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"One of the most authentic books ever written about the English....Funny, touching and so real that the smell and taste of London seem to rise from its pages." — San Francisco Chronicle In Pursuit of the English is a novelist's account of a lusty, quarrelsome, unscrupulous, funny, pathetic, full-blooded life in a working-class rooming house. It is a shrewd and unsentimental picture of Londoners you've probably never met or even read about--though they are the real English. The cast of characters — if that term can be applied to real people — includes: Bobby Brent, a con man; Mrs. Skeffington, a genteel woman who bullies her small child and flings herself down two flights of stairs to avoid having another; and Miss Priest, a prostitute, who replies to Lessing's question "Don't you ever like sex?" with "If you're going to talk dirty, I'm not interested." In swift, barbed style, in high, hard, farcical writing that is eruptively funny, Doris Lessing records the joys and terrors of everyday life. The truth of her perception shines through the pages of a work that is a brilliant piece of cultural interpretation, an intriguing memoir and a thoroughly engaging read.
The phenomenon of Doris Lessing's global reputation and readership is addressed for the first time in In Pursuit of Doris Lessing through a series of essays that also provide a provocative overview of Lessing's long career from The Grass Is Singing, the first of a series of African and woman-centered politically radical works, to her latest galactic and politically conservative works. Nine different Lessings emerge from these essays, forcing us to question received propositions about the universality of literature and the stability of the text and uncovering and recovering in the process the pungent, variable, controversial Lessing who has been and remains as international and transcultural as she is African and English.
Throughout her life, Doris Lessing broke the rules in both her her personal life and within the accepted mores of literature. A trailblaser of the women's movement and an early experimenter with drugs, she gained notoriety in the sixties with her first novel The Grass is Singing, and subsequently with her explosive Golden Notebook and the Children of Violence series. At the age of eighty she remains part of the avant garde.
A genre-defying memoir in which Lara Feigel experiments with sexual, intellectual and political freedom while reading and pursuing Doris Lessing How might we live more freely, and will we be happier or lonelier if we do? Re-reading The Golden Notebook in her thirties, shortly after Doris Lessing's death, Lara Feigel discovered that Lessing spoke directly to her as a woman, a writer, and a mother in a way that no other novelist had done. At a time when she was dissatisfied with the conventions of her own life, Feigel was enticed by Lessing's vision of freedom. Free Woman is essential reading for anyone whose life has been changed by books or has questioned the structures by which they live. Feigel tells Lessing's own story, veering between admiration and fury at the choices Lessing made. At the same time, she scrutinises motherhood, marriage and sexual relationships with an unusually acute gaze. And in the process she conducts a dazzling investigation into the joys and costs of sexual, psychological, intellectual and political freedom. This is a genre-defying book: at once a meditation on life and literature and a daring act of self-exposure.
Doris Lessing's contemporary gothic horror story—centered on the birth of a baby who seems less than human—probes society's unwillingness to recognize its own brutality.Harriet and David Lovatt, parents of four children, have created an idyll of domestic bliss in defiance of the social trends of late 1960s England. While around them crime and unrest surge, the Lovatts are certain that their old-fashioned contentment can protect them from the world outside—until the birth of their fifth baby. Gruesomely goblin-like in appearance, insatiably hungry, abnormally strong and violent, Ben has nothing innocent or infant-like about him. As he grows older and more terrifying, Harriet finds she cannot love him, David cannot bring himself to touch him, and their four older children are afraid of him. Understanding that he will never be accepted anywhere, Harriet and David are torn between their instincts as parents and their shocked reaction to this fierce and unlovable child whose existence shatters their belief in a benign world.
This murder story features a Rhodesian farmer's wife and her houseboy.
Anna is a writer, author of one very successful novel, who now keeps four notebooks. In one, with a black cover, she reviews the African experience of her earlier years. In a red one she records her political life, her disillusionment with communism. In a yellow one she writes a novel in which the heroine relives part of her own experience. And in a blue one she keeps a personal diary. Finally, in love with an American writer and threatened with insanity, Anna resolves to bring the threads of all four books together in a golden notebook. Doris Lessing's best-known and most influential novel, The Golden Notebook retains its extraordinary power and relevance decades after its initial publication.
As the summer begins, Kate Brown -- attractive, intelligent, forty five, happily enough married, with a house in the London suburbs and three grown children -- has no reason to expect anything will change. But when the summer ends, the woman she was -- living behind a protective camouflage of feminine charm and caring -- no longer exists. This novel. Doris Lessing's brilliant excursion into the terrifying stretch of time between youth and old age, is her journey: from London to Turkey to Spain, from husband to lover to madness: on the road to a frightening new independence and a confrontation with self that lets her, finally, come truly of age.
From the winner of the Nobel Prize for Literature, Doris Lessing, a short story about a young boy’s coming of age.
Through close readings of Doris Lessing's novels from The Grass is Singing to The Fifth Child, Margaret Moan Rowe maps many of the literary and cultural negotiations that make Doris Lessing both a maverick and a mainstream novelist. Examining the pull of paternal and maternal biographical and literary identification in Lessing, Rowe relates them to the tensions between the ordinary and the visionary in her fiction.