orange Prize - the precursor to the Women's Prize for Fiction - for her novel The Road Home. Having already been made a CBE in 2007, she became Dame Rose Tremain in 2020 for services to writing. Her most recent work is a short story called The Toy Car.Rose Tremain tells John Wilson how her father, a largely unsuccessful playwright called Keith Thomson, inspired her childhood interest in storytelling, although he never encouraged her to write. She recalls how she first started writing fiction to help her cope with loneliness in a household where there was little parental affection. Rose recalls how it was a teacher at her boarding school who first recognised her ability and encouraged her to apply for an Oxbridge university place, only to be dissuaded by her mother, who sent her to a finishing school in France instead. She credits the novelist Angus Wilson, one of her English Literature tutors at the University Of East Anglia, for giving her the confidence to write her first novel. She also chooses The Diary Of Samuel Pepys as a major inspiration on her 1989 Booker-shortlisted novel Restoration, which was later turned into a Hollywood film starring Robert Downey Jnr. and Meg Ryan.Producer: Edwina Pitman

If autumn weather has you wanting to tuck into an engrossing novel, look no further: Hosts Sarah Bowen Shea and Ellison “The Book Bully” Weist serve up five new novels, including a semi-dystopian novel from the genius behind Atonement. The duo dives into: -What We Can Know: Ian McEwan-Buckeye: Patrick Ryan-Mercy: Joan Silber-The Elements: John Boyne-A Slowly Dying Cause: Elizabeth George Check out Fall into Fitness: Harvest Your Strength.    When you shop our sponsors, you help AMR.We appreciate your—and their—support! Get 20% off, plus free shipping, on allIQBAR products by texting AMR to 64-000 Learn more about your ad choices. Visit megaphone.fm/adchoices

International bestselling author, Ian McEwan, joins Simon and Matt for a little bit of Q&A. He talks about his favorite places to write, being interrupted during a a writing flow and gives us some brilliant book recommendations too. Ian also shares who he would invite to his fantasy dinner party. Learn more about your ad choices. Visit megaphone.fm/adchoices

Ian McEwan is a Booker Prize winning author of nineteen novels, including Atonement, Enduring Love, The Children Act, and On Chesil Beach. Ian sits down with Jenna Bush Hager to talk about the inspiration for his latest novel, What We Can Know. Ian reflects on a lifetime of storytelling, from his early love of reading to his writing routine and how it feels to be an author in the age of AI. They also talk about the global impact of his books, the timeless power of literature to ask big questions about who we are and what we value, and what topics he's excited to explore in his next novel.  Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Imagine the impact of climate change is irreversible, and decades of flooding, famine, pandemics and war have upended life on earth. That world is explored in Ian McEwan's new novel, “What We Can Know.” Senior arts correspondent Jeffrey Brown sat down with the Booker Prize-winning novelist for our arts and culture series, CANVAS. PBS News is supported by - https://www.pbs.org/newshour/about/funders. Hosted on Acast. See acast.com/privacy

At 77, the Booker Prize-winning British novelist Ian McEwan shows no signs of slowing down. His new novel, What We Can Know, is set in Great Britain in the 22nd century – a country now partly underwater as a result of global warming. In today's episode, McEwan speaks with NPR's Scott Simon about the book's plot – it tells of a search for a lost poem that was written in our own times – and notes that he is less interested in the future of science than that of the humanities, love and daily life.To listen to Book of the Day sponsor-free and support NPR's book coverage, sign up for Book of the Day+ at plus.npr.org/bookofthedayLearn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Ian McEwan is best known for his books On Chesil Beach and Atonement. Beth Golay spoke with McEwan about his 19th novel, What We Can Know.

International bestselling author, Ian McEwan, joins Simon and Matt for a chat about his new novel 'What We Can Know'. Optimistic manifesto? Or a cautious tale? In the first half of the book, we learn about a lost poem - which is at the heart of the novel - as this is ultimately a book about a quest. As well as poetry, they talk about renewable energies being on the rise and the positive conversations around climate change. 'you only have to stop doing bad things to nature, for it to push back quickly' Here's more on the book: 2014: A great poem is read aloud and never heard again. For generations, people speculate about its message, but no copy has yet been found.2119: The lowlands of the UK have been submerged by rising seas. Those who survive are haunted by the richness of the world that has been lost.Tom Metcalfe, a scholar at the University of the South Downs, part of Britain's remaining archipelagos, pores over the archives of the early twenty-first century, captivated by the freedoms and possibilities of human life at its zenith.When he stumbles across a clue that may lead to the great lost poem, revelations of entangled love and a brutal crime emerge, destroying his assumptions about a story he thought he knew intimately. Learn more about your ad choices. Visit megaphone.fm/adchoices

It's autumn and we're getting cosy. Hannah's recco of the week is Whistle by Linwood Barclay... think Stephen King vibes. Also mentioned: Atonement and Lessons by Ian McEwan.  We've also both seen Weapons - got thoughts? More excitingly we get into Stool sample chat - what is the etiquette?? Does it need a gingham sleeve? The women are playing Rugby World Cup - baffling but proud. Are you wearing Mary Janes or a demure ballet pump?  Tarot we draw the hanged man (is that good??) and get a fresh perspective.  Enough nonsense. Let's get spooky.  Story 1 Big S has a mental story called CINNAMON. It's a cosy one. Listen to this ideally with a pumpkin spiced latte. And poss a valium.  Story 2 Hannah has a story about Jenna's iPhone. Careful of facial recognition.  Story 3 Big S narrates a story called My husband was not my husband that day... this is seriously creepy. Story 4  Hannah takes us to Tokyo to hear about the shadows in the subway of Shin-Koiwa... CREEP OF THE WEEK (C.O.W! C.O.W!) - this is from Jen Etherington, thank yew hun!!!!! This has PHOTO EVIDENCE of the Wedding Woods... We end with Telekenesis... Will the coke move? We love you Huns In The Wild xxxx ENJOY  JOIN OUR PATREON! EXTRA bonus episodes AND a monthly ghost hunt for just £4.50!  Or £6 for AD-FREE EPS and weekly AGONY HUNS! We'll solve your problems huns!  Sign up here: www.patreon.com/GhostHuns Learn more about your ad choices. Visit megaphone.fm/adchoices

Ian McEwan is the critically acclaimed author of nineteen novels and two short story collections.  His novels include Atonement, Enduring Love, The Children Act and On Chesil Beach, and he is the recipient of many awards including the Booker Prize, the Somerset Maugham Award and the Whitbread Novel of the Year Award. In this episode, McEwan sits down with author and journalist Alex Preston to discuss the enduring power of the novel, the challenges of writing climate fiction and his new book What We Can Know. What We Can Know is a work of speculative fiction set in 2119. It is a book about poetry, archives, rising sea levels and the plight of humanity in the vast natural world, and is available now online or in bookstores near you. If you'd like to become a Member and get access to all our full conversations, plus all of our Members-only content, just visit intelligencesquared.com/membership to find out more. For £4.99 per month you'll also receive: - Full-length and ad-free Intelligence Squared episodes, wherever you get your podcasts - Bonus Intelligence Squared podcasts, curated feeds and members exclusive series - 15% discount on livestreams and in-person tickets for all Intelligence Squared events  ...  Or Subscribe on Apple for £4.99: - Full-length and ad-free Intelligence Squared podcasts - Bonus Intelligence Squared podcasts, curated feeds and members exclusive series … Already a subscriber? Thank you for supporting our mission to foster honest debate and compelling conversations! Visit intelligencesquared.com to explore all your benefits including ad-free podcasts, exclusive bonus content and early access. … Subscribe to our newsletter here to hear about our latest events, discounts and much more. https://www.intelligencesquared.com/newsletter-signup/ Learn more about your ad choices. Visit podcastchoices.com/adchoices Learn more about your ad choices. Visit podcastchoices.com/adchoices

In our weekly review show, Kirsty Wark is joined by writer and critic Hannah McGill and writer and journalist Alan Taylor to discuss What Can We Know, the latest novel from Booker Prize winning writer Ian McEwan, an epic story set in a largely underwater Britain a hundred years in the future which touches on themes including climate change and great poetry. They also give their verdicts on Frances Poet's Small Acts of Love, a musical theatre production inspired by relationships formed across the Atlantic between victims of the Lockerbie disaster in December 1988. The production - a collaboration between the Citizens Theatre in Glasgow and the National Theatre of Scotland, and with songs by Deacon Blue's Ricky Ross, is the opening production in the newly refurbished 'Citz', a theatre which has played an important role in the city and also in the careers of the likes of Rupert Everett, Glenda Jackson and Miriam Margolyes, and which has just reopened after a major revamp. They also review The Girlfriend, a new psychological thriller from Amazon Prime, which stars Robin Wright as a possessive mother whose life begins to unravel when her son brings home a new partner she suspects is not all she seems. We also bring you the latest in our series of interviews with authors shortlisted for this year's BBC National Short Story Award, Colwill Brown. Presenter: Kirsty Wark Producer: Mark Crossan

Calling all Davids! This one's for you. Jane M and Fi dive into everything from beard-growing and cycling to hormones and being triggered in East London. Later, Roya Nikkhah, royal editor of The Sunday Times, speaks with best-selling author Ian McEwan about his new novel 'What We Can Know', set a hundred years in the future in a UK partially submerged by rising seas. We've announced our next book club pick! 'Just Kids' is by Patti Smith. You can listen to the playlist here: https://open.spotify.com/playlist/3qIjhtS9sprg864IXC96he?si=uOzz4UYZRc2nFOP8FV_1jg&pi=BGoacntaS_uki.If you want to contact the show to ask a question and get involved in the conversation then please email us: janeandfi@times.radio.Follow us on Instagram! @janeandfi.Podcast Producer: Eve SalusburyExecutive Producer: Rosie Cutler Hosted on Acast. See acast.com/privacy for more information.

Ian McEwan's masterful new novel is a piece of speculative fiction that shows a radically altered UK on the other side of climate catastrophe and global warfare. But it centres on two academics reaching back into the past to uncover the secrets behind a poem performed only once and lost to history. We spoke with him about the novel's big themes, its human focus and how to bring past and future together in the present moment.

Sir Ian McEwan is one of Britain's most acclaimed novelists, a Booker prize winner with a career spanning five decades with work that often explores morality, memory, and the intersections of private lives with public events. Sir Ian has long been associated with contemporaries like Martin Amis, Julian Barnes, and Salman Rushdie, who together reshaped the British novel from the 1980s onward. In this episode of Ways to Change the World, he spoke to Krishnan Guru-Murthy about the great issues facing the world from artificial intelligence to the rise of authoritarianism - as well as his latest novel What We Can Know.

Gunmen have killed at least six people in Jerusalem, and seriously injured several others. Police said both attackers were shot dead after opening fire at a bus near a busy road junction.Also in the programme: A rare report from inside Cambodia, after their recent conflict with Thailand; and the Booker-prize-winning author, Ian McEwan, on his new novel, which he calls science fiction without the science. (Photo credit: Reuters)

Ian McEwan's latest novel is set in a post-climate change future where survivors are haunted by the richness of a lost world.

Host Meg Wolitzer presents two stories and two poems the celebrate the power and mystery of reading and writing.  Billy Collins contributes magical verse from two perspectives in “Books” read by Kirsten Vangsness, and “Dear Reader,” performed by Dion Graham.   N.K. Jemisin entices us with a tricky narrative that contemplates the cost of literary celebrity. It's read by Yetide Badaki.And at least one character in Ian McEwan's “My Purple Scented Novel” wants celebrity at all costs.  It's read by Tony Hale.