Sweet Tooth (McEwan)

Sweet Tooth
Ian McEwan, 2012
Knopf Doubleday
320 pp.
ISBN-13: 9780345803450


Summary
In this stunning new novel, Ian McEwan’s first female protagonist since Atonement is about to learn that espionage is the ultimate seduction.

Cambridge student Serena Frome’s beauty and intelligence make her the ideal recruit for MI5. The year is 1972. The Cold War is far from over. England’s legendary intelligence agency is determined to manipulate the cultural conversation by funding writers whose politics align with those of the government.

The operation is code named “Sweet Tooth.”
 
Serena, a compulsive reader of novels, is the perfect candidate to infiltrate the literary circle of a promising young writer named Tom Haley. At first, she loves his stories. Then she begins to love the man.

How long can she conceal her undercover life? To answer that question, Serena must abandon the first rule of espionage: trust no one.
 
Once again, Ian McEwan’s mastery dazzles us in this superbly deft and witty story of betrayal and intrigue, love and the invented self. (From the publisher.)

Author Bio
• Birth—June 21, 1948
• Where—Aldershot, England, UK
• Education—B.A., University of Sussex; M.A. University of East Anglia
• Awards—(see blow)
• Currently—lives in Oxford, England


Ian Russell McEwan is an English novelist. He was born in Aldershot, Hampshire, the son of David McEwan and Rose Lilian Violet (nee Moore). His father was a working class Scotsman who had worked his way up through the army to the rank of major. As a result, McEwan spent much of his childhood in East Asia (including Singapore), Germany and North Africa (including Libya), where his father was posted. His family returned to England when he was twelve.

McEwan was educated at Woolverstone Hall School; the University of Sussex, receiving his degree in English literature in 1970; and the University of East Anglia, where he was one of the first graduates of Malcolm Bradbury and Angus Wilson's pioneering creative writing course.

Career
McEwan's first published work was a collection of short stories, First Love, Last Rites (1975), which won the Somerset Maugham Award in 1976. He achieved notoriety in 1979 when the BBC suspended production of his play Solid Geometry because of its alleged obscenity. His second collection of short stories, In Between the Sheets, was published in 1978.

The Cement Garden (1978) and The Comfort of Strangers (1981) were his two earliest novels, both of which were adapted into films. The nature of these works caused him to be nicknamed "Ian Macabre." These were followed by The Child in Time (1987), winner of the 1987 Whitbread Novel Award; The Innocent (1990); and Black Dogs (1992). McEwan has also written two children's books, Rose Blanche (1985) and The Daydreamer (1994). His 1997 novel, Enduring Love, about the relationship between a science writer and a stalker, was popular with critics and adapted into a film in 2004.

In 1998, he won the Man Booker Prize for Amsterdam. His next novel, Atonement (2001), received considerable acclaim; Time magazine named it the best novel of 2002, and it was shortlisted for the Booker Prize. In 2007, the critically acclaimed movie Atonement, directed by Joe Wright and starring Keira Knightley and James McAvoy, was released in cinemas worldwide. His next work, Saturday (2005), follows an especially eventful day in the life of a successful neurosurgeon. Saturday won the James Tait Black Memorial Prize for 2005, and his novel On Chesil Beach (2007) was shortlisted for the 2007 Booker Prize.

McEwan has also written a number of produced screenplays, a stage play, children's fiction, an oratorio and a libretto titled For You with music composed by Michael Berkeley.

In 2008 at the Hay Festival, McEwan gave a surprise reading of his then novel-in-progress, eventually published as Solar (2010). The novel includes a scientist hoping to save the planet from the threat of climate change and got its inspiration from a 2005 Cape Farewell expedition. McEwan along with fellow artists and scientists spent several weeks aboard a ship near the north pole.

McEwan's twelfth novel, Sweet Tooth (2012), is historical in nature and set in the 1970. In an interview with the Scotsman newspaper, McEwan revealed that the impetus for writing the novel was a way for him to write a "disguised autobiography." McEwan's 13th novel, The Children Act (2014), is about a high court judge.

Controversy
In 2006 McEwan was accused of plagiarism, specifically a passage in Atonement that closely echoed one from a 2012 memoir, No Time for Romance, by Lucilla Andrews. McEwan acknowledged using the book as a source for his work; in fact, he had included a brief note at the end of the book referring to Andrews's autobiography, among several other works. Writing in the Guardian in November 2006, a month after Andrews' death, McEwan professed innocence of plagiarism while acknowledging his debt to the author.

The incident recalled critical controversy over his debut novel The Cement Garden, key plot elements that closely mirrored some of those in Our Mother's House, a 1963 novel by Julian Gloag, which had also been made into a film. McEwan denied charges of plagiarism, claiming he was unaware of the earlier work.

In 2011 McEwan caused controversy when he accepted the Jerusalem Prize for the Freedom of the Individual in Society. In the face of pressure from groups and individuals opposed to the Israeli government, specifically British Writers in Support of Palestine (BWISP), McEwan wrote a letter to the Guardian in which he said...

There are ways in which art can have a longer reach than politics, and for me the emblem in this respect is Daniel Barenboim's West-Eastern Divan Orchestra—surely a beam of hope in a dark landscape, though denigrated by the Israeli religious right and Hamas. If BWISP is against this particular project, then clearly we have nothing more to say to each other.

He announced that he would donate the ten thousand dollar prize money to Combatants for Peace, an organization that brings together Israeli ex-soldiers and Palestinian ex-fighters.

Recognition
McEwan has been nominated for the Man Booker prize six times to date, winning the Prize for Amsterdam in 1998. His other nominations were for The Comfort of Strangers (1981, Shortlisted), Black Dogs (1992, Shortlisted), Atonement (2001, Shortlisted), Saturday (2005, Longlisted), and On Chesil Beach (2007, Shortlisted). McEwan also received nominations for the Man Booker International Prize in 2005 and 2007.

He is a Fellow of the Royal Society of Literature, a Fellow of the Royal Society of Arts, and a Fellow of the American Academy of Arts and Sciences. He was awarded the Shakespeare Prize by the Alfred Toepfer Foundation, Hamburg, in 1999. He is also a Distinguished Supporter of the British Humanist Association. He was awarded a CBE in 2000. In 2005, he was the first recipient of Dickinson College's Harold and Ethel L. Stellfox Visiting Scholar and Writers Program Award, in Carlisle, Pennsylvania, U.S. In 2008, McEwan received an honorary degree of Doctor of Literature by University College, London, where he used to teach English literature. In 2008, The Times (of London) featured him on their list of "The 50 greatest British writers since 1945".

Personal
McEwan has been married twice. His 13-year marriage to spiritual healer and therapist Penny Allen ended in 1995 and was followed by a bitter custody battle over their two sons. His second wife, Annalena McAfee, was formerly the editor of the Guardian's Review section.

In 2002, McEwan discovered that he had a brother who had been given up for adoption during World War II when his mother was married to a different man. After her first husband was killed in combat, McEwan's mother married her lover, and Ian was born a few years later. The brothers are in regular contact, and McEwan has written a foreword to Sharp's memoir. (Excerpted and adapted from Wikipedia. Retrieved 9/4/2014.)

Book Reviews
McEwan is in the first tier of novelists writing in English today.... He has achieved a complete mastery of his craft.
New York Observer


This is a great big beautiful Russian doll of a novel, and its construction–deft, tight, exhilaration immaculate–is a huge part of its pleasure.... Sweet Tooth is a comic novel and a novel of ideas, but, unlike so many of those, it also exerts a keen emotional pull.
Julie Myerson - The Observer


McEwan writes with his usual clinical precision, brilliantly evoking the London of dingy Camden flats, the three-day week and IRA atrocities. His assumption of a female persona is pitch-perfect.
Daily Mail


Thoroughly clever.... A sublime novel about novels, about writing them and reading them and the spying that goes on in doing both.... McEwan has spied on real life to write Sweet Tooth, and in reading it we are invited to spy on him.... Rich and enjoyable.
Financial Times


Gloriously readable and, at times, wickedly funny.
Irish Times


Given the nonstop wisecracks, the book might be most satisfying if read as sheer camp. A twist confirms that the misogyny isn’t to be taken seriously, but Serena’s intellectual inferiority is a joke that takes too long to reach its punch line. McEwan devotees may hope that in his next novel he returns to characterizations deeper than the paper they’re printed on.
Publishers Weekly


A subtly and sweetly subversive novel...and labyrinthine in its masterful manipulation of the relationship(s) between fiction and truth.... Britain's foremost living novelist has written a book-often as drily funny as it is thoughtful--that somehow both subverts and fulfills every expectation its protagonist has for fiction.
Kirkus Reviews

Discussion Questions
1. What is the significance of the epigraph taken from Timothy Garton-Ash’s The File: “If only I had met, on this search, a single clearly evil person”? How does it tie in with the major themes of Sweet Tooth and McEwan’s method of characterization?

2. Why do you believe that the author chose to set a contemporary novel in the England of the 1970s during the lingering Cold War? What contemporary or otherwise timeless themes is McEwan able to treat by adopting this political-historical backdrop? In Chapter 18, Pierre speaks to MI5 of “the softest, sweetest part of the Cold War, the only truly interesting part, the war of ideas” (241). Does McEwan’s novel seem to support this sentiment? How does it treat the subject of a “war of ideas”?

3. McEwan chooses to employ a female protagonist. Is she convincing? What surprises you about her character? Consider your response and reaction to her character. Is she likeable? Are you sympathetic to her? How does the author elicit this response from readers? How is she viewed by the other characters in the novel and how does this affect your own interpretation?

4. Is Sweet Tooth truly a spy novel? How does it fulfill or defy your expectations of this genre? In addition to portraying spying for political purposes, how else is the theme of spying treated? Who in the novel is a spy? Who is spied on and for what purpose?

5. McEwan uses espionage as a device to talk about a wide range of subjects, including secrecy, trust, deception, seduction, betrayal, and truth. Who is betrayed or deceived in the novel? How do they react to these deceptions or betrayals? Are there any characters who can be trusted? How does espionage become a metaphor for the deeper concerns of the novel—in other words, how does genre come to serve as both a symbol of and disguise for theme?

6. How does Sweet Tooth compare to McEwan’s 1990 spy novel The Innocent? What do the two novels share in common? Do the works address the same themes? Though they might be assigned to the same genre, how are the two books different?

7. Serena says that “[a]ll she wanted was [her] own world, and [herself] in it, given back to [her] in artful shapes and accessible form” (105). Later in the novel she explains that she believes that “[t]here is, in [her] view an unwritten contract with the reader that the writer must honor. … The invented had to be as solid and as self-consistent as the actual.” How do her statements correspond to Haley’s works? And to Sweet Tooth itself? Do both abide by this contract?

8. In Chapter 8, Serena says that “Haley had got under [her] skin, and [she] wondered if he was one of those necessary men”—an “impermissible” thought, she adds (105). What does she mean by this? Why might this characterization of Haley be considered “impermissible”?

9. Excerpts from Haley’s short stories are peppered throughout the novel. What impact does McEwan’s use of metafiction—described by The Guardian’s Julie Myerson as a Russian doll effect—have on the reader? How are the major themes of the novel mirrored—or otherwise contradicted—in Haley’s stories?

10. Serena accuses Haley of “easy nihilism” (196). What does she mean by this? Does Haley’s own world-view, in fact, seem consistent with the view touted in his apocalyptic novel? Do Serena’s observations about “easy nihilism” affect your reaction of her actions throughout the novel?

11. Pierre speaks to the employees of MI5 of “the hazardous terrain where politics and literature meet” (244). How does the novel speak to the subject of cultural freedom or control of cultural conversation? Is this topic still relevant today?

12. Why doesn’t Serena tell Tom about her work? Could she have told him? Should she have? Consider Tom’s account of his discovery of Serena’s role in Operation Sweet Tooth. What does her dilemma and Tom’s reaction seem to indicate about ethics and morality? Are the views evinced by each character consistent with or in opposition to one another?

13. What view of religion and faith is presented in the novel? Consider the descriptions of the church and evaluate Serena’s relationships with her father, The Bishop. How does his character—and her relationship with him—seem to shape Serena's character and affect her relationship with men henceforth? Revisit the scene where Serena returns home and cries on her father’s shoulder. What is his response? Is it one we might expect? What other kinds of faith are evidenced—or absent—in McEwan’s novel?

14. How does the conclusion of the book change your view or perception of the preceding events and of the characters involved? Of the book’s overall messages and themes?

15. McEwan seems to be employing first person narration, presenting an accounting as memoir. How does the shift in narration and voice affect your interpretation of the story?  Are the narrators reliable? Consider the delivery of information and the relationship of this delivery to what we believe as readers and perceive as truth. How easy it for the characters to distort the truth but gain or preserve trust? How do these questions tie in with a larger conversation about propaganda treated in the novel?

16. McEwan confirms that Sweet Tooth contains semi-autobiographical elements. What are these parallels and where do these parallels diverge or end? How alike are Haley and McEwan? McEwan and Serena? What does this tell readers about the relationship between reality and fiction—or else the disparity between the two?

17. The novel contains information about writing and reading, but it also creates a dialogue about literary criticism. How do Serena and Tom differ as critics? What seems to shape their opinions? How is Tom’s own novel received by critics? How does this compare to the critique of the book by Serena or other employees of MI5? Likewise, how do Serena’s literary tastes change throughout the novel?

18. Subversion plays a major role in Sweet Tooth. Consider not only how readers’ expectations are topped, but how the characters’ expectations are consistently defied. Many of the characters are not who we expect. In addition to the complexity of Serena’s character, Canning is revealed as a spy, Jeremy confesses that he is homosexual, and Max is engaged and so forth. What, then, does the novel suggest about what we can know—or what we cannot know—about others? About our own identity?

19. What does Sweet Tooth reveal about the process of writing itself and the genesis of a work of literature? What does it reveal about reading? Consider Serena’s description of writing in Chapter 5, but also, what do Haley and his stories lend to this dialogue, or the account of Operation Mincemeat? Finally, what does the form of McEwan’s own novel contribute on this subject?
(Questions issued by publisher.)

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