This paper investigates a close connection between Virginia Woolf’s Mrs Dalloway (1925) and Ian McEwan’s Saturday(2005), with a focus on urban drama in London. It furthers several critics’ brief attention to some similarities between the two texts. I demonstrate that the shared backdrop of modern London provides a crucial space for the privileged protagonists of both novels to see, contact, and make a meaningful relationship with the underprivileged. These prominent ethical concerns in the urban space contain a political edge, owing to the meticulously chosen temporal backgrounds of each novel－the aftermath of World War I in Mrs. Dalloway and the after-effect of the 9/11 terrorist attacks in Saturday. Drawing a parallel between the conflict at home and the violence in the homeland dramatized in one day London, two writers deal with the crisis of western civilization within everyday urban life. Yet, their approaches to explore the complex aspects of urban connections are slightly dissimilar. Mrs. Dalloway orchestrates the myriad of urban drama that is seen and experienced by London pedestrians; intermixing the pervading consciousness of Clarissa Dalloway with that of Septimus Smith. Saturday unfolds an urban drama, as the scientifically-minded protagonist, Henry Perowne, mainly observes the city through the windows of his house or those of his motor-car. Furthermore, Woolf emphasizes heart that allows the ethical intimacy with the social other at the end of Clarissa’s party. On the other hand, McEwan is concerned with the difficulty of achieving mutual understanding and sympathy, as revealed in Henry’s final limitation within his familial bounds. Nonetheless, Henry’s unavoidable contact with Baxter in a car accident leads to Baxter’s intrusion into Henry’s castle-like home; illustrating the inevitability of urban contact. The intervening narrative voices, though faint, allow a fissure in Henry’s dominant narrative. Similarly, in Mrs. Dalloway the diverse voices of many other Londoners, different in class and status, are heard. Out of focus from Clarissa, a medley of London drama emerges. Both texts, layered in various voices that echo urban dissimilitude, endorse the heterogeneous urban drama in London that is open to threat and violence, but, to understanding and communicating as well.