
When Stories Fall Apart: Miriam Robinson on Love, Loss, and Truth
The Shakespeare and Company InterviewShow Notes
In this intimate conversation recorded at Shakespeare and Company, novelist Miriam Robinson joins Adam Biles to discuss her remarkable debut, And Notre Dame Is Burning. Together, they explore the novel’s fractured structure and the emotional aftermath of betrayal, loss, and motherhood. Robinson reflects on her protagonist Esther—a woman piecing together the wreckage of a marriage through letters and fragments—as well as on grief, storytelling, and the disorientation of time. From the shadow of Notre Dame to the uncertainty of rebuilding a life, Robinson examines how women navigate love, autonomy, and the stories they tell themselves. Touching on subjects from miscarriage and memory to patriarchy and the politics of intimacy, this conversation balances literary craft with raw honesty.
Buy And Notre Dame Is Burning: https://www.shakespeareandcompany.com/books/and-notre-dame-is-burning
*
Miriam Robinson is an author who has worked in the world of books and bookshops for over 15 years. Previously the host of podcast My Unlived Life, she holds an MA in Creative Writing from Goldsmiths, University of London and her short fiction has been shortlisted for a Pushcart Prize, the inaugural Pindrop/RA Short Story Prize and the Pat Kavanagh Prize. Originally from Colorado, Miriam lives in East London with her daughter and their six-toed cat Astrid.
Adam Biles is Literary Director at Shakespeare and Company.
Listen to Alex Freiman’s latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3w Hosted on Acast. See acast.com/privacy for more information.
More from The Shakespeare and Company Interview
Jeanette Winterson joined us to celebrate the French edition of One Aladdin, Two Lamps, her book-length exploration of storytelling, built around One Thousand and One Nights. She recalls finding Shahrazad in her hometown library and the insight this led her to: that she could read herself as fiction as well as fact, and so rewrite her own story. The conversation moves from Freud, epigenetics and the plasticity of the brain to Manchester's Industrial Revolution and the lessons we failed to learn from it. Winterson traces AI from Ada Lovelace to Turing to today's tech moguls, making a case for cautious optimism and for calling it "alternative intelligence." She also argues for being present in the world, and looking at art without a phone.
“Childhood is once again a resource to be extracted at any cost.”
Dave Eggers joins us to discuss his 14th novel, Contrapposto, a six-decade love story between childhood friends Cricket and Olympia, illustrated with his own drawings. Eggers traces the book's twenty-year gestation, the moment Olympia's character unlocked its structure, and why he gave Cricket his own boyhood fantasy of being "apprenticed" as a young artist. The conversation ranges widely: the decline of art-school access and the pier-side art collective he's launched in San Francisco; his literacy nonprofit 826 Valencia and its typewriter-obsessed students; and a candid, sometimes fiery take on AI's effect on writing, translation, and education, including an anecdote from his visit to OpenAI's offices.
In the second episode of Editions, a podcast from Shakespeare and Company and Faber, literary director Adam Biles and Faber Editions curator Ella Griffiths are joined by novelist Megan Nolan to discuss Illusions by Ruth Rehmann, in a new translation by Rob Madole, the latest title in the Faber Editions imprint.
Amit Chaudhuri joins Adam Biles to discuss his new novel Chateau Rouge, set not in the postcard Paris of Hemingway and Midnight in Paris, but in the neighbourhood around Gare du Nord — a Paris that resists being known, curated, or confirmed. Chaudhuri talks about writing against the "already known" city, drawing on Roland Barthes and the idea of "heritage modernity" to explain why he wanted to deconstruct Paris's status as a museum-piece rather than a lived-in place. He discusses his narrator's disorientation on arrival, the subtle presence of race and visibility in the book, and how global events — the Gilets Jaunes, the Notre Dame fire — pass through the novel as lived, unfinished moments rather than history. The conversation turns, too, to marriage: how a decades-old, unread copy of A Moveable Feast, gifted by his wife, becomes a quiet emotional throughline.