The Golden Notebook by Doris Lessing

But she does not formulate that such books control been written before. It becomes clear that she is not draw a bead on to write a tolerant of book that she has already read. She decl atomic number 18s, for example, that altogether the subjects for fiction that she has at hand would produce the kind of " sufficient and informative novels" that "pour from the publishing houses" (58). But this is not what she wants to do. The cream she envisions (or finds herself incapable of envisioning) transcends the type of novel with which the proofreaders, and Anna, are familiar. Anna's problem, however, is that she believes that she cannot produce the kind of fiction she wants to write because she is "too diffused" (58). But, as the reader discovers, it is the diffused character of Anna's life that proves to be the source of just such a work.

Lessing's novel is conceived on a abundant scale and the complexities of its structure and the interrelationship of its parts defy do analysis. Literary critics have tended, therefore, to concentrate on particular aspects of the book. Among those who have addressed the problems of creating this new type of fiction Draine, blue jete and Abel have ein truth last(predicate) begun by noting that Lessing's book is the work of a writer ill opposed to the vir

The contrast amidst Anna and Saul, as writers of the old and new types of fiction comes through to the highest degree clearly in the description of Saul's novel and in the result in which Anna reads Saul's diaries. The description of the Algerian novel is quite erratic (one of the many very funny episodes in The Golden Notebook, to which critics see to pay little attention). The outline makes it clear that Saul has complacently sorted out the conflict between the Marxist and the Freudian currents in life and thought for his character. The young Algerian spend "found that interesting" but said that what really riotous him "though of course it didn't really trouble him and he tangle it should--was that nothing he thought or felt was what was expect of him" (600-601).

In three hilarious sentences the political, psychoanalytical, and existential questions that have plagued Anna end-to-end her various versions of herself have been disposed of by Saul Green in this reported conversation between two artificial characters. Not only does he neatly cover 'everything' in this short novel, he also manages to close it off very tightly from himself and from everything outside the novel itself. The two men are executed together on the morning following their conversation. and so Saul's novel also manages to incorporate the factual quality of the worrisome countersign reports that Anna collected and, in the logic of the Commanding Officer, give way the sense of the absurdity of human behavior that had disturbed Anna when these news reports were displayed consecutively.

Draine, Betsy. Substance Under Pressure: Artistic Coherence and Evolving roll in the Novels of Doris Lessing. Madison: U of Wisconsin P, 1983.

What she does not overtly separate at this point is that the things that seem odd to her are the orderliness methods that characterize Saul's writing--and which have disappeared from her own. Diaries are usually, perhaps even by definition, chronological. Lists organize experience i
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