Professional Documents
Culture Documents
FACULTY OF EDUCATION
DEPARTMENT OF ENGLISH LANGUAGE AND LITERATURE
Brno 2011
Supervisor:
Mgr. Lucie Podroukov, PhD.
Written by:
Bc. Hana Sedlkov
Bibliografick zznam
SEDLKOV, Hana. Women in the Post World War II Britain in Margaret Drabbles
novel The Radiant Way: diplomov prce. Brno: Masarykova univerzita, Fakulta
pedagogick, Katedra anglickho jazyka a literatury, 2011. Vedouc diplomov prce
Mgr. Lucie Podroukov, PhD.
Anotace
Diplomov prce Women in the Post World War II Britain in Margaret Drabbles
novel The Radiant Way (Ziv cesta) se zabv otzkami ensk emancipace
probhajc v Britnii v osmdestch letech minulho stolet. Zkoum pedevm
vrohodnost dobovch zznam zachycench autorkou v romnu a porovnv je
s dobovmi zznamy zpracovanmi odbornky v pslun oblasti. Zaznamenv shody
a rozdly mezi autentickmi a autobiografickmi udlostmi na bzi romnu. Diplomov
prce se pedevm sousteuje na takov problmy, jako je feminismu, vzdln,
manelstv, rozvod, rodinn ivot, polick a socilnmi reformy v Britnii pod vedenm
Margaret Thatcher a sleduje jejich dopad na osudy hrdinek v romnu Ziv cesta a
Pirozen zvdavost. V prvn sti diplomov prce se rozebraj typick tvr a
vypravsk rysy Margaret Drabble. Druh st se zabv shodami mezi ivotnmi
osudy autorky a jejmi hlavnmi hrdinkami v romnu. Tet st si vytyila jako hlavn
tma vyobrazen skal rodinnho ivota, jak z pohledu utlaovan, tak i emancipovan
eny. tvrt st zkoum historii feminismu a jeho dopad na osudy modern eny. Pt
st se zabv otzkami nerovnoprvnosti en ve vzdln a posledn st zpracovv
politick, ekonomick a sociln rozpory v zemi v obdob Thatcherismu.
Annotation
The diploma thesis Women in the Post World War II Britain in Margaret Drabbles novel
The Radiant Way deals with the questions of women emancipation proceeding in Britain
during the eighties of the previous century. It mainly focuses on the authenticity of
records portrayed in the novel by the author and compares them with the records written
down by the experts in the particular fields. The thesis follows the similarities and
differences between the authentic and autobiographical events on the basis of the novel.
The diploma thesis is mainly focused on the issues, such as feminism, education,
marriage, divorce, family life, the political and social reforms in Britain under the
leadership of Margaret Thatcher, and examines their impact on the destiny of the main
heroines of The Radiant Way and A Natural Curiosity. Margaret Drabbles typical
literary and stylistic features are discussed in the first part of the diploma thesis. The
second part deals with the similarities between the authors autobiographical
experiences and her main heroines in the novel. The third part sets as its main goal the
description of the difficulties connected with the married life, and so as from the point
of a battered woman, so from the point of an emancipated one. The fourth part explores
the history of feminism and its impact on the fortune of a modern woman. The fifth part
deals with the questions of women inequality in the field of education and the last part
treats the political, economical and social conflicts in the country during the Thatcherite
era.
Klov slova
Key words
Feminist Issues, suffragist, pre-menstrual tension, male chauvinism, class differences,
divorce, provincial town, World War II, mother, paedophilia
Declaration
I declare that I worked on my thesis on my own and that I used the sources mentioned
in the bibliography.
Acknowledgements
I would like to thank to all who have helped me with the work on my diploma thesis,
namely to Mgr. Lucie Podroukov, PhD. for her kind help and valuable advice which
she had provided me as my supervisor.
CONTENTS
1.
INTRODUCTION..............................................................................................................................7
2.
3.
4.
5.
EDUCATIONAL EQUALITY........................................................................................................44
5.1 THE POST-WAR DREAM WHICH DID NOT COME TRUE.........................................................................58
5.2 THE UNIVERSITY OF THE AIR............................................................................................................61
6.
7.
8.
CONCLUSION.................................................................................................................................99
9.
RESUM.........................................................................................................................................102
RESUME..................................................................................................................................................102
10.
BIBLIOGRAPHY..........................................................................................................................103
11.
APPENDIX.....................................................................................................................................115
1. Introduction
There are some writers who wrote too much. There others who wrote enough.
There are yet others who wrote nothing like enough to satisfy their admirers, and Jane
Austen is certainly one of these.
Margaret Drabble
Margaret Drabble is considered one of the most respectable British female
novelists of the post war period. What makes her style of writing so exceptional is the
combination of innovative narrative skills, a rather distinctive female point of view and
her rich literary experience, influenced to a large extent by her contemporary, Doris
Lessing. These features allow Drabble to deal well with the important social, cultural
and political changes, as well as hot feminist issues of the 20th century.
In the past female novelists could not write so openly about burning feminist
demands, they were bound with strictly set literary conventions. Despite that, such wellknown household names as Jane Austen, George Eliot and Virginia Woolf made a very
positive contribution to the concept of feminism through their approachable novels.
Bearing this in mind, Drabble frequently uses their examples in various assimilations of
certain aspects of traditional Victorian and Edwardian feminine roles depicted in her
novels. However, Drabbles main aim is to portray the true and realistic world of
contemporary English middle-class, middle-aged women with all of the crises and
conflicts unfamiliar to their ancestors.
Crossing further literary borders of feminine emancipation was a big challenge
for the women writers of the late 19th and later on mid-20th centuries. The last period
besides long-awaited freedom brought new radical social, political and cultural reforms.
It meant a big responsibility for the output of contemporary female writing society. As
full participants of the ongoing process, it was their task to embody these newly gained
hopes in fictitious arrangements of plots, characters and events of literary works created
at that time. On their way to liberal interpretation of the profound effects, these female
writers were encouraged by the strong power of the second wave feminism. The
meaning of waiting for the long-expected changes might be symbolically reflected in
the begging of Drabbles novel The Radiant Way (1987), which starts with the pompous
New Years Eve party to welcome the new beginning.
Margaret Drabbles literary career is closely connected with the feminist theories
going around in the Britain of the mid-twentieth century. They form an essential
7
component of most Drabbles novels. Margaret Drabble claims that the novel is ideal
place for women to deal with the issues raised by the womens movement (URL 69)
and she adds that many people read novels to find patterns or images for a possible
future to know how to behave, what to hope to be like (URL 69).
Male and female characters of Drabbles novel The Radiant Way focus their
attention on complex feminist issues, such as education, sexuality, marriage, divorce,
motherhood, family roots and political stability of the country. All of them have
significantly altered the should-be solid nature of personal lives, believes, images and
visions. And all of them are mostly portrayed on the background of sweeping political
and economical reforms of the 1980s in England under Thatcher.
The stylistic composition of The Radiant Way is absorbing for its noteworthy
mixture of fictional, autobiographical and historical elements which run through the
whole story and form a complicated relation which is in many sequences of the plot
difficult to hold apart. Margaret Drabble admits that what causes her as an author of
fiction worriers is to distinguish the borders between the real world and the personal
freedom of illusion. Her frequent question is: Could this ever have happened? (URL
70).
The main aim of this diploma thesis is to compare the reality of the Britain of the
1980s depicted in Drabbles novel of fiction, The Radiant Way, to the bibliographical
entries written down by the contemporary experts in the particular fields. The main task
has been based on setting the similarities and differences between the authors evidence
and the historical, political and social records stated in the primary informal sources
listed in the bibliography. This form of research would like to find out to what extent
this novel might be considered the authentic account of life of the woman living in that
era, and to what extent it was influenced by the authors autobiographical experiences.
In the second chapter I am going to deal with the features highly significant for
Drabbles rare narrative style of writing, on the time and setting of the plot and social
classes which Drabble portrays in her novels. In the third chapter I would like to focus
on the similarities and differences between the authors own childhood and mature life
in comparison with the destiny of the novels main heroines, Liz Headleand, Alix
Bowen and Esther Breuer. Then, the fourth chapter focuses on the insecurities of family
life, deals with the issues which Drabble deeply analyses in The Radiant Way, and on
circumstances which influence the destiny of main heroines living in London and
Shirley Harper, a woman who lives in the provincial district of Northam. The fifth
8
chapter reveals the feminine unequal path through British educational system, leading
from the mid-eighteenth century to the advantages and disadvantages of the Open
University. There are also stated the main acts and forms of schooling institutions. The
aim of the sixth chapter is feminism and its most important representatives such as
Millicent Fawcett or Emmeline Pankhurst. The final seventh chapter deals with the
political, social and economical reformation in the country under Margaret Thatchers
leadership. Because it is rather difficult to keep the two most important periods depicted
in the book together, there is one chapter for each of them. The system of dealing with
them is then a bit different.
What connects all these materials together is the authors prime interest in the
importance of feminist issues for Margaret Drabbles novel The Radiant Way.
Nevertheless,
contemporary
female
novelists
handle
the
history
which
brought
such
poems
as
Thatcherism,
The
concept
of
the
plot
continues
to
11
one sequence of the plot, Liz claims about Alixs socialistic approach
to the declining British society:
Alix has given up hope of ever getting anyone to do
anything. She thinks its all hopeless. Alix told me that she
herself threw a crisp packet out of the car window on the
way to Wanley the other night. Littering the A10. The lovely,
scenic A10. She said she thought it would never come to
that. (Drabble 1988: 246)
The littering of A10 road symbolizes Alixs lost hope in old
values, the implicit assumption that with the changing society all the
important principles of the old regime have definitely gone.
Drabble is considered to be the master of social observation.
She compares different panoramas of the rich south and the poor
north part of the country, she writes about different culture, education
and
attitudes
of
local
people.
Whenever
she
describes
the
brought
radical changes
into the
and
gain
much
stronger
power
in
education,
marriage,
accommodation in the centre, are not able to pay their debts off.
Esther Breuer, who owns a rented flat in Ladbroke Grove, dreams
about a country house where she could live rent-free, in a cottage
standing empty, she could keep at bay the nettles and the ivy
(Drabble 1988: 192). The bad payment conditions make of people
dwellers
of
poor
slums
on the
outskirts.
Unemployment
and
he wants (URL 48). All these features of her writing are more than
visible in the storyline of the trilogy.
Stella weighs twelve stones, hates university, is very
unhappy, does not get on well with either Liz or Charles, and
with some justification thinks herself neglected, the
neglected runt of the family. She will be neglected by this
narrative too, for thus is the injustice of life compounded.
But it has to be said that none of the Headleand children will
get much of an appearance here. They will serve only as
occasional chorus. There are too many of them to be treated
individually. And anyway, Charles himself is only a small
subplot. This is not the Headleand saga. You do not have to
retain these names, these relationships. (Drabble1990: 30)
Drabble adds the key moments of her own life to the story and
mixes them with the destiny of the main protagonists. On the way
how these grown-up, middle-class people think, behave, dress, study
or eat, Drabble stress out the variety of viewpoints persistently
afloating among the Londons inhabitants. Through their eyes it is
possible to perceive the same inequalities which have been peculiar
to the people living behind the borders of the English Channel for
centuries. Power, authority, wealth, income, unsecure job situation,
political opinions, material conditions are the most significant
symptoms of the class and genre differences, frequently repeated
throughout the story
evident, but the content itself is rather different. For Esther, Jane
Austens novel is too shallow, ironic, influenced by the old-fashioned
manners of the eighteenth century which she cannot fully understand
because of her foreign origin:
In fact, perversely, Esther Breuer disliked the only Jane
Austen novel she had ever read (which was, perversely,
Sense and Sensibility) and frequently boasts of her inability
to tackle the others. Too English for me, she will
sometimes add, in her impeccably English middle-class
intellectuals voice (Drabble 1988: 84).
The crucial drawback in Esthers life was the impact of the
World War II, especially fascism. Esther Breuer, the second key female
protagonist, is a daughter of Jewish immigrants. As a child born in the
bad war time of the Nazi regime, her parents were forced to flee
native Germany and settle down in Britain. They were one of the
luckier families who were given the permission to become regular
British citizens. The huge immigration wave ended in 1938 with the
vian conference, which gave the green light to Hitlers inhuman
abuse. The horrid circumstances of the uneasy childhood tightly
joined Esther with her brother, Saul, a student of the law in one of the
redbrick universities, the Kings. As Drabble further comments: They
were both lucky to be alive (Drabble 1988: 93):
Saul had been born in Vienna, in 1931. Esther in Berlin, in
1935. They were both lucky to be alive. They had huddled
together, small exiles, refugees, in a boarding-house in
Manchester, while their mother looked for work and their
father hung on in Berlin trying to assemble his papers. He
assembled them: he got out just in time, he joined his wife
and children: he re-established himself as a manufacturer of
optical devices: but those early years left their mark. Or so
Esther said. (Drabble 1988: 93-94)
To support the starving family, their father started his own
business, which turned out to be a great success. According to the
statistics, for a hundred years at least, many of the most successful
19
love with her older brother, Saul, whom nobody had ever seen
(Drabble 1988: 93).
By the use of all these signs, Drabble probably intends to
highlight Esthers different sexual orientation. It is suggested that
one way in which women have protested against being accorded an
inferior position in society is through lesbianism, not just as sexual
preference, but as a style of life (Arnot 1986: 42):
It took Liz over two decades to read the signals of Esthers
room, and to recognize the affinities of its dcor. Through her
Cambridge years and long afterwards she simply accepted
them as evidence of Esthers eccentricity and originality
and it was not, after all, difficult to be original in a period
when most female undergraduates, fresh from school and far
from well off, ventured little further in terms of home-making
than a cushion or a chianti bottle, a photograph or a teddy
bear, a gingham frill round an orange box or a postcard
collage on the wall, a modernist paper mobile or an
arrangement of seaside pebbles (Drabble 1988: 94).
Another resemblance between Esther and Drabble is in their
shared interest in the red colour. Even if it seems impossible to find a
particular connection between red and Freuds psychoanalytical
approach, Drabble often uses their combination in the story. She
personally says about her passion for red: I love red wall. I love being
inside red. I am sure that there are all sorts of ways to read into that
(URL 91). It is obviously believed that red is the colour of fire and
blood, so it is associated with energy, war, danger, strength, power,
determination, as well as passion, desire, and love (URL 74).
Margaret Drabble provides the explanation for her passion for the red
colour in one of her interviews:
I did a reading in North Yorkshire back home, and a woman
came to a reading who was wearing the most beautiful red
dress. She must have been in her 70s. She had this long full
red dress. It wasnt at all a formal occasion. She was really
wonderful. She said, Im doing this especially for you. One
of the things Ive learned in life is that every woman needs a
black dress and every woman needs a red dress. And I just
21
thought that so amusing that she felt this sort of kinship with
it. (URL 70)
All these emotions have become a fixed part of Drabbles
storytelling skills. The Radiant Way is not thus an exception.
But, years later, Liz found herself visiting the Freud museum
in Berggasse in Vienna, and there she suddenly saw it all
the red walls, the figurines, and, perhaps most distinctively,
the predominance of red carpet-cushions, the characteristic
mixture of Persian geometric patterns on floor and couch a
Jewish mixture, a Viennese mixture, a Freudian mixture? Liz
did not know, and doubted if Esther knew. She had noticed
earlier, of course, Esthers particular liking for red. The walls
of Freuds consulting room were red also. Liz found this very
interesting, but did not comment on it to Esther. Esther
claimed not to be interested in Freud. (Drabble 1988: 94)
Alix Bowen, ne Doddridge, is the third notable character of the
trilogy. There isnt much what Drabble shares with this heroine except
the early marriage. There arent many articles which inform Czech
readers about Drabbles interest in the policy of the country apart
from a few interviews. But one thing is obvious; she rather prefers the
end old system with a certain hint of cynicism being afraid of the
unstable future of her country. The same pattern of persuasion is
evident from Alixs behaviour in the extract stated above. Margaret
Drabble once said about her political identity:
I recently re-read The Realms of God [1975], and it was a
very strange experience because I did find it quite optimistic
and innocent and hopeful in some ways. It did go back to a
period of my life when I had different political expectations. I
think that the voice in The Witch of Exmoor [1997] is most
cynical. It was written at the end of Margaret Thatchers
regime, well, in the post-Thatcher period when politics in
Britain had become so shabby and despairing that even the
people who were in power had lost all faith in themselves.
There was just nothing happening at all, and I think The
Witch of Exmoor reflects that. There was a feeling of
complete cynicism. (URL 48)
22
political identities
24
25
bread, potatoes and meat got even stricter after the war because of
the bad economic situation of the country devastated by the continual
era of fighting. These cuts of the budgetary strategy were carried out
till the 4th July, 1954 (URL 95). It is known that such strict rationing
caused many people to buy food on the black market, however people
were often tricked with cheaper substitutes such as horsemeat
instead of beef (URL 95). There are two extrinsic parts of the story in
which Drabble wittingly describes the tough life at that time.
Firstly, people were forced to live on a tight daily budget.
Various substitutes and replacements were then in need. Rita
Ablewhite, the cursed mother, is described as a person who: had
lived for years on diet mixes and biscuits, on raw packets of jelly and
soup cubes (Drabble 1988: 147). She didnt bake, she didnt cook,
she fed her daughters on dry goods, raw goods, straight-from-the-tin
goods (Drabble 1988: 147). It is therefore easy to imagine how Lizs
younger sister, Shirley, must have been amazed after she had
entered the kitchen of one of her school friends mother to see her
baking:
A smell of cooking and warmth filled the kitchen from the
old-fashioned kitchen range. Jam tarts, rock buns, a lemon
cake, coconut fingers, cheese scones. Those were the days
when a housewife would bake for a week. Rationing days,
still: substitute ingredients, poor substitutes, to Junes
mother; dried egg, turnip-extended jam, margarine; but to
Shirley and June, Gods plenty (Drabble 1988: 147).
Secondly, all the things that surrounded Lizs lonely and isolated
childhood days in their home in Abercorn Avenue were there only
because of their practical purpose. No place for toys, for baby dolls,
even not for a tiny Christmas tree. When Liz returns back in her
memories, she sees her first home as a place which:
It had been dark, and cold: low-watt electric bulbs had to be
extinguished each time one left a room, a corridor, noting
could be left lit or burning. Bedrooms were unheated there
was a single-bar electric fire in the dining-room which Shirley
27
fifties
and
sixties.
Suddenly
the
secret
in
Lizs
family
that: She was very near these monsters: she could smell them in
their caves, she could smell them in the cave of her own body
(Drabble 1988: 385)
29
Lizs blood is the same blood of her mentally ill father, who
finished his tragic life by committing a suicide. Is it because of her
origin that Liz feels lust which tempts her to her former husband,
Charles Headleand? Is it the reason why she tried to hide the first
symptoms of the unavoidable ripening in front of her mother? It all
makes sense now after the uneasy discovery:
Guilt, furtiveness, shame, concealment. Liz had experienced
more of these in her girlhood than might, she had later
discovered, be considered normal. She had known early that
sex was wicked, that the changes in her body augured
delinquency, that the satisfying of its urges would bring
disaster. She could never discover the roots of her
knowledge and was disappointed (lastingly) in Karl her
analyst because he could suggest no acceptable
explanation: he continued, apparently, to believe that Liz
had merely been struggling against a strong parental
prohibition against masturbation in early infancy. Liz knew
that there was more to it than that. (Drabble 1988: 140)
In The Radiant Way to mark the beginning of moral decay,
Drabble explores one of the seven major sins in Theology lust, and
with it connected incest and adultery. Theologians often speak about
various forms of lust as it is a consummated external sin, e.g.
fornication, adultery, incest, criminal assault, abduction and sodomy
(URL 75). Drabble spots the beginning of Lizs internal sexual
addiction in her fathers objectionable behaviour. It is generally
believed that father-daughter incest was for many years the most
commonly reported and studied form of parental incest (URL 76).
Nowadays, when the social banned taboos are openly revealed,
many participants claim to have enjoyed the act and its physical and
emotional
consequences
(URL
77).
Drabble
depicts
the
rare
moments of parental love writing: Yes, she had sat upon her fathers
knee, learning to read from this very book. She had rubbed herself
like a kitten up and down, sitting astride her child-molester fathers
knee. Spelling out words to Father. Enjoying the coarse fabric of his
trousers. Enjoying his illicit smell. Giggling as he tickled her and
30
played with her. Damp between her innocent infants legs (Drabble
1988: 386).
Meanwhile, Liz Headleands mother, Rita Ablewhite, had been
shut in her attic flat in Abercorn Avenue, cautiously tried to avoid the
noisy world behind its threshold. Being an upper-middle class woman
expecting an illegitimate child, she was forced to marry a man who
later turned out to be a criminal. Thus, she condemned herself to the
life in despairing solitude, evidently afraid of the refusing public
opinion.
Nevertheless, in the storyline Rita seems to be satisfied with the
life on her own in a three-bedroomed, bay-windowed, 1920-built
suburban semi-detached house (Drabble 1988: 182), enjoying the
only company of her old-fashioned wireless. British elderly generation
prefers its independence and privacy for various reasons and the
radio seems to be a powerful means of entertainment.
The radio broadcasting started shortly before the war. In the
World War I wireless transmission proved itself an invaluable military
tool on land, sea, and air (URL 98). The reliable source claims that
the radio broadcasting reached the height of its influence and
prestige worldwide during World War II, carrying war news directly
from the battlefronts into the homes of millions of listeners (URL 98).
Its announcers were known to speak with the polite RP accent. Thus
Rita made her daughters learn to speak correctly, to speak like the
voices on the wireless to which she so tirelessly attended (Drabble
1988: 149). The British Broadcasting Corporation kept people
informed in many forms and about many topics. And so the woman
who Liz describes as alone, ever alone untelephoned, distant,
incomprehending,
incomprehended,
remote,
mad,
long
mad,
popularity
among
young
people.
Liz
detested
the
fangs and horns and sprout black monstrous wolfish hair, who claw and cling and bite
and suck (Drabble 1988: 13). To put end to domestic violence and sexual harassment
were only two of the main goals of the feminists in the sixties. A divorce followed.
Many experts on profound questions about family matters claim that there had been a
considerable increase in the incidence of divorce, which trebled from 1966 to 1976
(Arnot 1986: 44). Their approaches to the matter of the radical Divorce Reform of 1969,
which simply required evidence of irretrievable breakdown of the marriage after a
period of two years (Hopkins 1991: 165), are divided into two viewpoints. On the one
hand, it was believed to help people locked in bad marriages (especially those with an
insane or cruel spouse) (Arnot 1986: 45). On the other hand, some of them argued that
to make divorce any easier would further encourage the breakdown of the family
(Arnot 1986: 45). There were also those people who opposed the reform blaming for the
inability to deal with necessary family obligations the increasing hunger for new sexual
adventures preferred to the stability of home environment. Drabble treats the questions
of lax morality and deviant behaviour of the 1990s British society in the subsequent part
of the trilogy, A Natural Curiosity (1989).
The second engagement of Alix and Sebastian Manning soon
followed. Unlike Liz, Alix was sure, right from the wedding day, that
she got married to a man she no longer wanted, at the age of
twenty-one (Drabble 1988: 97).
The marriage of the children of the hour (Drabble 1988: 96),
of the revolting teen generation, showed to be a big mistake from its
beginning. Sebastian Manning, a man with great future ambitions, is
an example of a weak male character inside the novel. In hints
Drabble slowly discloses Sebastians different sexual orientation. In
1953 the conception of homosexuality was not a taboo. Its presence
had been reported in all the existing levels of English society. The
sources claims that this different sexual orientation was to be found
not only among those possessing a high degree of intelligence, but
also among the dullest oafs (Hopkins 1991: 192). At the time of
Sebastian Manning youthful manhood experiences, homosexuality
was still treated as a major criminal offence, till the Wolfenden Report
(1957) changed the global view. It is interesting to notice Drabbles
34
use of the number 21. In the Report this number was approved to be
the recommended age of consent between homosexuals. Drabble
describes Alixs first emotional disillusion:
Alix was a virgin. She had tried to disembarrass herself of
her virginity, and had been certain, once she started going
steady with Sebastian, that this would be accomplished. But
Sebastian had not seemed eager to take the final step. She
had suggested to him, although of course not in words, that
it would be a good idea to alter their pattern of lovemaking
to something a little more adult, but he had moved away:
shrunk, dwindled, and moved away. And since that
movement, that rejection, Alix had felt her own desire
diminish. (Drabble 1988: 97)
The ongoing affluent time, the time of plenty had its weak
points. The promised happiness of the sensibly married couple soon
changed into boredom, followed by the feelings of depression and
distress. The desperate Alix unsuccessfully tried to commit a suicide
and life on the pills did not cheer her up, either. Drabble describes
Alixs hopeless situation stating: Sebastian got a job, as easily as he
had said he would, working for an intellectual left-wing magazine. Alix
applied for jobs until she found she was pregnant, then gave up and
sat at home. She was deeply depressed, and felt guilty about her
depression She did not want a baby. She never wanted to sleep with
Sebastian again (Drabble 1988: 98). The birth of their son Nicholas
helped her get over the days spent alone, without her unfaithful
husband. She no longer knew if she was happy or unhappy, cheerful
or depressed, as she gazed at the infant lying in his pram, asleep in
his cot, kicking on a rug before the fire (Drabble 1988: 98).
Some of Sebastians holy friends instead of begging gratefully
accepted by him offered generosity. They belonged to the group of
people who preferred free love and experimented with soft drugs, socalled hippies. Drabble describes the hippie ideology: They had
long hair and said they knew Jack Kerouac. They thought life was holy.
They also smoked dope. Sebastian was not used to dope and one
night he drowned in the swimming pool (Drabble 1988: 98). Drabble
35
uses the poem dope, but it was mostly marijuana, LSD and magic
mushrooms that enabled them to explore alternative states of
consciousness (URL 93). About 1964 cannabis in particular became
popular among the young, especially as it appeared to be relatively
harmless and non-addictive. Joints (cannabis rolled for smoking)
would be passed around at parties, and the smoking of pot spread
even among the respectable professional classes, who wished to show
that (in the idiom of the day) they were with it (Hopkins 1991: 177).
The overuse of drugs brings its penalties to those who once tasted
them. Sebastian Manning became one of its victims and Alix blames
herself for such a horrid disaster:
Alix, naturally, was almost (but not quite) overwhelmed with
guilt, at not grieving enough, at not having been the perfect
wife, at having ceased to love Sebastian. Maybe her love
would have kept him alive. Maybe she had killed him. The
sympathy of others was hard to bear. She felt a fraud, as the
letters poured in. (Drabble 1988: 99)
As a single mother with a little baby to care about, Alix was
doomed to the life on the outskirts of the city. There, among the
lowest class, accommodated in one of the numerous slums, Alix found
out what real poverty could taste like. The evacuated tower block with small flats, broken and demolished lifts, and unwatched playing
grounds - caused severe problems with safety, criminality and malice
against immigrants. The reliable sources claim that in the mid-1950s
local authorities calculated that about 850,000 houses fell into the
slum category (Hopkins 1991: 144).
Its inhabitants, mostly immigrants from the West Indies, came
to Britain in search for better working conditions. They were willing to
do anything, often used as cheap labour force. After long walks with
Nicholas in nearby parks around North London, Alix often stopped to
talk to them. They always welcomed Alix for the purpose of company:
Dirty, ragged, high-smelling, communing with the Lord. They told her
not to worry, the worst would never happen (Drabble 1988: 105). As
36
a supporter of the Labour Party, Alix did not really mind the tough
conditions, she enjoyed them instead.
Drabble uses the pronoun it to write about poverty as an
opprobrious feature of the working class, the better expression is
underclass. The use of negative qualities expresses the hostile
attitude of the middle-class the differences were still evident.
Poverty was treated as an illness:
It was grey, shabby, and somehow infectious: to be avoided.
It was also rough and noisy and unmannerly. It lived in back
streets of terrace houses and on sprawling housing estates.
It wasted what money it had on drinking and it spoke with
rough accents. It was feckless, unthrifty, sluttish, violent,
loud mouthed, and materialistic. Its children taunted nice
little middle-class children in school uniforms who strayed
into its terrain. It did not need wells dug or tractors
purchased. Poverty was an attribute of the working classes
in England.
37
39
follows women often dwindle into wives: they become helpless, lose
ground in personality development, lack confidence and lose interest
in sex (Arnot 1986: 29). This opinion of hers is approved by Drabble
when she writes: Cliff knows she is bored, underemployed, mildly
depressed, that her mother gets on her nerves, that she needs a
change (Drabble 1988: 199).
There are not many things present Shirley shares with her
husband, Cliff. Some experts claim that problems between married
couples might be caused by their mutual estrangement. They are
persuaded that they even share the same household despite the fact
they do and experience different things. They frequently hide from
each other their intimate feelings, thus ending with almost nothing to
talk about:
But Cliff is my husband, says Shirley. How can I call a
meeting with my husband? He wont speak about these
things, anyway. Hes very depressed. At least, I think hes
depressed. He wont admit it. But he is. (Drabble 1990: 41]
Several years ago Shirley tried to fight back, but finding herself
pregnant again, this time not consciously, she hopelessly gave up.
The anger inside her is now fully transmitted to Celia Harper, the only
daughter of Shirleys scattered family. Drabble states that Shirley has
made Celia aware of her anger, rather than of her delight (Drabble
1988: 196). The heritage of certain family features is more than
visible: Of course, it recalls her sister Liz, under the bedclothes, thirty
years ago. Shirley shivers, begins to fold, diverts her irritation to the
non-folding qualities of fitted bottom sheets. Every improvement
creates a new problem, she reflects (Drabble 1988: 197).
Although middle-class Shirley got married to a successful
businessman, Cliff Harper, later on, after their two older sons, Bob and
Berry, have left the home nest, she finds herself underemployed and
bored (Drabble 1988: 149). Cliff strongly refuses her idea to look for
any of the low-paid jobs, evidently afraid of the loss of their social
41
42
These are the pros and cons of the boring country life, the life
which through the wasted educational possibilities limits people in
their abilities to change the circumstances around them. Shirleys
moments
of
quiet
contemplation
finishes
with
unpropitious
43
44
first mentions Lizs sinful thoughts when she is going through the
difficult phase of puberty:
And yet, and yet. During the terrible transformations of
puberty, she had sat and brooded on her father. Shaming
fantasies. Sexual fantasies. She had masturbated while
brooding on her father, not knowing what she was doing, but
knowing it was wrong. She sat herself penances, but they did
not help. A dark cluster gathered, inexorably, in her spirit.
Increasingly masochistic grew its manifestations, its
yearnings. Steel knitting needles featured. She dreamed of
tortures, imprisonments, knives, daggers, dark towers.
Wounds, blows, penetrations. Even now she does not like to
look back on them. They continue to shame, these fantasies
(Drabble 1988: 139).
In the following part, Drabble describes Charles and Lizs sexual
intercourse based on the shared perverted sexual drive:
Charles had called to the forbidden in her, demons had
answered, from the place where they had been waiting. His
mixture of brutality and desire had matched something in
herself. He was cruel and enslaved. He came to her as a man
acquainted with grief, a widower expected to run wild, an
excessive man seeking comfort in dissolution and
promiscuity: a romantic figure. She had fallen in love with it.
Love? Well, she had thought it was love, but lust might have
been a more fitting word for whatever it was that bound
them together, in those early days - were lust not a word
that suggests simplicity and brevity rather than obsession.
Their lust had certainly not been brief, simple or easily
satisfied. It fed on his mild sadism, her mild desire for
punishment, a desire that in no way reflected their social
relations (Drabble 1988: 141)
These two middle-aged people became involved in the mutual
sexual relations in the time which is widely associated with the new
attitudes to sexuality, arts, abortion, homosexuality and capital
punishment (URL 78). The beginning of such liberal changes is
nowadays connected with the 1960 trial of Penguin books for
publishing an unexpurgated version of the novel Lady Chatterleys
Lover (URL 79). At the end of the trial Penguin Books were found not
guilty, and thereafter a number of novels were published which could
45
scarcely have been printed before 1960 (Hopkins 1991: 190). What
seemed to be so offensive to most of the ordinary readers was the
use of the four-letter words. Some of the features of the perverted
novel are attached to Liz and Charless relationship when Drabble
writes that it had seemed a harnessing of perversion, a permitted
exploration of the psyche and the flesh, an odyssey of the 1960s
(Drabble 1988: 142).
What Drabble seeks for in this issue inside the book is the
response on what causes the fact that a married couple after some
years spent under one roof look at their mutual attraction completely
different. It might seem that Liz and Charles have gradually grown
away from each other. The institution of marriage has lost its former
meaning.
The era of so-called new marriage and partly womens
stronger self-confidence cause the fact that Liz refuses to follow her
husband to New York. There is shown the difference in the female
social position which has changed within the two centuries. In the
past a woman was forced to follow her husband, now she is allowed to
make her own decision and stay. Liz is persuaded that it is right to
stay where she is, pursuing her own career and pursuing her own
inner life, whatever that might be (Drabble 1988: 9).
This is the first symptom of mutual disaffection and broken
marriage, another one is the evidence of infidelity. And Charles really
proves to be an unfaithful husband who has had a long-term love
affair with Lady Hanrietta Latchett, a woman whose upper class origin
is out of question. Each encounter with this noble lady evokes in Liz
the feeling of jealousy. Hetty represents for Liz the luxurious world
filled up with boredom which she once desperately wanted to reach. It
is interesting to notice that most Drabbles characters are terrified of
being bored themselves. This has something to do with the authors
personality she tries to avoid boring people and boring situations
(URL 12) whenever possible. Hetty observes the surrounding world in
frigid and dull style, which irritates the cheated wife.
46
The sight of her filled Liz with a subdued and dreary panic.
Henrietta (Hetty for her friends, of whom Liz was not one)
embarrassed her, she could never say why: she represented
pain, failure, tedium, though not in her own person:
somehow, magically, she managed to transfer these
attributes to those with whom she conversed, while herself
remaining posed and indeed complacent, secure of
admiration. Liz had never admired and had at times
expressed somewhat freely ( and in her own view wittily) her
lack of response to Henriettas frigid style and vapid
conversation, but nevertheless felt herself, in Henriettas
presence, rendered almost as dull as Henrietta, and
moreover uneasily aware that in other houses, other milieux,
at a distance, in other circles, she had seen Henrietta
sparkling, laughing, surrounded by life vacuous life,
feverish small talk, no doubt, but life a life that froze in Liz
as she contemplated her guests stiff blue taffeta gown (this
was surely a gown, not a dress, and, not even English,
probably French), her exposed white bosom, her diamond
necklace (well, probably diamonds, why not?), her high white
forehead, her thin dark-red lips. (Drabble 1988: 29-30)
Everyone present at the party seems to be well-informed of this
situation except Liz. The curious elite expect the announcement. Ivan
Warner, an eager journalist, is patiently waiting for his chance to put
on the first pages of his tabloid newspaper a fresh article with a juicy
headline revealing the infidelity in the upper circles. The press in the
1980s was much freer to write about anybody and anything what
could at least slightly shock its readers.
As the approaching hour announces the arrival of the new
promising decade, in the distance nearby Big Ben starts to strike Auld
Lang Syne. Liz, who has been up to now in hurry, starts to realize the
cruel truth. Her unfaithful husband and Lady Hanrietta openly present
the admiration for each other. Now she understands why the eyes of
everyone in this room stare at her filled up with expectation. Hints,
glances, sliding words, oblique smiles, incomprehensible references.
Why had she not received them earlier? (Drabble 1988: 39)
The number of divorces in Britain in the 1980s was steadily
increasing and therefore it was not so embarrassing to become one of
47
48
5. Educational equality
Human mind can bear plenty of reality but not too much
intermittent gloom.
Margaret Drabble
The Radiant Way, Drabbles tenth novel of fiction after a sevenyear gap, makes a break-through in the authors later writing style. It
seems to be different because for the first time in her career,
Drabble is writing about a group of friends rather than a single
heroine (URL 20). In the era of Thatcherite England, in the era of the
second-wave feminism, the author slowly reveals the destiny of three
middle-aged women, long-aged friends, who found each other during
their Cambridge admissions interviews in 1952. (It was the same year
as Elisabeth II, a strong female individual, became the queen.) By
using their example, Drabble leads a gentle investigation into the
courageous hopes of the middle-class female inhabitants of the 1950s
and 1960s for better educational possibilities and bald dreams about
equal social security for everyone.
It is obvious that education and its quality are important issues
connected with the position of every person in their society. Thus, one
of the topics frequently questioned throughout the novel is the
problem of British national education, largely considered from the
female point of view. The school system of the overseas country with
49
when
intelligent
middle-class
women
were
given
the
permission to read and write. If they wanted to know more, they had
to turn to self-education. Nevertheless, education of the female
element inside the family circle was still supposed to disturb the
social balance of the time (URL 2). Therefore Drabble writes: Esther,
Liz and Alix, who in Jane Austens day would never have met at all,
met in Cambridge in 1952 (Drabble 1988: 84). Even if Jane Austen
50
did not come from a noble family like Lady Henrietta, she was born
and connected well enough (URL 1) to obtain adequate education:
She was well educated according to the requirements of that
time, though she could not have passed an examination to
enter any ladys college, or had the remotest chance with
the Harvard Annex or the University of Chicago. But she is a
fine example of the cultivation and refinement attainable
before womens colleges were thought of. (URL 1)
Jane Austen [1775 1817] is claimed to be one of the
most notable women writers in the history of British literature. She
contributed greatly to the education and the emancipation of the
women of the nineteenth century (URL 1). Nevertheless, in her
novels, the female protagonists do not seem to worry much about
their educational level as about their financial and social position.
Drabble keeps this approach in mind when she writes that Esther
Breuer disliked the only Jane Austen novel she had ever read
(Drabble 1988: 84). In Austens days, it was not expected from a
woman to seek a professional career, women were not recognized as
equal members of the society, but to look elegant, have good
manners and know how to deal well with her domestic chores. All
these things Drabble subsequently stresses in connection with the
narrative of university studies in the twentieth century: In Jane
Austen, to come nearer home, the protagonists are not, it is true,
titled, but they are privileged. By youth, by wit, by beauty, and
sometimes by wealth. The Princesses of their Country Villages
(Drabble 1988: 88).
Another resistance to better educational possibilities was the
tight family budget. The crucial factor prevailing in the late part of the
nineteenth century was cheap child manual work and reluctant
approach of their working-class families to give up the regular daily or
weekly earnings for the benefit of education (URL 4). Reliable
information sources indicate that the successful exploitation of child
labour was vital to Britains economic success (URL 5). To prove such
a belief they state that in 1821, approximately 49% of the workforce
51
was under 20. In rural areas children, as young as five or six, joined
women in agricultural gangs that worked in fields often a long way
from their homes (URL 5).
The terrible working conditions were initially improved with the
government approval of the Factory Act of 1833. At that time
especially higher classes realized the importance of education for
childrens wealth. The situation started to change thoroughly after the
implementation of free and compulsory state schooling for children
aged from five to ten (Bromhead 1991: 133) through the Elementary
Education
Act
(Fosters
Elementary
Education
Act)
of
1870.
an
archetypal
absent-minded
character
(URL
55
boards
at
the
school
(URL
8).
Alexs
childish
57
individuals coming from the inferior social backgrounds, this was the
only way to fulfill their deepest hopes:
In the 1950s, one of the surest ways forward for an
intellectual young woman from the provinces, for a socially
disadvantaged young woman from the provinces, was
through
Oxford,
through
Cambridge.
Not
through
Manchester, or Leeds, or Durham, or Bristol: but through
Oxford or Cambridge. (Drabble 1988: 86-87)
Drabble makes a comment on the victorious atmosphere when
she depicts Alixs first impressions of the interior of her college with
long brown corridors and an unexpectedly high proportion of young
women apparently wrapped up in the triumphs of yesteryear on the
hockey field or in the prefects Common Room (Drabble 1988: 8081). It was a long, hard, but won battle, which was not aimed at
everyone. The change was only meant, to a large extent, to influence
the educational situation of upper and middle class girls. Thats why
Drabble adds: These three women, it will readily and perhaps with
some irritation be perceived, were among the crme de la crme of
their generation (Drabble 1988: 88). Otherwise, it remained obvious
that childrens learning experiences would verify according to their
social-class status and location position. It could be therefore stated
that beside gender differentiation, certain signs of social class
differentiation were evident (Arnot 1986: 147).
The same marks of social class pertinence might appear
noticeable in The Radiant Way when Drabble writes about Alix and
Esthers behaviour and clothes during their university interviews:
Alix was mousy, square-faced, healthy of complexion, and,
even then, extraordinarily pleasant of expression, with a
pleasantness that was at times radiant, and almost always
irrefutable: she was wearing, as girls who had them did for
their Oxbridge interviews in those days a two-piece middleaged suit on an oatmeal mix, with square shoulders and a
straight skirt. Esther was small, neat, brown of skin, smooth,
tidy, even (almost) elegant, yet somehow at the same time
pugnacious of aspect, subversive, aggressive, commanding,
Napoleonic of manner. She was wearing a severe school
58
process. Grammar school students not only had the necessary wit to
succeed in the important examinations, they also had to study hard
such as Liz and her husband Charles Headleand who had studied
long hours, both of them, who had burned the midnight oil while
munching their way through textbooks and qualifications (Drabble
1988: 19). Studies at university meant for Liz the only possible way
out of the boring provincial life, but as her sister Shirley points out this
goal was hardly attainable:
She assumed her sister was referring to getting into
Cambridge, which she herself considered a poisonous,
disreputable fantasy, and one unlikely ever to be fulfilled:
the number of girls who had achieved Cambridge places
from Battersby Girls Grammar in the last ten years could be
counted on the fingers of one hand. (Drabble 1988: 59)
However, it is difficult to agree with her point of view because at that
time the grammar schools were the only ones that offered an extra
term of school to prepare pupils for the competitive entrance exams
for Oxbridge (URL 17). Thus, there is no wonder that Liz who sat at
home, missing all the fun, deaf to the call of the flesh, with her
Alternative Mathematics, her Chemistry and her Biology, wasting her
youth, wasting her opportunities, obeying the will of their mother,
programmed, docile, chaste, pale (Drabble 1988: 59) managed to
fulfill her deepest dreams. Her success was to a certain amount
influenced by the encouragement of central government and some
local authorities which have started to investigate and make
recommendations to improve girls education (Arnot 1986: 152). By
the introduction of Education Act 1902 the responsibilities of the
School Boards were completely taken over by local authorities who in
the form of either county council or county borough council set up a
committee known as a Local Education Authority [LEA] (URL 18). Its
main activity was from 1907, as it is evident from the list above,
focused mostly on promoting scientific and technological subjects
60
61
together
with
the
improvement
of
educational
time devotion to the care of children (Crompton 1992: 55) and their
husbands who were supposed to be the only ones to bring home the
bacon. The author comments on the reluctantly-accepted reality by
making from her main heroines enviable exceptions, so mentally
different from Jane Austens heroines:
Liz, Alix and Esther were not princesses. They were not
beautiful, they were not rich. But they were young, and they
had considerable wit. Their fate should, therefore, be in
some sense at least exemplary: opportunity was certainly
offered to them, they had choices, at eighteen the world
opened for them and displayed its riches, the brave new
world of Welfare State and County Scholarships, of equality
for women, they were the lite, the chosen, the garlanded of
the great social dream. (Drabble 1988: 88)
Intelligent young women had to cover much ground before they
finally managed to get fully accepted among the intellectual elite of
Oxbridge. However, it kept openly claimed, even in 1973, that in
higher education, fewer girls went to university; in some families, it
was still considered that sons needed more education than daughters,
and that higher education was wasted on girls who might soon get
married and settle down to domestic life (Hopkins 1991: 171). In one
sequence Drabble remarks on her heroines educated originality
writing:
And it was not, after all, difficult to be original in a period
when most female undergraduates, fresh from school and far
from well off, ventured little further in terms of home-making
than a cushion or a chianti bottle, a photograph or a teddy
bear, a gingham frill round an orange box or a postcard
collage on the wall, a modernist paper mobile or an
arrangement of seaside pebbles. (Drabble 1988: 94)
Teaching played an important part in educational possibilities of
middle-class girls. Teacher training institutions meant for them the
only way how to widen the gained knowledge up to the 1970s. Even if
teacher training was of lower cost and status than university [higher]
education, it enabled to combine professional employment with
63
(teachers
colleges)
for
women
both
encouraged
and
This
Charless vision of the Brave New World (the same title has a
famous novel about life in the future written by Aldous Huxley in
1931) slowly started to fall apart. Drabble blames the Labour party for
a failure of this plea for a radical change of the equality. The main
problem was the political system established by the government. The
effects of the Welfare State with all its securities had an enormous
impact on a forward-looking, forward-moving, dynamic society, full of
opportunity, co-operative, classless (Drabble 1988: 176). Drabble
points to the effects of social benefits when Alix Bowen expresses her
dissatisfaction with the living conditions of her son, Nicholas Manning.
According to her, Nicholas is a slacker who wastes his life on
worthless paintings claiming the dole from the state. The real
situation in Britain of the 1980s was actually more serious than that.
Young people found it very difficult to find a job at all and the lack of
job opportunities bred an arrogance among them, a belligerence, a
sense that the world owned them a living (URL 26).
Undoubtedly, the prosperity of that time was secured by the
rising popularity of the trade unions. The rules adjusted by this
powerful organisation were another serious problem, though. Once a
modest society, under its influence, suddenly changed into a vain,
temperamental, coy and hard to please (Drabble 1988: 177) group of
individuals. The frequent repetition of various strikes, mostly without
any further reasons, meant a great problem for the blue and white
collar workers. At that time both political parties tried hard to avoid
threatening inflation. They wanted to keep the wages down, at any
rate. This made the trade unions very suspicious, especially when the
cost of living was rapidly increasing. Charles thus felt rather annoyed
to see the changing attitude of his film crew. They complained about
everything, they wanted more money:
Charles watched this process with very, very slowly
accumulating rage. What the hells the point of comparing
what they earn with what I earn, or what the Director
General of the BBC earns, or what the fucking Prime Minister
earns, he would splutter, late at night, at Liz. And what the
68
its foundation it has allowed many women to make up for their missed
opportunities and women students have responded by increasing
their share of applications to join the university (Arnot 1986: 142).
Alix has got involved in a conversation with Teddy Lazenby, the
professor of the Department of Education and Science, who appears
not to understand the institutes real purpose. For him it seems
useless and a waste of money to educate housewives and taxi
drivers who could so far manage without such a privilege:
Alixs face was expressing a most delicate mixture of
disbelief, disapprobation and polite attention as Teddy,
somewhat indiscreetly presuming on their long, if longinterrupted, acquaintance, revealed what were clearly his
own opinions on the inadvisability of wasting money on the
education of housewives and taxi drivers. (Drabble 1988: 26)
It is difficult to negative his opinion. Many people laughed at
the idea, but it became part of the Labour Partys programme, to give
educational opportunity to those people who, for one reason or
another, had not had a chance to receive further education (R.
Musman and D. A. Vallance, p.108). On the other hand, there is also a
large group of women who decide not to enrol. Madeleine Arnot
claims that on the basis of some of the surveys carried out to find out
real reasons of refusal:
62 per cent of women compared with 44 per cent of men
gave non-work demands as the reason for withdrawal from
studying (e.g. social and domestic duties, care of children,
moving home, new baby, death in the family, etc.). In
contrast, the pressure of work, change of job, travel, etc.
were reasons given by 43 per cent of men but only 27 per
cent of women. Personal and family commitments affected
30 per cent of all women and 50 per cent of all housewives.
The lack of financial independence also affected 35 per cent
of all women and 47 per cent of housewives, who could not
afford even the relatively low cost of the Open University.
Womens domestic and family commitments have, therefore,
greatly affected their chances of taking up second chance
opportunities for higher education with the Open University.
(Arnot 1986: 142)
71
the
surrounding
world,
but
are
bound
to
the
inevitable
72
came out in 1963. The author is persuaded that her initial ability to
deal with this topic so freely was due to the fact that:
There was no womens movement, there was no feminist
criticism. Feminist criticism was born in 1968 precisely, and I
published my first novel in 1963. So I was able to write in the
innocent pre-feminist theory days when no one was going to
get at me for writing a sort of a feminine book or writing
about marriage or clothes. Nobody. There was no prototype
feminist novel at all, which made the life easier (URL 48).
The traditional duties of every woman were the care of the
household and the upbringing of children. Women were denied some
of the basic human rights, among others the right to vote. Such an
unequal approach was unlikely to evoke female satisfaction. First mild
changes became a topic for discussion in the late part of the
nineteenth century organised by a group of suffragists around
Millicent Fawcett [1847 1929]. They moderately argued for the bill
to give the vote to single and widowed female heads of household
(URL 50). Even though all their rather peaceful than radical attempts
failed, they managed to alter public opinion. Besides, Fawcett focused
most of her energy on higher education and was involved in the
organisation of womens lectures at Cambridge that led to the
establishment of Newnham College (URL 51). In 1871 it happened to
be the second Cambridge college to admit women (URL 51).
In 1903 the name of Emmeline Pankhurst first appeared in
newspapers in connection with a small group of women running a
militant campaign in Manchester called the Womens Social and
Political Union [WSPU]. Their main aim was to enable female citizens
to take full part in the democratic process (URL 53). Although
Fawcett admired the great courage and determination of the
suffragettes, she frequently criticised them for too much revolutionary
violence in their actions. The suffragettes were prepared to give their
lives for womens rights doing thus by breaking windows, throwing
stones, burning slogans on putting greens, cutting telephone and
telegraph wires, destroying pillar boxes and burning or bombing
73
empty buildings (URL 53). Their rebellious behaviour did not evoke
much appreciation of the equality they represented:
By the early part of 1908, the Pankhurst campaign had not
achieved much; public opinion had not been captured. A
glance at photographs of the scuffles in which suffragettes
were arrested shows few signs of sympathy among the
onlookers; no popular daily newspaper took up their cause,
nor had one of the political parties added Votes for Women
to its programme. Indeed there were signs that opinion was
hardening against the ultra-militant suffragettes. A generally
expressed view was that their methods were unladylike,
and that was by no means an expression of snobbery.
(Reynolds 1966: 37)
Despite their persuasive manners, the suffragettes were not able to
do much for the change in female conditions until 1914. Then, all their
effort, which caused public outrage and disbelief, was pushed aside
by the attacks of a common enemy Germany.
Some signs of equal concept began to transform gradually
during the First World War when more women were given the
opportunity to work outside home(URL 54). As a lot of men left their
home for the defensive needs of the country, women were needed to
take up their positions in the workforce, mostly in munitions factories.
Thus, by 1918 it was impossible to deny womens contribution to the
war effort and The Electoral Reform Bill of that year granted voted
rights to all women property owners of thirty or more (URL 53). The
legally agreed age was in 1928 extended to all women over 21 (URL
55). Such an important step forward granted women more political
power. Even though it took another year than the first female MP, the
Labour MP for Northampton, was elected the first woman cabinet
minister (URL 56). Margaret Bondfield, the Minister of Labour, and a
politician who fully intended to oppose the British involvement in the
war, gave her first speech in the House of Commons welcoming the
passing of the 1928 Equal Franchise Act (URL 57). However, her
words had a soft touch of bitterness:
74
Since I have been able to vote at all I have never felt the
same enthusiasm because the vote was the consequence of
possessing property rather than the consequence of being a
human being... At last we are established on that equitable
footing because we are human beings and part of society as
a whole. To me the enfranchisement of women is not so
much a question of rights as of opportunity not a privilege
but an obligation to add their share to the common stock in
the building of ever nobler forms of social life... It is an
entire mistake, and I always said it was a mistake on the part
of some of the ultra-feminist suffragists, who argue the
specific woman point of view in connection with political
questions (URL 58).
Sylvia Pankhurst on Bondfields behalf once said: Miss Bondfield
deprecated votes for women as the hobby of disappointed old maids
whom no-one had wanted to marry (URL 58).
The profound impact of feminism has two different sides.
Professor Elizabeth Meehan, an expert in social studies, argues that
while quality newspapers and traditional womens magazines have
extended or introduced coverage of womens rights and new
magazines have been launched, the organs of popular culture are
often criticized for not giving up the old images but simply advising on
how to combine old duties with new opportunities (Meehan 1990:
202). She adds that: Awareness of feminist consumers is not
matched by better representation of women at the higher levels of
media and academic occupations. In political parties, government
departments and public bodies women are rarely allocated safe seats
or appointed to senior positions. (Meehan 1990: 202). This statement
is strengthened by the fact that since Margaret Bondfieldss political
regime not many female representatives have managed to succeed in
getting to the British lobby. The markedly low number of female MPs
is briefly mentioned by Drabble in connection with Polly Piper, Alixs
former boss in the Home Office:
Alix was, almost despite herself, interested in the
premenstrual tension business. She had discussed it with her
class at Garfield, had read them some Sylvia Plath poems
and some Peter Redgrove and Penelope Shuttle. Moons and
75
and
cohabitation
(URL
62).
This
means
of
their
subordinate
position
to
men,
itself
the
product
80
with
feminine
strong-mindedness
by
passing
two
revolutionary work Geer argues that women do not realise how much
men hate them, and how much they are taught to hate themselves
(URL 66). Drabbles Rita Ablewhite is depicted as a mother who, under
the impact of her husbands criminal behaviour, suppressed her
maternal instincts and became solidly absent, a constant and
insoluble distress, a damaged being, a victim, a mystery. Too painful,
too inexplicable to contemplate (Drabble 1988: 138). Drabble
amplifies this point further when she describes confused feelings of
Ritas daughter Liz, during her adolescence:
Her mother being mad, and madly fastidious, there was
nobody to warn her about the onset of adult life, of bodily
changes. She knew about menstruation from school friends,
from advertisements in magazines, from labels on discreet
packets of sanitary towels read sideways in the chemists.
But nobody thought to warn her of the changes that precede
menstruation, and she had thought herself uniquely
diseased (Drabble 1988: 139).
The Female Eunuch evocated a wave of contradictory opinions
which made Dr Geer state clearly her provocative point of view in
public. In one of many interviews for the New York Times in 1971 Geer
said:
Women have somehow been separated from their libido,
from their faculty of desire, from their sexuality. They've
become suspicious about it. Like beasts, for example, who
are castrated in farming in order to serve their master's
ulterior motives - to be fattened or made docile - women
have been cut off from their capacity for action. It's a
process that sacrifices vigour for delicacy and succulence,
and one that's got to be changed (URL 66).
Drabble identifies this form of suspicion when she makes additional
comments on Ritas reaction to the weird conditions of her daughters
underwear writing that she was angry about her daughters
existence, about her daughters growing, her daughters threatening,
burgeoning flesh (Drabble 1988: 140). She was well-aware of the
85
employment,
education,
training,
harassment,
the
once too often she had made him feel that his was hollow,
timeserving, transient, peopled by boys playing grown-up
power games, while she attached herself to the timeless, the
adult. She had excluded him from her knowingness, had
indulged him with titbits, in passing. She had sapped his
energy: he had felt it begin to wane (Drabble 1988: 115).
A distinctive change that might be visible in Drabbles literary
work of the 1970s is her increased interest in the social environment
depicted in her later novels. The newly emerged radical and socialist
feminist attitudes made her change the point of view. Instead of
telling a bare personal story of one individual, Drabble tries to
emphasize their social status in the patriarchal British society. Her
novels of that time get rather a complex view of the unstable political
situation inside the country than deal with an uneasy fate of a single
woman. The narrative displaces the individual with the collective.
(URL 68). Such an approach suddenly makes from Drabbles heroines
typical examples of contemporary British class system, and the
author treats them without feminine point of view. Nevertheless, in
one of her numerous interviews Margaret Drabble said, I do call
myself a feminist. I am a feminist. Im not the kind of feminist that
some feminist are, but I would say that I am a feminist. I want to get
that clear (URL 48). Her speech evidently points out at the thirdwave feminism of the 1990s in which the f-word became too
shameful to admit, with lots of women prefacing their opinions with
Im not a feminist, but . (URL 53).
Nevertheless, T. H. Marshall [1893-1981], a reputable British
sociologist, claimed that the twentieth century had been the decade
of social citizenship (Crompton 1992: 63). The central focus of the
second wave [feminism] was on total gender equality women as a
group having the same social, political, legal and economic rights that
men have (URL 71). From the late 1960s women strove to extend the
range
of
their
social
opportunities
limited
by
the
continuing
regular source for her trilogy. Together with the capital city, London,
which is used as a focal point and which in the 1980s turned into a
lively place full of new ideas, freedom, culture, music and fashion.
However, in Drabbles novels the differences between the two
genders and among the sharply defined social classes are more than
visible. As an example may be used the contrast between Celias
quiet, old-fashioned, middle-class life in the Yorkshire countryside and
the noisy, energetic and luxurious lifestyle of Sally and Stella, her
aunts two teenage daughters living in London. While the seventeenyear-old Celia secretly dreams about the radiant way out, studying
hard for her A-levels, the other two girls reap the full benefits of the
metropolitan town. Drabble compares the differences writing:
Lizs daughters Sally and Stella do not seem to suffer from morbid
intensity. They dissipate their energies in a hundred directions, they
are always out and about, rushing and restless. London life. The street
life of the 1970s, the 1980s, with its affectation of working-class
manners and speech, its toughness, its colour. Celia leads a
protected, quiet, refined life, in Northam. A provincial life, a middleclass life, an old-fashioned life. (Drabble 1988: 199)
Drabble is considered to be the master of social observation.
She compares different panoramas of the rich south and the poor
north part of the country, she writes about differences in education,
culture and social attitudes of local people. As a vivid example of such
social
differences
might
be
used
the
description
of
Charles
92
Thatcher
as
the
competent
leader
will
secure
the
93
behaviour
of
trade
unions
raised
discontent
and
94
95
and weak points. On one side, more and more ordinary people started
to buy shares in various companies. On the other side, the number of
the unemployed started to rapidly increase and the home market was
flooded by foreign goods, mostly of Japanese, Chinese, Thai, Mexican
and Taiwan origin, such as the clothes. None of us, thought Liz, is
wearing a dress made in England. Moroccan, Chinese, Indian. I
wonder what that means, thought Liz (Drabble 1988: 23).
In 1980s Japan was one of the most influential countries with
rapid economic growth. In the whole story there are several hints in
connection with this at that time rather developed country. As an
example could be used the moment when Liz declares her desire to
visit Kyoto and Osaka to have a speech about adoption and
stepparents: yes, two weeks in Kyoto and Osaka, it should be quite
fascinating, quite an opportunity to see a completely different
culture... (Drabble 1988: 31).
After gaining the power in the state, Thatcherite thus started to
implement a stricter control of inflation at the cost of frequent cuts.
Some of such necessary reductions portrayed in Radiant Way are
Alixs [literature] classes at Garfield [a centre for female prisoners
and lunatics] which were suspended, cut like the tablecloths,
ostensibly from economy reason (Drabble 1988: 341 342).
The
expresses this initial assurance of better life through the lines of Eddie
Duckworth, a manager of a metal company Pitts and Harley, and his
faith that at least a government had been elected that would put a
stop to inflation, high interest rates, rocketing domestic and industrial
rates, shameful capitulation to the unions, centralized bureaucratic
planning and the consequent decay of the manufacturing industries
(Drabble 1988: 48). His final words show a sharp contrast with the
consequential reality. At that time the British believed in the success
of such a big political change, nowadays the strong woman politician
is blamed for increasing unemployment, rapid deindustrialization of
the country and widening the income differences among local people.
Nevertheless, the approaching decade of the 1980s saw in
Thatcher a strong and unyielding woman in so many aspects different
from her governing predecessors, a tough political leader who
stubbornly refused the Keynesian consensus with its nationalisation
to succeed in changing the destiny of the whole nation. One of the
male heroes, Alan Headleand, with his political opinions is a typical
representative of the old Labour Party. In his talk about domestic
current affairs, in one sequence of the plot, he strongly criticizes the
woman prime minister, blaming her for not being enough motherly
to her home country despite being a mother alone (Drabble 1988:
17). The truth is that Margaret Drabble, a member of the newlyelected Conservative Party, has implied rather drastic policy to cut the
high budget deficit.
Her refreshing policy was expected to fulfil many unspoken
hopes of people in the south:
Liz and Charles Headleand have invited them, and
obediently, expectantly, they will go, dragging along their
tired flat feet, their aching heads, their over-fed bellies and
complaining livers, their exhausted opinions, their weary
small talk, their professional and personal deformities, their
doubts and enmities, their blurring vision and thickening
ankles, in the hope of a miracle, in the hope of a midnight
transformation, in the hope of a new self, a new life, a new,
redeemed decade. (Drabble 1988: 1)
98
increased
social
unrest.
Despite
decreasing
number
of
100
Thrift is one of Alixs familiars. Thrift does not often leave her
side. Thrift has nearly killed her on several occasions,
through the agency of old sausages, slow-punctured tyres,
rusty blades. Thrift now recommends that she apply the rest
of this blob to her complexion rather than wastefully flush it
away. Thrift disguised as Reason speciously suggests than an
excess of Fluid Foundation on ones face, unlike a poisoned
sausage, will cause no harm. Thrift apologizes, whingeing,
for the poisoned sausage, reminding Alix that she ate it
twenty years ago, when she had no money and needed the
sausage. (Drabble 1988: 2)
At the same conference table the lady in the opposition remarked
that: a free society is morally better ... because it entails dispersal of
power away from the centre to a multitude of smaller groups and
individuals (URL 34). Thatcher wanted to make ordinary people
responsible for their lives and for the good of the whole country.
Liberty and individualism were some of the basic principles of social
mobility
under
the
Conservative
policy.
Other
main
goals
of
do
something
noticeable
for
the
welfare
of
its
voters.
ineffective
staff
reduction
and
unprofitable
plants
Her
personal
childhood
experiences
and
memories
Nicholas
Jones,
former
BBC
political
correspondent
declares: By the time Mr Scargill took the helm, miners were among
the highest-paid industrial workers in the country and they were often
asked to support other groups fighting for higher wages (URL 40).
But thanks to his decision that a national ballot (a new law to stop
widespread strikes) was not needed, the strength and growth of the
coal-mining industry turned overnight into a bad nightmare:
The Notts (Nottinghamshire) miners were so aggrieved by
Scargills headlong action that not only did many of them
continue working, but they set up a new union of their own,
the Union of Democratic Mineworkers. Thus the miners were
split, and great bitterness resulted, not only between
families but even between working and striking members of
the same family. (Hopkins 1991: 226)
Drabbles attempt is to remind her readers of the devastating
consequences of the fatal struggle for better wages and conditions
in the North of England. Communities had been devastated ant left
104
to rot, receiving not an ounce of help from the government that had
wielded the sword that had cut the very lifeline that the communities
had depended on, the coal pits (URL 41). The debris of once powerful
coal-mining and also steel industries is visible on many spots
throughout the northern countryside. Drabble provides this impressive
description in the Radiant Way:
The old manufacturing neighbourhood had begun to take on
a new kind of grimness: it had never been pretty, but it had
possessed a certain dignity, to some a homely dignity, and
the extraordinary jumble of architecture styles nineteenthcentury factories, tall chimneys, huge buttressed walls, small
squeezed lingering eighteenth-century domestic dwellings
and public houses, cheap post-war ad hoc factories and
offices, railway bridges, gas cylinders, weed-blooming canal
banks, the odd cosmetic 1970s face-lift offered a variety, a
visual and human richness, a weathered and seasoned
history of the citys prosperous past and present. But now
there was an ominous slowing of the pulse: the age of the
buildings and the neighbourhood was beginning to tell, a
forlorn guest blew coldly down the empty streets, rust ate
quietly at machinery, brick dust sifted from crumbling
ledges, dirty glass panes slowly splintered as window frames
rotted. The poetry of neglect. (Drabble 1988: 150-151)
Events leading up to the crushing defeat of the exploitive power
of the trade unions started shortly after the troublesome steel strike
of 1980 and the Falklands successful recovery of 1983. On the basis of
the previous experience Margaret Thatcher became the nemesis of
the trade union movement. She was not afraid of the lengthy battle
which followed. According to the recommendations drawn up in the
Ridley Plan of 1974, she got ready well in advance with huge stocks
of coal [which] had been built up at power stations around the
country (URL 42). In addition, most British households and official
buildings had been long before equipped with oil or gas central
heating to avoid the probable problems with the coal shortage. Alix
Bowen comments on the stopgap measures and economic cuts in the
country when she points out that the tablecloth of Garfield vanished,
as she had known they would, while the central heating continued
105
the
middle
way
between radical
interventions
of
Some readers
disagree with this idea claiming that they are confusing instead.
At that time the national media, television and newspapers,
were full of fresh news about everyday picketing. Having moved to
Northam, Alix could not even believe how violent the riots frequently
were, how many innocent lives were lost and how much the relatives,
wives and girlfriends of striking miners were forced to suffer:
It was the continued sight of violent struggles on their
television screens, together with the defiant speeches of
Arthur Scargill, usually couched in the most belligerent and
class-conscious terms, which did much to alienate middleclass opinion. The Labour Party expressed sympathy for the
miners, but could scarcely condone the violence or the
breaking of the law. (Hopkins 1991: 226)
After the miners defeat, the right-wing press was accused of
spreading out deliberate lies about the sequence of events and thus
leaving the strikers constantly under attack (URL 41). Meanwhile,
109
Anne Suddick, a secretary working for the NUM, confirms that the
strike had turned the lives of many women upside down. She claims
that it happened even if it was just that they didnt read the Sun or
didnt believe everything they saw on the TV news because their
husband had come back off the picket line and told them what had
really happened (URL 47). Madeline Butterfield is persuaded that
the strike was an opportunity for everyone to discover what their
talents and capabilities were and to put them into practice (URL 41).
And Alix Bowen sits in the comfort of her northerner house, hopelessly
stares at the TV screen and thinks her life over:
Alix watched images of the miners strike on television. She
watched the police in their riot gear. She watched charging
horses. She listened to miners wives speaking of solidarity.
She heard the leader of the miners union speak of certain
victory. She saw blazing cars, upturned vans. Alone, she sat
and watched and listened, hour after hour. What was it she
felt? A kind of terrible grinding disaffection. As though the
plates of her mind were rubbing and grating against one
another. Arthritically, incurably: an invisible, internal
inflammation. (Drabble 1988: 342)
111
8. Conclusion
I need words and print... I need print like an addict. I could live without it, perhaps.
But I hope I never have to try.
Margaret Drabble
In summary, the main aim of this diploma thesis was to compare the reality
depicted in Margaret Drabbles novel of fiction, The Radiant Way, to the bibliographical
entries written down by the contemporary experts in the particular fields. The main task
was based on setting the similarities and differences between the authors evidence and
the historical, political and social records stated in the primary informal sources listed in
the bibliography.
It was a really interesting research to carry out, because not many contemporary
Czech readers have a good chance of flicking through the pages of Margaret Drabbles
outstanding novels. But if they are curious enough and manage to pick up one of the
many impressive titles, it might easily happen that the storyline will lead them to places
they know nothing about, probably because of their age or origin. The same happened to
Esther Breuer in The Radiant Way with the novel Sense and sensibility by Jane Austen.
When she finally finished the last chapter, she put the book down with words: Too
English for me (Drabble 1988: 84). The Radiant Way, Margaret Drabbles tenth novel,
an acute and passionate chronicle (URL 29) which records the powerful radical
political and economical changes of the 1980s, must obviously seem too English to all
young readers, unaware of their full impact on the British nation.
Being herself a young woman in the Thatcherite era and thus strongly influenced
by the emotional upheaval of traditional feminine roles, Drabble decided to put her
gained experiences into the literary output. Writing about women who were suddenly
encouraged on their way to the radiant future, profoundly affected by the unhappy
events in their childhoods, make it possible for Drabble to provide convincing evidence
difficult to distinguish from the real life. Nevertheless, while praised for their
demanding contents, The Radiant Way (1987) and A Natural Curiosity (1989), the
subsequent novel in the trilogy, met critical comments for their postmodern narrative
experiments and unwieldy incorporation of myriad social, political, and historical
issues (URL 83).
What is important to point out in the writers defence is the fact that all her
written works starting from her first attempts at a feminist novel, A Summer Birdcage
112
(1964), and finishing at an ironically titled chronicle of the first half of the 1980s, are
only bare words printed on blank sheets of paper. It depends on the author herself what
language means she decides to use to transmit the chosen message to her readers. Thus,
the feminist issues depicted in most of Drabbles novels might be considered fictitious
worries of the imaginary reality. However, when the novels achieve the target readers,
and they become immersed in their first pages, the authentic accounts of life mixed with
the autobiographical memories start to reveal. How very true that fantasy is used as a
possibility to capture the memorable moments of the fleeting reality.
In one of her books Drabble noted down this declaration: The whole concept of
storytelling, of intertextuality, is fascinating, but I suppose I cling, possibly vainly, to the
faith that behind the story, theres a sequence of events, and if I tell enough stories, I
will find the true story, the true story (URL 86). It proves Drabbles natural inclination
to participate at the end of a dying literary tradition that she respects rather than to join
ranks at the forefront of one she dislikes (URL 83). This seems to be the reason why
such well-known names as Jane Austen or Charles Dickens seep through the realistic
meaning of The Radiant Way.
It is important to summarize a few of the many conclusions that might be drawn
from the concept of the novel. Firstly, sexuality has become a freely discussed topic.
Such an example might be shown on Liz Headleands shameless feelings of lust firstly
experienced on her fathers knees. On this sequence may be also easily demonstrated
the autobiographical element of the authors own childhood, when in one of the many
interviews talking about her father, a country judge, she bluntly stated:
I did not know him when I was very little, as I was born in 1939, and when
war broke out, he went abroad with the RAF. I didnt recognize him when he
came back from Italy, and he had to win me over, which Im told he did by
sitting on his knee and helping me to learn from that well-known primer The
Radiant Way. (URL 81)
Secondly, although women tend to discuss their maternal responsibilities with
delight, women in the late 1960s were excited about the powerful effects of the pill
which at that time meant the only way out of the unwanted maternity. Unfortunately, the
progress came late for Shirley Harper and her daughter Celia in the storyline of The
Radiant Way.
113
114
9. Resum
Hlavnm clem tto diplomov prce je porovnat relnost Britnie v letech 1980
zachycenou v romnov beletrii Margaret Drabble, Zc cesta, s bibliografickmi
zznamy uvedenmi soudobmi odbornmi znalci v konkrtn vdeck oblasti. Hlavn
kol spov v uren shod a rozdl mezi dobovmi zznamy uvedenmi autorkou v
romnu a historickmi, politickmi, a socilnmi zznamy uvedenmi odbornmi zdroji
zapsanmi v bibliografick sti diplomov prce. Tento vdeck vzkum by rd zjistil,
do jak mry me bt tento romn pokldn za autentickou vpov eny ijc v tto
dob, a do jak mry je obsah romnu ovlivnn autorinmi autobiografickmi
vzpomnkami.
Byla to opravdu zajmav prce provst takovto vzkum, protoe ne mnoho
eskch soudobch ten m monost prolistovat se strnkami autorinch
vjimench romn.
Ke konci diplomov prce se dosplo k zvru, e shody mezi romnem a
odbornmi zznamy pevauj nad jejich nedostatky. Drobn rozdly se dokonale ztrc
v prbhu romnu.
Resume
The main aim of this diploma thesis is to compare the reality of the Britain of the
1980s depicted in Margaret Drabbles novel of fiction, The Radiant Way, to the
bibliographical entries written down by the contemporary experts in the particular
fields. The main task has been based on setting the similarities and differences between
the authors evidence in the novel and the historical, political and social records stated
in the primary informal sources listed in the bibliography of this diploma thesis. This
research would like to find out to what extent this novel might be considered the
authentic account of life of the woman living in that era, and to what extent it was
influenced by the authors autobiographical experiences.
It was really an interesting work to carry out this research, because not many
contemporary Czech readers have a good chance of flicking through the pages of
Margaret Drabbles outstanding novels.
In the end, the diploma thesis came to the conclusion that the similarities
between the reality and the fiction outweigh the differences. The slight discrepancies are
masterly hidden in the flow of the story.
115
10.BIBLIOGRAPHY
Primary Sources
DRABBLE, Margaret. The Radiant Way. 2nd ed. London: Penguin Books, 1988. 396 p.
ISBN 0-14-010168-3
DRABBLE, Margaret. A Natural Curiosity. 2nd ed. London: Penguin Books, 1990. 308
p. ISBN 0-14-012228-1
Secondary Sources
ARNOT, Madelaine (1986). State Education Policy and Girls Educational
Experiences. In Beechey V. & Whitelegg E. (Ed.) (1992). Women in Britain Today.
Buckingham: Open University Press. 216 p. ISBN 0-335-15137-X
LEONARD, Diana, SPEAKMAN, Mary Anne (1986). Women in the Family:
Companions or Caretakers? In Beechey V. & Whitelegg E. (Ed.) (1992). Women in
Britain Today. Buckingham: Open University Press. 216 p. ISBN 0-335-15137-X
Britain 1986: An official handbook. Central Office of Information. London: Her
Majestys Stationery Office, 1986. 455 p. ISBN 0-11-701094-4
BROMHEAD, Peter. Life in Modern Britain. 7th ed. Great Britain: Longman Group UK
Limited, 1991. 198 p. ISBN 0-582-03642-9
COWARD, Rosaldin (1980]. JSOU ENSK ROMNY FEMINISTICK ROMNY: -ARE WOMENS NOVELS FEMINIST NOVELS? In Oates-Indruchov L. (Ed.)
(2007) ensk literrn tradice a hledn identit: Antologie angloamerick feministick
literrn teorie. Praha: SOCIOLOGICK NAKLADATELSTV (SLON). 409 s. ISBN
978-80-86429-69-4
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CROMPTON, Rosemary (1992]. Where did All the Bright Girls Go? Womens Higher
Education and Employment since 1964. In Abercrombie N., Warde A. (Ed.) (1992).
Social Change in Contemporary Britain. Cambridge: Polity Press. 189 p. ISBN 0-74560782-9
CROWTHER, J., KAVANAGH, K. [Ed.] Oxford Guide to British and American
Culture for learners of English. Oxford: Oxford University Press, 1999. 599 p. ISBN 019-431332-8
FRANKOV, Milada. Britsk spisovatelky na konci tiscilet. 1. vyd. Brno:
Masarykova Univerzita v Brn, 1999. 206 s. ISBN 80-210-2148-9
FRONEK, Josef. Velk esko-anglick slovnk. Praha: LEDA, 2005.1 597 s. ISBN 8085927-54-3
CHILDS, David. Britain Since 1945: A Political History. 3rd ed. London: Routledge,
1992. 398 p. ISBN 0-415-06024-9
HOPKINS, Eric. The Rise and Decline of the English Working Classes 1918-1990: A
Social History. 1st ed. London: Weidenfeld & Nicolson, 1991. 295 p. ISBN 0-29782081-8
HORNBY, A. S. Oxford Advanced Learners Dictionay. 7th ed. Oxford: Oxford
University Press, 2005. ISBN 0-19-431649-1
MARWICK, Arthur. British Society Since 1945. 2nd ed. London: Penguin Books, 1990.
430 p. ISBN 0-14-013817
McDOWALL, David. Britain In Close-Up: An In-Depth Study Of Contemporary
Britain. Madrid: Longman, 1999. 208 p. ISBN 0-582-32826-8
MEEHAN, Elizabeth (1990). British feminism from the 1960s to the 1980s. In Smith
H.L. (1990). British Feminism in the Twentieth Century. 1st ed. Hants: Edward Elgar
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11. Appendix
1. Appendix n. 1: Margaret Drabble (photograph)
INTERVIEW. Margaret Drabble. 25 March 2011. Bookgroup.info
20 April 2011
http://www.bookgroup.info/041205/interview.php?id=37
2. Appendix n. 2: The Radiant Way cover (photograph)
The Radiant Way cover. 19 April 2011. Google images 20 April 2011
http://www.google.cz/images?
hl=cs&source=hp&biw=1406&bih=771&q=The+Radiant+Way+cover&btnG=H
ledat+obr%C3%A1zky&gbv=2&aq=f&aqi=&aql=&oq=
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