Surfacing

Surfacing (1972), Margaret Atwood's second novel, was the first to bring her widespread, international acclaim. The novel is about an unnamed female protagonist, an illustrator of fairy tales, whose search for her missing father leads her to make several important, but disturbing discoveries about herself. The novel is set in Canada, in a town bordering Quebec; the tensions between Quebecois and other Canadians, and between Canadians and Americans, are one of the novel's regular motifs.

After receiving word of her father's mysterious disappearance, the narrator travels with her boyfriend, Joe, and her friends Anna and David, who are married, north to her childhood home. Her friends, working on a movie called Random Samples, plan to use the trip to acquire footage. Once back in her hometown, the narrator searches out an old friend of her father's, Paul, in hopes of finding answers. Paul is unable to give her any useful information about her father's disappearance, however. The narrator and her friends then hire a man from town to take them to her father's cabin, which sits on an island in the middle of a large nearby lake.

When they arrive at the island, they unpack their things and set up camp in the abandoned cabin. After some initial searching of the surrounding area, it becomes clear that their searching will lead them nowhere. The narrator finds a stack of papers among her father's things, with strange, apparently random words scrawled on them. The seeming incoherence of the papers causes the narrator to worry about her father's mental state.



The narrator's time on the island is interrupted by several vivid flashbacks, through which readers get to know her past. The scenes involve her family, previous marriage, and child. She worries about her relationship with Joe, not sure she actually loves him. She worries, in fact, over her increasing emotional numbness to life generally. When Evans, the man from town who boated the narrator and her party to the island, comes back to take them away, David decides to stay longer. The narrator is uncomfortable with this, because she fears her father, now insane, is somewhere nearby. She doesn't voice her concerns, however. Flashbacks to her wedding and the birth of her child upset the narrator; something is “off” about them. The narrator also notices how David and Anna's marriage, on close inspection, is actually very poor. David cheats on and emotionally abuses Anna. Amid the growing tensions, when one day Joe unexpectedly proposes to the narrator, she turns him down.

Eventually, the narrator discerns that her father's strange drawings refer to ancient rock paintings he had been researching. She resolves to seek out the paintings in question, hoping she will find useful information there. The paintings are not easy to find, but finally, the narrator thinks she has figured out where she might locate one. Because of changes in the water table since it was painted, this one, she guesses, will be located underwater. After searching out the purported location of the painting, the narrator dives down to find it. Instead of the painting, she discovers what she believes to be a dead child. This inadvertently unseals one of her own repressed memories, which causes her to understand her past with her ex-husband and child in a completely new way. Traumatized by the memory, the narrator begins to lose her grip on sanity. David attempts to seduce the narrator, out of revenge for Anna cheating on him with Joe, but she rebuffs him.

Soon, the police come to the island with the news. The narrator's father has been found by some local fishermen – he is dead. The narrator continues to spiral downward emotionally, hallucinating and becoming psychotic. She destroys David's film and hides from her friends, who are forced to leave the island without her. After their departure, she wrecks the cabin, destroying most of its contents. For days, she lives the life of a wild beast: eating wild plants, sleeping outside. She begins to believe she will be able to summon her parents from the dead, but only if she follows very specific rules. She also becomes convinced she is pregnant with a divine child.



Miraculously, over time the narrator seems to recover, albeit slowly, from her psychotic state; and as she does, it seems her various former traumas have begun to heal. She catches a glimpse of herself one day in a mirror, and the sight of herself affects her powerfully – she is still herself, still a woman. Joe returns to the island to look for her, and, hidden in the woods, she watches him. As she does so, she suddenly realizes she trusts him and even loves him.

Surfacing is a unique novel for taking a nameless female as its protagonist. In refusing to name her, Atwood imbues her protagonist with a certain air of generality, as if the protagonist's responses and emotions are to be viewed as universal, or at least widely relatable – this is a literary position women characters have rarely occupied.