Ian McEwan’s new novel weaves climate change into literary mystery

What We Can Know
Ian McEwan (Jonathan Cape (UK); Knopf (US))

Ian McEwan’s latest offering, What We Can Know, is an exceptional narrative that pushes boundaries within literary storytelling.

Set in the year 2119, we follow Tom Metcalfe, an academic affiliated with the University of the South Downs, UK. The backdrop is a drastically altered landscape, where rising seas have submerged much of the UK, leaving only isolated highlands accessible by boat. Once-thriving towns like Marlborough have become ports, while journeys to what were once popular destinations, such as the Lake District, are now hindered by the threat of piracy.

This grim future marks the impact of what was previously referred to as the “Derangement,” a time when climate negligence ran rampant.

However, this future serves merely as one layer of McEwan’s intricate storytelling. Tom is not just a passive observer; he is deeply invested in understanding a pivotal dinner gathering that took place in 2014, where the illustrious poet Francis Blundy read a poem that has since been brushed aside, shrouded in mystery.

The novel’s narrative oscillates between the struggles of the present and the past, dissecting the social dynamics of a bygone literary dinner party that echoes McEwan’s own experiences. As personal as it is intellectual, this duality creates a rich tapestry of connection and reflection.

Tom’s pursuit goes deeper than historical intrigue; it intertwines with his understanding of art and human connection. As he strives to breathe life into the stories of Francis and his wife Vivien, he becomes increasingly enamored with the past, leading to a personal obsession that threatens his detachment from academia.

What emerges is a quest for rediscovery, as he finds a potential clue that may connect him to the lost poem, establishing a narrative driven by desire, the longing for truth, and the unraveling of collective memory.

What We Can Know is not designed for every reader, yet it offers a masterclass in literary finesse from McEwan. The intricate plot and character development are bound to engage those willing to navigate its intellectual depths. Notably, I found myself captivated by the layers of the narrative, continuously surprised by its revelations.

McEwan’s portrayal of a submerged society combines elements of wonder and profound melancholy, reminiscent of the imaginative splendor found in classic tales while offering a deep dive into the intimate lives of characters shaped by loss and longing.

This novel lingers in the mind, prompting contemplation about the implications of climate change, the nature of love and betrayal, and the reliability of historical narratives. I highly recommend it for anyone seeking a thought-provoking read.

Emily also recommends…

Briefly Very Beautiful
Roz Dineen (Bloomsbury (UK); The Overlook Press (US))

This novel, released last year, presents a contrasting future for the UK following extreme climate change. Dineen imagines a scorching society, focusing on intense themes of relationships and emotional remembrance, akin to the intricacies in What We Can Know.

Emily H. Wilson is a former editor of New Scientist and the author of the Sumerians trilogy, set in ancient Mesopotamia. The final installment, Ninshubar, is now available. Connect with her at emilyhwilson.com, or follow her on X @emilyhwilson and Instagram @emilyhwilson1