The Sea Lady

Humphrey Clark and Ailsa Kelman spent a summer together as children in Ornemouth, a town by the gray North Sea. Now, as they journey back to receive honorary degrees from a new university there—Humphrey on the train, Ailsa flying—they take stock of their lives, their careers, and their shared personal entanglements, romantic and otherwise. Humphrey is a successful marine biologist, happiest under water, but now retired; Ailsa, scholar and feminist, is celebrated for her pioneering studies of gender. Their mutual pasts unfold in an exquisite portrait of English social life in the latter half of the twentieth century.

Editorial Reviews

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The New York Times - Paul Gray

The greater amazement is that The Sea Lady, despite all its cumbersome digressions and interjections, achieves a clear, convincing, transcendent moment at the end. It s possible, upon closing the book, both to wonder what Virginia Woolf would have made of the eukaryotic microbe and how Margaret Drabble managed to pull a touch of magic out of such a prosaic old hat.

Publishers Weekly

The bold latest from by the ever-inventive Drabble (The Red Queen, etc.) tells the tale of two aging academics Ailsa Kelman, flamboyant feminist activist and TV talking head, and marine biologist Humphrey Clark who are traveling separately to the North Sea coastal town of Ornemouth: she's presenting a book award that he, unknowingly, will receive. The two met at Ornemouth as children one summer toward the end of WWII; they lost track of one another and haven't seen each other since their brief, disastrous marriage in 1960s London. A cocky narrator reveals the charged memories, of childhood and beyond, that the trip triggers for both and occasionally breaks free to fill in narrative gaps and pose destiny-altering scenarios. Neither is content: Humphrey is lonely and dissatisfied by his scholarship's mere competence; Ailsa, twice divorced, is uncertain if she's a success or a caricature of success (her cervix has been on TV). Secondaries include red-headed local boy Sandy Clegg, and Ailsa's rich, unscrupulous brother Tommy, in thick with the royals. Nothing as simple as a love story, this prismatic novel shines as a faceted portrait of England's changing mores, as an ode on childhood's joys and injustices, and a primer for marine biology, complete with hermaphrodite crayfish and fossils of sea lilies. Seductive as the tides, it pulls the reader in. (May)Copyright 2006 Reed Business Information.

About The Author:

With her shrewd, mannered descriptions and dialogue, Drabble can say a lot. Take this line from The Witch of Exmoor: "He bites his nails between grapes, and avoids eye contact. A mother -- but perhaps not his -- would note that he is too thin." The British author, who has been writing surprising and clever novels for some 40 years, tends to remain focused on female protagonists; but she is inventive when it comes to narration, sometimes where you least expect it. The Witch of Exmoor, for example, has a wry, omniscient narrator who begins with a godlike, "Begin on a midsummer evening. Let them have everything that is pleasant." In 2002's The Seven Sisters, the first section of the book is the main character's (often self-critical) computer diary, and unexpected shifts in perspective follow.

Her variations in narrative structure and her injection of political and social commentary into her works makes Drabble a particularly challenging and interesting writer. Her return to fiction after a seven-year gap, 1987's The Radiant Way, became a trilogy (completed by A Natural Curiosity and Gates of Ivory) that veered slightly into international adventure territory. Ivory, for example, flips between psychiatrist Liz Headleand (one of the three women first featured in The Radiant Way) and the writer friend for whom she is searching, a man who has gone to Cambodia for research. Unfortunately, several of Drabble's early and highly praised novels (including the first two books of the aforementioned trilogy) are out of print in the U.S. It's a shame, because those books are the ones that established Drabble as an important writer, and are the templates for Drabble's independent, intelligent heroines on the road to self-discovery.

A few critics who have been admirers of Drabble's since she began writing in the 1960s have gone sour on the author in her later years. On the release of The Witches of Exmoor, a Toronto Sun critic wrote, "I am so sad and sorry to report that Margaret Drabble, once one of the best novelists on earth, is past her best," calling the novel a "rehash." Of 2002's The Seven Sisters, the story of middle-aged divorcee Candida Wilton's experiences as a newly single woman, a critic for Britain's Observer lamented the book's unconventional and somewhat cagey approach toward the end. "Altogether, Candida is alive enough that the novel's truncations ache like phantom limbs," the critic wrote. "The realised heroines of Drabble's magnificent books from the 1960s or 1970s would say to Candida, Tell me what it is like to be you."

Ultimately, part of the push and shove over Drabble's work comes down to a tension between literary invention and reader satisfaction; she has often been criticized for not caring enough about her characters to make them engaging. The New York Times wrote of The Gates of Ivory, "It's about politics and literature, terrorism and atrocities, love and life and death.... But ideas do not make a novel. Characters do. And we need to care about them, deeply." However, consider The Nation's take: "What I love about this novel is what I love about the best of Drabble's works -- it's rich and complex and allusive and textured and intertextual and takes on the big questions: life and art, representation and responsibility, the possibility of political action, the question of human nature. It's a novel of ideas at a time when most fiction seems deliberately lobotomized."

Good To Know

Possession author A. S. Byatt is Drabble's older sister. There was too much competition," Byatt says about her childhood relationship with her sister. "We didn't get on."

Drabble was an actress with the Royal Shakespeare Company after she graduated from college, and was an understudy for Vanessa Redgrave; she married fellow RSC actor Clive Swift in 1960. The two divorced in 1975, and Drabble later married biographer Michael Holroyd.

Also a scholarly writer of biography and nonfiction, Drabble has written several forewords to editions of Jane Austen's work as well as lives of novelists Arnold Bennett and Angus Wilson. The nonfiction includes a 1990 analysis and critique of property law, Safe as Houses.

Drabble has also written several plays including Laura, Isadora, and Bird of Paradise. She adapted her novel The Millstone as the 1969 film A Touch of Love.