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As for sheer fun, Byatt flaunts her gift for literary mimickry to excellent effect. There are no easy, self-righteous answers here. If Byatt never successfully captures the fizzy, fragmented sensibility of the pop-maddened '60s, she does something more rare: frame the usually simplified "social issues" of the era with the agonized moral complexity of her Victorian forebearers. The hair-raising Sadean hijinks depicted by the book's author, Jude Mason, land both author and publisher in court. "I must work," Frederica avers, landing a job with a publisher who, on her recommendation, puts out a book, "Babeltower: A Tale for the Children of Our Time," about an anything-goes utopian community where everything goes very, very bad.
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The marriage has degenerated into captivity and violence, and she flees for the city, Leo in tow, to resume her life as an intellectual surrounded by her Cambridge-educated friends. Stricken by the accidental death of her sister and dazzled by sex, she married Nigel, a rich, wolfish squire with whom she produced one beloved son, Leo. The novel begins as the fiercely bookish Frederica Reiver realizes she's made a terrible and irrevocable mistake. This is the sort of fat, serious, passionate book that George Eliot and Thomas Hardy wrote, a good read and an ambitious creation by an author who behaves as if James Joyce never existed - and gets away with it. Lawrence and the heroine is a woman struggling for independence, the heart of "Babel Tower" belongs to the 19th century. Byatt's new novel is set in 1960s London and the action centers around two very modern trials - a divorce/custody battle and an obscenity prosecution - and although the characters read and argue about Kafka and D.H.