Excerpt
One
Some hours before dawn Henry Perowne, a neurosurgeon, wakes to find himself already in motion, pushing back the covers from a sitting position, and then rising to his feet. It’s not clear to him when exactly he became conscious, nor does it seem relevant. He’s never done such a thing before, but he isn’t alarmed or even faintly surprised, for the movement is easy, and pleasurable in his limbs, and his back and legs feel unusually strong. He stands there, naked by the bed – he always sleeps naked – feeling his full height, aware of his wife’s patient breathing and of the wintry bedroom air on his skin. That too is a pleasurable sensation. His bedside clock shows three forty. He has no idea what he’s doing out of bed: he has no need to relieve himself, nor is he disturbed by a dream or some element of the day before, or even by the state of the world. It’s as if, standing there in the darkness, he’s materialised out of nothing, fully formed, unencumbered. He doesn’t feel tired, despite the hour or his recent labours, nor is his conscience troubled by any recent case. In fact, he’s alert and empty-headed and inexplicably elated. With no decision made, no motivation at all, he begins to move towards the nearest of the three bedroom windows and experiences such ease and lightness in his tread that he suspects at once he’s dreaming or sleepwalking. If it is the case, he’ll be disappointed. Dreams don’t interest him; that this should be real is a richer possibility. And he’s entirely himself, he is certain of it, and he knows that sleep is behind him: to know the difference between it and waking, to know the boundaries, is the essence of sanity.
The bedroom is large and uncluttered. As he glides across it with almost comic facility, the prospect of the experience ending saddens him briefly, then the thought is gone. He is by the centre window, pulling back the tall folding wooden shutters with care so as not to wake Rosalind. In this he’s selfish as well as solicitous. He doesn’t wish to be asked what he’s about – what answer could he give, and why relinquish this moment in the attempt? He opens the second shutter, letting it concertina into the casement, and quietly raises the sash window. It is many feet taller than him, but it slides easily upwards, hoisted by its concealed lead counterweight. His skin tightens as the February air pours in around him, but he isn’t troubled by the cold. From the second floor he faces the night, the city in its icy white light, the skeletal trees in the square, and thirty feet below, the black arrowhead railings like a row of spears. There’s a degree or two of frost and the air is clear. The streetlamp glare hasn’t quite obliterated all the stars; above the Regency façade on the other side of the square hang remnants of constellations in the southern sky. That particular façade is a reconstruction, a pastiche – wartime Fitzrovia took some hits from the Luftwaffe – and right behind is the Post Office Tower, municipal and seedy by day, but at night, half-concealed and decently illuminated, a valiant memorial to more optimistic days.
And now, what days are these? Baffled and fearful, he mostly thinks when he takes time from his weekly round to consider. But he doesn’t feel that now. He leans forwards, pressing his weight onto his palms against the sill, exulting in the emptiness and clarity of the scene. His vision – always good – seems to have sharpened. He sees the paving stone mica glistening in the pedestrianised square, pigeon excrement hardened by distance and cold into something almost beautiful, like a scattering of snow. He likes the symmetry of black cast-iron posts and their even darker shadows, and the lattice of cobbled gutters. The overfull litter baskets suggest abundance rather than squalor; the vacant benches set around the circular gardens look benignly expectant of their daily traffic – cheerful lunchtime office crowds, the solemn, studious boys from the Indian hostel, lovers in quiet raptures or crisis, the crepuscular drug dealers, the ruined old lady with her wild, haunting calls. Go away! she’ll shout for hours at a time, and squawk harshly, sounding like some marsh bird or zoo creature.
Standing here, as immune to the cold as a marble statue, gazing towards Charlotte Street, towards a foreshortened jumble of façades, scaffolding and pitched roofs, Henry thinks the city is a success, a brilliant invention, a biological masterpiece – millions teeming around the accumulated and layered achievements of the centuries, as though around a coral reef, sleeping, working, entertaining themselves, harmonious for the most part, nearly everyone wanting it to work. And the Perownes’ own corner, a triumph of congruent proportion; the perfect square laid out by Robert Adam enclosing a perfect circle of garden – an eighteenth-century dream bathed and embraced by modernity, by street light from above, and from below by fibre-optic cables, and cool fresh water coursing down pipes, and sewage borne away in an instant of forgetting.
An habitual observer of his own moods, he wonders about this sustained, distorting euphoria. Perhaps down at the molecular level there’s been a chemical accident while he slept – something like a spilled tray of drinks, prompting dopamine-like receptors to initiate a kindly cascade of intracellular events; or it’s the prospect of a Saturday, or the paradoxical consequence of extreme tiredness. It’s true, he finished the week in a state of unusual depletion. He came home to an empty house, and lay in the bath with a book, content to be talking to no one. It was his literate, too literate daughter Daisy who sent the biography of Darwin which in turn has something to do with a Conrad novel she wants him to read and which he has yet to start – seafaring, however morally fraught, doesn’t much interest him. For some years now she’s been addressing what she believes is his astounding ignorance, guiding his literary education, scolding him for poor taste and insensitivity. She has a point – straight from school to medical school to the slavish hours of a junior doctor, then the total absorption of neurosurgery training spliced with committed fatherhood – for fifteen years he barely touched a non-medical book at all. On the other hand, he thinks he’s seen enough death, fear, courage and suffering to supply half a dozen literatures. Still, he submits to her reading lists – they’re his means of remaining in touch as she grows away from her family into unknowable womanhood in a suburb of Paris; tonight she’ll be home for the first time in six months – another cause for euphoria.
From the Hardcover edition.
Media reviews
"Saturday revives W.H. Auden’s definition of great art as ‘clear thinking about mixed feelings.’”
–The Globe and Mail
“[McEwan’s] writing has been almost critically unimpeachable. . . . Of all the writers currently at work, McEwan stands with very few others as one who can . . . inspire . . . complexly formed feelings of deep admiration.”
–Books in Canada
“McEwan brilliantly conveys the process whereby a man’s competitive instincts go overboard and he becomes desperate to win a squash game or and argument.”
–Toronto Star
“Skilfully blends the joys of food, music and sport with the uncertainty of an age undergoing disturbing transition.”
–Canadian Press
"This is a gripping portrait of a man who suspects he’s heading downhill. And there are transcendent moments, like the brief, utterly heartbreaking sequence describing the encounter with his mother, as devastating as it is subtle. Fascinating.”
–Now (Toronto)
"Saturday is thoughtful, finely written, rich in detail and analysis, a portrait of a living mind.
–The Gazette (Montreal)
“[McEwan] is a towering figure in the world of letters. . . . One of the smartest authors at work today. ”
–Edmonton Journal
“This season’s most discussed novel. . . . McEwan again and again proves his virtuosity. . . . In McEwan’s hands . . . wars and politicians and terrorists mingle with private satisfactions . . . McEwan appropriates the subject of personal joy, brings it back into serious literature, and makes it, for the moment at least, his private literary property.”
–National Post
“Mr. McEwan has not only produced one of the most powerful pieces of post-9/11 fiction yet published, but has also fulfilled that very primal mission of the novel: to show how we–a privileged few of us, anyway – live today.”
–The New York Times
"In Saturday he remains at the top of his game — assured, accomplished and ambitious... [Saturday] offers something transcendent, impossible to dissect."
—Lewis Jones, Telegraph
"operating at the height of his formidable powers...Artistically, morally and politically, he excels"
—Ruth Scurr, Times
"Where the literary careers of some of his contemporaries now look like gaudy wreckage, he has triumphantly developed into a writer of outstanding subtlety and substance. ..Written with superb exactness, complex, suspenseful, reflective and humane, this novel about an expert on the human brain by an expert on the human mind reinforces his status as the supreme novelist of his generation."
—Peter Kemp, Sunday Times
"It's the good writing and the truthful and convincing way of rendering consciousness that makes Ian McEwan's Saturday so engrossing, keeping me awake like a mystery thriller."
—Colm Toibin chose Saturday as one his books in A Little Night Reading, in The Sunday Times
"Refreshing and engrossing, Saturday has a pleasing intimacy... McEwan's superb novel amply demonstrates how good fiction, by dramatising unweildy and fraught ideas in a deeply personal narrative, can fashion the world into gobbets sometimes more digestible than factual reportage"
—James Urquhart, Independent
"His gift of observation, wonderfully precise, now comes thick and fast. There is nothing in this novel that feels forced. The author's mature attention illuminates equally everything it falls on....this [is a] profound and urgent novel."
—Tim Adams, Observer
"In Saturday he is at his best — thoughtful, eloquent, yet restrained. The novel has all the technical assurance of its predecessors, and suggests as well as a newly political sensibility and a seductive, Joycean attention to the textures of normality."
—Henry Hitchings, FT
"Saturday is a brilliant novel about post 9/11 Britain, about the fragility of middle-class liberal values and assumptions, and the escalating vulnerability of our small, democratic island. It is McEwan writing on absolute top form."
—Daily Mail
"An exemplary novel, engrossing and sustained. It is undoubtedly McEwan's best."
—Anita Brookner, Spectator
Praise for Atonement:
“Atonement is a deliriously great read, but more than that it is a great book.”
—Zsuszi Gartner, The Globe and Mail
“A book that shocks one into remembering just how high one’s literary standards should be… A tour-de-force by one of England’s best novelists.”
—Noah Richler, National Post
“A beautiful and majestic fictional panorama.”
—The New Yorker
“Atonement is a tremendous achievement, a rich demonstration of McEwan’s gifts as a storyteller.”
—The Vancouver Sun
From the Hardcover edition.
