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Doris Lessing

Doris Lessing Quotes

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“Ideally, what should be said to every child, repeatedly, throughout his or her school life is something like this: 'You are in the process of being indoctrinated. We have not yet evolved a system of education that is not a system of indoctrination. We are sorry, but it is the best we can do. What you are being taught here is an amalgam of current prejudice and the choices of this particular culture. The slightest look at history will show how impermanent these must be. You are being taught by people who have been able to accommodate themselves to a regime of thought laid down by their predecessors. It is a self-perpetuating system. Those of you who are more robust and individual than others will be encouraged to leave and find ways of educating yourself — educating your own judgements. Those that stay must remember, always, and all the time, that they are being moulded and patterned to fit into the narrow and particular needs of this particular society.”

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Book:The Golden Notebook
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“I've thought about that often since. I mean, about the word nice. Perhaps I mean good. Of course they mean nothing, when you start to think about them. A good man, one says; a good woman; a nice man, a nice woman. Only in talk of course, these are not words you'd use in a novel. I'd be careful not to use them. Yet of that group, I will say simply, without further analysis, that George was a good person, and that Willi was not. That Maryrose and Jimmy and Ted and Johnnie the pianist were good people, and that Paul and Stanley Lett were not. And furthermore, I'd bet that ten people picked at random off the street to meet them, or invited to sit in that party under the eucalyptus trees that night, would instantly agree with this classification-would, if I used the word good, simply like that, know what I meant. And thinking about this, which I have done so much, I discover that I come around, by a back door, to another of the things that obsess me. I mean, of course, this question of 'personality.' Heaven knows we are never allowed to forget that the 'personality' doesn't exist any more. It's the theme of half the novels written, the theme of the sociologists and all the other -ologists. We're told so often that human personality has disintegrated into nothing under pressure of all our knowledge that I've even been believing it. Yet when I look back to that group under the trees, and re-create them in my memory,suddenly I know it's nonsense. Suppose I were to meet Maryrose now, all these years later,she'd make some gesture, or turn her eyes in such a way, and there she'd be, Maryrose, and indestructible. Or suppose she 'broke down,' or became mad. She would break down into her components, and the gesture, the movement of the eyes would remain, even though some connection had gone. And so all this talk, this antihumanist bullying, about the evaporation of the personality becomes meaningless for me at that point when I manufacture enough emotional energy inside myself to create in memory some human being I've known. I sit down, and remember the smell of the dust and the moonlight, and see Ted handing a glass of wine to George, and George's over-grateful response to the gesture. Or I see, as in a slow-motion film, Maryrose turn her head, with her terrifyingly patient smile... I've written the word film. Yes. The moments I remember all have the absolute assurance of a smile, a look, a gesture, in a painting or a film. Am I saying then that the certainty I'm clinging to belongs to the visual arts, and not to the novel, not to the novel at all, which has been claimed by the disintegration and the collapse? What business has a novelist to cling to the memory of a smile or a look, knowing I so well the complexities behind them? Yet if I did not, I'd never be able to set a word down on paper; just as I used to keep myself from going crazy in this cold northern city by deliberately making myself remember the quality of hot sunlight on my skin. And so I'll write again that George was a good man.”

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Book:The Golden Notebook
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“But why should she not announce to the family that she was going to change, was in the process of changing? She could not. They would see it as a claim on their attention, their compassion. (...) (That was not how people changed; they didn't change themselves: you got changed by being made to live through something, and then you found yourselve changed.)”

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Book:The Summer Before the Dark
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“What are all these guises, aspects, presentations? Only manifestations of what we all are at different times, according to how these needs are pulled out of us. I write in these bald words the deepest lessons of my life, the truest substance of what I have learned. I am not only a Chronicler of Zone Three, or only partially, for I also share in Al-Ith's condition of being ruler insofar as I can write of her, describe her. I am woman with her (though I am man) as I write of her femaleness - and Dabeeb's. I am Ben Ata when I summon him into my mind and try to make him real. I am...what I am at the moment I am that...”

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Book:The Marriages Between Zones Three, Four, and Five
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“What I feel now doesn't matter at all? But at what point am I entitled to say to myself, what I am feeling now is valid? After all, Anna-' Here Tommy turned to face her: 'one can't go through one's whole life in phases. There must be a goal somewhere.' His eyes gleamed out hatred; and it was with difficulty that Anna said: 'If you're suggesting that I've reached a goal, and I'm judging you from some superior point, then it's not true.' 'Phases,' he insisted. 'Stages. Growing pains.' 'But I think that's how women see-people. Certainly their own children. In the first place, there's always been nine months of not knowing whether the baby would be a girl or a boy. Sometimes I wonder what Janet would have been like if she'd been born a boy. Don't you see! And then babies go through one stage after another, and then they are children. When a woman looks at a child she sees all the things he's been at the same time. When I look at Janet sometimes I see her as a small baby and I feel her inside my belly and I see her as various sizes of small girl, all at the same time.' Tommy's stare was accusing and sarcastic, but she persisted: 'That's how women see things. Everything in a sort of continuous creative stream-well, isn't it natural we should?”

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Book:The Golden Notebook
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“It is not necessary, most of the time, to direct an individual into this or that relationship or situation – components of his or her personality, aspects of themselves they may not be aware of at all, will push them, by the laws of attraction or repulsion, into the places, or near to the people, who will benefit them. Very often two people, or a group of people, may meet in forceful and beneficial situations, and onlookers may even cry out that this must be the result of a ‘miracle’ or ‘divine intervention’. The couple, or group, have been drawn to each other sometimes across oceans, or overcoming ‘impossible’ hazards, because they need each other – need to learn from each other. But often this process, to the uninstructed onlooker, seems like a meaningless or wasted conflict, or a stalemate, or even damaging. “And of course sometimes such encounters are indeed mistaken, wasteful, damaging. How could it be otherwise on poor Shikasta, in its extremity, at the end of the long processes that have brought it to such a shameful state?”

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Book:Re: Colonised Planet 5, Shikasta
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“I and all the people I knew well, some of them fine people, had been sunk inside the communist conformity and lied to themselves or to others. And the 'liberal' or 'free' intellectuals could be and had been swung into witch-hunts of one kind or another very easily. Very few people really care about freedom, about liberty, about the truth, very few. Very few people have guts, the kind of guts on which a real democracy has to depend. Without people with that sort of guts a free society dies or cannot be born.”

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Book:The Golden Notebook
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“We stood, separated by space, certainly, in identical conditions of pleasant uncertainty and anticipation, and we both held our heart in our hands, all pink and palpitating and ready for pleasure and pain, and we were about to throw these hearts in each other's faces like snowballs, or cricket balls (How's that?) or, more accurately, like great bleeding wounds: "Take my wound". Because the last thing one ever thinks at such moments is that he (or she) will say: Take my wound, please remove the spear from my side. No, not at all; one simply expects to get rid of one's one.”

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Book:A Man and Two Women: Stories
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“[Martha] saw it all so very clearly. That phrase, 'having a baby,' which was every girl's way of thinking of a first child, was nothing but a mask to conceal the truth. One saw a fluttering image of a madonna-like woman with a helpless infant in her arms; nothing could be more attractive. What one did not see, what everyone conspired to prevent one seeing, was the middle-aged woman who had done nothing but produce two or three commonplace and tedious citizens in a world that was already too full of them.”

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Author:Doris Lessing
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“I learned that the resentment, the anger, is impersonal. It is the disease of women in our time. I can see it in women's faces, their voices, every day, or in the letters that come to the office. The woman's emotion: resentment against injustice, an impersonal poison. The unlucky ones, who do not know it is impersonal, turn it against their men. The lucky ones like me—fight it. It is a tiring fight.”

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Book:The Golden Notebook
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“THE LILIES This morning it was, on the pavement, When that smell hit me again And set the houses reeling. People passed like rain: (The way rain moves and advances over the hills) And it was hot, hot and dank, The smell like animals, strong, but sweet too. What was it? Something I had forgotten. I tried to remember, standing there, Sniffing the air on the pavement. Somehow I thought of flowers. Flowers! That bad smell! I looked: down lanes, past houses-- There, behind a hoarding, A rubbish-heap, soft and wet and rotten. Then I remembered: After the rain, on the farm, The vlei that was dry and paler than a stone Suddenly turned wet and green and warm. The green was a clash of music. Dry Africa became a swamp And swamp-birds with long beaks Went humming and flashing over the reeds And cicadas shrilling like a train. I took off my clothes and waded into the water. Under my feet first grass, then mud, Then all squelch and water to my waist. A faint iridescence of decay, The heat swimming over the creeks Where the lilies grew that I wanted: Great lilies, white, with pink streaks That stood to their necks in the water. Armfuls I gathered, working there all day. With the green scum closing round my waist, The little frogs about my legs, And jelly-trails of frog-spawn round the stems. Once I saw a snake, drowsing on a stone, Letting his coils trail into the water. I expect he was glad of rain too After nine moinths of being dry as bark. I don't know why I picked those lilies, Piling them on the grass in heaps, For after an hour they blackened, stank. When I left at dark, Red and sore and stupid from the heat, Happy as if I'd built a town, All over the grass were rank Soft, decaying heaps of lilies And the flies over them like black flies on meat...”

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Book:Going Home
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“una generazione di giovani, magari con quindici o vent'anni di studio alle spalle, coperti di premi e di lodi, che però non hanno letto niente, non vanno oltre i loro curriculum scolastici o universitari, che sono ignoranti e per giunta privi di curiosità. Un'ora in loro compagnia mette in crisi qualunque vostro concetto di istruzione... Con loro è impossibile avere una vera conversazione, perché parlano solo di se stessi, dei loro amici, dei personaggi famosi, di shopping, di ricette. Vivono in piccoli mondi ristretti e impenetrabili.”

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Book:Il senso della memoria: Saggi e racconto
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“It began to dawn on me then ... all the time I was being reminded of something, I didn’t know quite what, and I was lying awake every night trying to remember what it was, and even now I can’t say much about it, but it is like what the other Rachel, and Olga, and Simon, used to tell me of how the three were taught by people just coming past, and how they learned things without there being actual lessons and timetables most of the time. I keep meeting people, and all of them seem to know at once who I am and what to tell me or where to take me. That is very peculiar. Something peculiar is going on, but I don’t know what.”

SubtletyExperiential Learning
Book:Re: Colonised Planet 5, Shikasta
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“First of all, the National Health Service, the Welfare State. What pride in it, what elation – and what confidence! The best thing was still the young doctors setting up group practices. Most but not all were socialists of various kinds. Memories of the thirties were close, documented by The Stars Look Down, Love on the Dole, The Citadel, novels which everyone had read. Whole families could be brought low because of the illness of one member. That terrible poverty in the 1930s, that cruel indifference to suffering on the part of Britain’s rulers – but now there was the welfare state. Pensions meant old age was no longer a threat. (Forty years later a government can say blandly, But we can’t afford it – and cut benefits that the citizens imagined they had been paying for. Has anyone ever thought of suing a government that reneges on its promises?”

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Book:Walking in the Shade: Volume Two of My Autobiography, 1949 - 1962
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“It was a grief and a fear too ancient for me, it was a sorrow bred into the essence of the race. I saluted it, and passed on, for like the early all-pervading nausea, this was part of my living, kneaded into my fibres, a necessity like breathing and associated with it: this cold, this weight, this pulling and dragging and compelling. It was too old a lodestone for any individual to fight away from, or even to accurately know or place. It was there. [...] There it lay, just out of sight, deadly and punishing, for its pulse was that of a cold heaviness, it had to be a counterweight to joy.”

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Book:Briefing for a Descent Into Hell
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