A Small Personal Voice. Doris Lessing

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СКАЧАТЬ he is ignorant, or fearful about being out of step – a coward … I write all these remarks with exactly the same feeling as if I were writing a letter to post into the distant past: I am so sure that everything we now take for granted is going to be utterly swept away in the next decade.

      (So why write novels? Indeed, why! I suppose we have to go on living as if …)

      Some books are not read in the right way because they have skipped a stage of opinion, assume a crystallization of information in society which has not yet taken place. This book was written as if the attitudes that have been created by the Women’s Liberation movements already existed. It came out first ten years ago, in 1962. If it were coming out now for the first time it might be read, and not merely reacted to: things have changed very fast. Certain hypocrisies have gone. For instance, ten, or even five years ago – it has been a sexually contumacious time – novels and plays were being plentifully written by men furiously critical of women – particularly from the States but also in this country – portrayed as bullies and betrayers, but particularly as underminers and sappers. But these attitudes in male writers were taken for granted, accepted as sound philosophical bases, as quite normal, certainly not as woman-hating, aggressive, or neurotic. It still goes on, of course, but things are better, there is no doubt of it.

      I was so immersed in writing this book that I didn’t think about how it might be received. I was involved not merely because it was hard to write – keeping the plan of it in my head I wrote it from start to end, consecutively, and it was difficult – but because of what I was learning as I wrote. Perhaps giving oneself a tight structure, making limitations for oneself, squeezes out new substance where you least expect it. All sorts of ideas and experiences I didn’t recognize as mine emerged when writing. The actual time of writing, then, and not only the experiences that had gone into the writing, was really traumatic: it changed me. Emerging from this crystallizing process, handing the manuscript to publisher and friends, I learned that I had written a tract about the sex war, and fast discovered that nothing I said then could change that diagnosis.

      Yet the essence of the book, the organisation of it, everything in it, says implicitly and explicitly, that we must not divide things off, must not compartmentalize.

      ‘Bound. Free. Good. Bad. Yes. No. Capitalism. Socialism. Sex. Love …’ says Anna, in Free Women, stating a theme – shouting it, announcing a motif with drums and fanfares … or so I imagined. Just as I believed that in a book called The Golden Notebook the inner section called the Golden Notebook might be presumed to be a central point, to carry the weight of the thing, to make a statement.

      But no.

      Other themes went into the making of this book, which was a crucial time for me: thoughts and themes I had been holding in my mind for years came together.

      One was that it was not possible to find a novel which described the intellectual and moral climate of a hundred years ago, in the middle of the last century, in Britain, in the way Tolstoy did it for Russia, Stendhal for France. (At this point it is necessary to make the obligatory disclaimers.) To read The Red and the Black and Lucien Leuwen is to know that France as if one were living there, to read Anna Karenina is to know that Russia. But a very useful Victorian novel never got itself written. Hardy tells us what it was like to be poor, to have an imagination larger than the possibilities of a very narrow time, to be a victim. George Eliot is good as far as she goes. But I think the penalty she paid for being a Victorian woman was that she had to be shown to be a good woman even when she wasn’t according to the hypocrisies of the time – there is a great deal she does not understand because she is moral. Meredith, that astonishingly underrated writer, is perhaps nearest. Trollope tried the subject but lacked the scope. There isn’t one novel that has the vigour and conflict of ideas in action that is in a good biography of William Morris.

      Of course this attempt on my part assumed that that filter which is a woman’s way of looking at life has the same validity as the filter which is a man’s way. Setting that problem aside, or rather, not even considering it, I decided that to give the ideological ‘feel’ of our mid-century, it would have to be set among socialists and marxists, because it has been inside the various chapters of socialism that the great debates of our time have gone on; the movements, the wars, the revolutions, have been seen by their participants as movements of various kinds of socialism, or marxism, in advance, containment, or retreat. (I think we should at least concede the possibility that people looking back on our time may see it not at all as we do – just as we, looking back on the English, the French, or even the Russian Revolutions see them differently from the people living then.) But ‘Marxism’ and its various offshoots, has fermented ideas everywhere, and so fast and energetically that, once ‘way out’ it has already been absorbed, has become part of ordinary thinking. Ideas that were confined to the far left thirty or forty years ago had pervaded the left generally twenty years ago, and have provided the commonplaces of conventional social thought from right to left for the last ten years. Something so thoroughly absorbed is finished as a force – but it was dominant, and in a novel of the sort I was trying to do had to be central.

      Another thought that I had played with for a long time was that a main character should be some sort of an artist, but with a ‘block.’ This was because the theme of the artist has been dominant in art for some time – the painter, writer, musician – as exemplar. Every major writer has used it, and most minor ones. Those archetypes, the artist and his mirror image the businessman, have straddled our culture, one shown as a boorish insensitive, the other as a creator with all excesses of sensibility and suffering and a towering egotism which has to be forgiven because of his products – in exactly the same way, of course, as the businessman has to be forgiven for the sake of his. We get used to what we have and forget that the artist-as-exemplar is a new theme. Heroes a hundred years ago weren’t often artists. They were soldiers and empire builders and explorers and clergymen and politicians – too bad about women, who had scarcely succeeded in becoming Florence Nightingale yet. Only oddballs and eccentrics wanted to be artists, and had to fight for it. But to use this theme of our time ‘the artist,’ ‘the writer,’ I decided it would have to be developed by giving the creature a block and discussing the reasons for the block. These would have to be linked with the disparity between the overwhelming problems of war, famine, poverty, and the tiny individual who was trying to mirror them. But what was intolerable, what really could not be borne any longer, was this monstrously isolated, monstrously narcissistic pedestalled paragon. It seems that in their own way the young have seen this and changed it, creating a culture of their own in which hundreds and thousands of people make films, assist in making films, make newspapers of all sorts, make music, paint pictures, write books, take photographs. They have abolished that isolated, creative, sensitive figure – by copying him in hundreds of thousands. A trend has reached an extreme, its conclusion, and so there will be a reaction of some sort, as always happens.

      The theme of ‘the artist’ had to relate to another: subjectivity. When I began writing there was pressure on writers not to be ‘subjective.’ This pressure began inside communist movements, as a development of the social literary criticism developed in Russia in the nineteenth century, by a group of remarkable talents, of whom Belinsky was the best known, using the arts and particularly literature in the battle against csarism and oppression. It spread fast everywhere, finding an echo as late as the fifties, in this country, with the theme of ‘commitment.’ It is still potent in communist countries. ‘Bothering about your stupid personal concerns when Rome is burning’ is how it tends to get itself expressed on the level of ordinary life – and was hard to withstand, coming from one’s nearest and dearest, and from people doing everything one respected most: like, for instance, trying to fight colour prejudice in Southern Africa. Yet all the time novels, stories, art of every sort, became more and more personal. In the Blue Notebook, Anna writes of lectures she has been giving: “Art during the Middle Ages was communal, unindividual; it came out of a group consciousness. It was without the driving painful individuality of the art of the bourgeois era. And one day we will leave behind the driving egotism of individual СКАЧАТЬ