Margaret Drabble: Biography

This paper will then examine the role that family and environmental determinism play in the psychological aging of female character in Drabble's novels. Specifically, the way in which Drabble's women struggle with deterministic problems and attempt to escape an unwel go up heritage that continues to haunt them will be considered. The female protagonists in A Summer Bird-Cage, The Garrick Year, The Millstone, Jerusalem the Golden, and The Needle's Eye will serve as the paper's case studies, as we analyze the way in which determinism affects the lives of severally these women, and ultimately shapes their sense of self.

1. Drabble: The Woman and the Writer

Marg art Drabble is a novelist, but she is a woman first and foremost, and it is important to consider her own life story experiences when analyzing the female characters of her novels. Indeed, there is much in her texts that one dexterity describe as auto-biographical, and the link between her life and opus is should not be ignored as the psychological maturation of women within her vorks is explored. Drabble's life certainly provides an interesting context in which to study the notion of family and environmental determinism in her novels.

Drabble was born on June 5, 1939 in Sheffield, England, though her family moved around quite a bit over the years. She was the second oldest child in a family of three daughters and a son (Moran 3). H

When Drabble finished at the Mount School, she attended Newnham College, Cambridge, where she graduated with reiterate honors in English in 1960. While at Cambridge, she was intemperately involved in university productions, and actually intentionned on an acting career when she graduated, not a literary one (Moran 3). Drabble married Clive Walter bustling in June 1960, shortly after graduation, and like Drabble, Swift was a dedicated actor. The two joined the Royal Shakespeare high society soon after the marriage, but Drabble's career was not winning off in the same way that her husband's was (Sadler 4). Indeed, she asserts that while the members of the club were all quite nice, wives were treated like "stage furniture.

" disdain being Vanessa Redgrave's understudy as Imogen in Cymbeline (Rose 1), Drabble snarl that her career was permanently stalled (Coleman 23).

Rose finally winds up in the bedroom that had belonged to her nanny Noreen. There, she is hit with "intense memories, causing her to live several crucial formative episodes of her childhood" (Moran 70). When Rose departs, she had not gotten any closer to discovering that 'natural connection' between herself and her parents that she is desperate for, but she has come to understand quite a bit about who she is as an individual. Indeed,

There is another recurring theme in Drabble's piece that is worth noting as well, namely the notion of determinism. Drabble does not take that people have a significant amount of unloose will. Instead she believes that "all human activities are planned" (Moran 15). Drabble herself explains, "accidents are all planned, and one's fate is planned. It is going to contain certain accidents. There's vigor you can do about it. I was teaching Oedipus stand up week, and indeed, the idea that whatever you do is all written up for you and that accidents are simply part of some bigger plan made up at some other take care by somebody else is fascinating" (Hardin 283). Thus, b
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