My interview with the great Margaret Drabble now online over on The Believer web exclusives:
The Believer: The golden baby of your novel has a mother who decided to give up a lot. The mother in The Ice Age also, and they both do it quite happily. Before I read the book, I wondered if it was in any way like The Fifth Child by Doris Lessing.
Margaret Drabble: To tell you the truth, I couldn’t really read The Fifth Child. I knew Doris Lessing quite well and I knew I wasn’t going to like it and I know one or two people with children with problems who were cross with her about that book. They thought she’d shown a very bad side of care. She had not been without her own problems and they felt she shouldn’t perhaps be describing other people’s problems in this harsh tone.
BLVR: And the book is almost more about motherhood than about a child with special needs.
MD: Well, Doris was a problematic mother.
BLVR: I didn’t know this before reading it in Gold Baby, but she also had a son with special needs.
MD: From what I’ve learned about The Fifth Child through the grapevine, I imagine she was reflecting on the experience she had had with him. I think it’s lucky that he died before she did.
BLVR: A bit surprised to hear you say that Lessing was a problematic mother.
MD: But she would know that. She left two children behind and brought one with her and clung on to him very close. It’s a strange pattern of mothering. She has also said on the record that she hated her mother. I think the whole area of mothering is to her extremely problematic. She really loved the boy who stayed with her but it was not a calm relationship.
BLVR: And as many of your other novels, this one isn’t just about our own time. It’s also about the period of the British colonization of Africa, and goes back much further, into the archaeological history of the continent. The Seven Sisters hasThe Aeneid in its basis. The Peppered Moth has the matrilinear genetic history of the species and Hellenistic Egypt.
MD: For me, that’s entirely natural, to interpret what’s happening now in terms of the mythology. We get new insights. Some of what we read in classical literature is not relative to our condition, but then many women novelists and poets have turned it upside down and told the stories from the other point of view. I find that fascinating. But it seems natural to put women’s lives today in the context of what went before—either as a contrast or as a development.
I remember I had a lot of fun looking at various translations of the Aeneid. I enjoyed having a sort of background structure that is so far removed from the characters’ lives. In their real lives, a lot of them are quite washed up, really. And then they go off on this heroic journey. And yes, they’re all women.
BLVR: And in your novel A Natural Curiosity it is said that “when we meet our Gorgon, we die”—one character wonders if her sister, who had run away, “had met her Gorgon”. The ancient stuff comes to life in our otherwise mundane present.
MD: It’s very common in poetry, but in the novel you’re being a bit more adventurous when you do it. But it’s just that—I see symbols all around me. And apropos that trilogy I got very interested in things about the severed head and confronting the fate.
For MD’s musical choices, head over to Desert Island Discs, where of course she chose all the right people (i.e. Monteverdi, Bach and Handel; surprisingly no Mozart but bigup for Kurt Weill in the earlier DID).