A novel of remarkable depth and poignancy from one of the most acclaimed writers of our time.

It is July 1962. Florence is a talented musician who dreams of a career on the concert stage and of the perfect life she will create with Edward, an earnest young history student at University College of London, who unexpectedly wooed and won her heart. Newly married that morning, both virgins, Edward and Florence arrive at a hotel on the Dorset coast. At dinner in their rooms they struggle to suppress their worries about the wedding night to come. Edward, eager for rapture, frets over Florence’s response to his advances and nurses a private fear of failure, while Florence’s anxieties run deeper: she is overcome by sheer disgust at the idea of physical contact, but dreads disappointing her husband when they finally lie down together in the honeymoon suite.

Ian McEwan has caught with understanding and compassion the innocence of Edward and Florence at a time when marriage was presumed to be the outward sign of maturity and independence. On Chesil Beach is another masterwork from McEwan—a story of lives transformed by a gesture not made or a word not spoken.

It is 1962 when Edward and Florence, 23 and 22 respectively, marry and repair to a hotel on the Dorset coast for their honeymoon. They are both virgins, both apprehensive about what's next and in Florence's case, utterly and blindly terrified and repelled by the little she knows. Through a tense dinner in their room, because Florence has decided that the weather is not fine enough to dine on the terrace, they are attended by two local boys acting as waiters. The cameo appearances of the boys and Edward and Florence's parents and siblings serve only to underline the emotional isolation of the two principals. Florence says of herself: "...she lacked some simple mental trick that everyone else had, a mechanism so ordinary that no one ever mentioned it, an immediate sensual connection to people and events, and to her own needs and desires...."

They are on the cusp of a rather ordinary marital undertaking in differing states of readiness, willingness and ardor. McEwan says: "Where he merely suffered conventional first-night nerves, she experienced a visceral dread, a helpless disgust as palpable as seasickness." Edward, having denied himself even the release of self-pleasuring for a week, in order to be tip-top for Florence, is mentally pawing the ground. His sensitivity keeps him from being obvious, but he is getting anxious. Florence, on the other hand, knows that she is not capable of the kind of arousal that will make any of this easy. She has held Edward off for a year, and now the reckoning is upon her.

McEwan is the master of the defining moment, that place and time when, once it has taken place, nothing will ever be the same after it. It does not go well and Florence flees the room. "As she understood it, there were no words to name what had happened, there existed no shared language in which two sane adults could describe such events to each other." Edward eventually follows her and they have a poignant and painful conversation where accusations are made, ugly things are said and roads are taken from which, in the case of these two, the way back cannot be found. Late in Edward's life he realizes: "Love and patience--if only he had them both at once--would surely have seen them both through." This beautifully told sad story could have been conceived and written only by Ian McEwan. --Valerie Ryan