Works
Drabble has published seventeen novels to date. Her first novel, A Summer Bird Cage, was published in 1963. Her early novels were published by Weidenfeld & Nicolson (1963–87); more recently, her publishers have been Penguin and Viking. Her third novel, The Millstone (1965), brought her the John Llewellyn Rhys Memorial Prize in 1966, and Jerusalem the Golden won the James Tait Black Memorial Prize in 1967.
A theme of her novels is the correlation between contemporary England's society and its individual members. Her characters' tragic faults reflect the political and economic situation and the restriction of conservative surroundings, making the reader aware of the dark spots of a seemingly wealthy country. Most of her protagonists are women. The realistic descriptions of her figures often owe something to Drabble's personal experiences. Thus, her first novels describe the life of young women during the late 1960s and 1970s, for whom the conflict between motherhood and intellectual challenges is being brought into focus. 1998's The Witch of Exmoor finally shows the withdrawn existence of an old author. Though inspired by her own life, her works are not mainly autobiographical. She has also written several screenplays, plays and short stories, as well as non-fiction such as A Writer's Britain: Landscape and Literature and biographies of Arnold Bennett and Angus Wilson. Her critical works include studies of William Wordsworth and Thomas Hardy. Drabble also edited two editions of The Oxford Companion to English Literature. In 2011, A Day in the Life of a Smiling Woman, a collection of Drabble's short stories, was published.
Read more about this topic: Margaret Drabble
Famous quotes containing the word works:
“His works are not to be studied, but read with a swift satisfaction. Their flavor and gust is like what poets tell of the froth of wine, which can only be tasted once and hastily.”
—Henry David Thoreau (1817–1862)
“The appetite of workers works for them; their hunger urges them on.”
—Bible: Hebrew, Proverbs 16:26.
“Was it an intellectual consequence of this ‘rebirth,’ of this new dignity and rigor, that, at about the same time, his sense of beauty was observed to undergo an almost excessive resurgence, that his style took on the noble purity, simplicity and symmetry that were to set upon all his subsequent works that so evident and evidently intentional stamp of the classical master.”
—Thomas Mann (1875–1955)