This lump of print is lying on the counter, together with some old copies of magazines, some pages of newspapers with pictures of girls in bikinis.
It is time for the woman to leave the haven of the Indian store and set off back along the four miles to her village. Outside, the lines of waiting women clamor and complain. But still the Indian lingers. He knows what it will cost this girl—going back home, with the two clinging children. He would give her the piece of prose that so fascinates her, but he cannot really believe this splinter of a girl with her great belly can really understand it.
Why is perhaps a third of Anna Karenin here on this counter in a remote Indian store? It is like this.
A certain high official, from the United Nations as it happens, bought a copy of this novel in a bookshop before he set out on his journey to cross several oceans and seas. On the plane, settled in his business class seat, he tore the book into three parts. He looked around his fellow passengers as he did this, knowing he would see looks of shock, curiosity, but some of amusement. When he was settled, his seat belt tight, he said aloud to whomever could hear, “I always do this when I’ve a long trip. You don’t want to have to hold up some heavy great book.” The novel was a paperback, but, true, it is a long book. This man is well used to people listening when he spoke. “I always do this, traveling,” he confided. “Traveling at all these days, is hard enough.” And as soon as people were settling down, he opened his part of Anna Karenin, and read. When people looked his way, curiously or not, he confided in them. “No, it really is the only way to travel.” He knew the novel, liked it, and this original mode of reading did add spice to what was after all a well-known book.
When he reached the end of a section of the book, he called the air hostess, and sent the chapters back to his secretary, traveling in the cheaper seats. This caused much interest, condemnation, certainly curiosity, every time a section of the great Russian novel arrived, mutilated but readable, in the back part of the plane. Altogether, this clever way of reading Anna Karenin makes an impression, and probably no one there would forget it.
Meanwhile, in the Indian store, the young woman is holding on to the counter, her little children clinging to her skirts. She wears jeans, since she is a modern woman, but over them she has put on the heavy woolen skirt, part of the traditional dress of her people: her children can easily cling onto its thick folds.
She sends a thankful look to the Indian, whom she knew liked her and was sorry for her, and she steps out into the blowing clouds.
The children are past crying, and their throats are full of dust.
This was hard, oh yes, it was hard, this stepping, one foot after another, through the dust that lay in soft deceiving mounds under her feet. Hard, but she was used to hardship, was she not? Her mind was on the story she had been reading. She was thinking, She is just like me, in her white headscarf, and she is looking after children too. I could be her, that Russian girl. And the man there, he loves her and will ask her to marry him. She had not finished more than that one paragraph. Yes, she thinks, a man will come for me and take me away from all this, take me and the children, yes, he will love me and look after me.
She steps on. The can of water is heavy on her shoulders. On she goes. The children can hear the water slopping about. Halfway she stops, sets down the can.
Her children are whimpering and touching it. She thinks that she cannot open it, because dust would blow in. There is no way she can open the can until she gets home.
“Wait,” she tells her children, “wait.”
She has to pull herself together and go on.
She thinks, My teacher said there is a library, bigger than the supermarket, a big building and it is full of books. The young woman is smiling as she moves on, the dust blowing in her face. I am clever, she thinks. Teacher said I am clever. The cleverest in the school—she said I was. My children will be clever, like me. I will take them to the library, the place full of books, and they will go to school, and they will be teachers—my teacher told me I could be a teacher. My children will live far from here, earning money. They will live near the big library and enjoy a good life.
You may ask how that piece of the Russian novel ever ended up on that counter in the Indian store?
It would make a pretty story. Perhaps someone will tell it.
On goes that poor girl, held upright by thoughts of the water she will give her children once home, and drink a little of herself. On she goes, through the dreaded dusts of an African drought.
We are a jaded lot, we in our threatened world. We are good for irony and even cynicism. Some words and ideas we hardly use, so worn out have they become. But we may want to restore some words that have lost their potency.
We have a treasure-house of literature, going back to the Egyptians, the Greeks, the Romans. It is all there, this wealth of literature, to be discovered again and again by whoever is lucky enough to come upon it. A treasure. Suppose it did not exist. How impoverished, how empty we would be.
We own a legacy of languages, poems, histories, and it is not one that will ever be exhausted. It is there, always.
We have a bequest of stories, tales from the old storytellers, some of whose names we know but some not. The storytellers go back and back, to a clearing in the forest where a great fire burns, and the old shamans dance and sing, for our heritage of stories began in fire, magic, the spirit world. And that is where it is held today.
Ask any modern storyteller and they will say there is always a moment when they are touched with fire, with what we like to call inspiration, and this goes back and back to the beginning of our race, to the great winds that shaped us and our world.
The storyteller is deep inside every one of us. The story-maker is always with us. Let us suppose our world is ravaged by war, by the horrors that we all of us easily imagine. Let us suppose floods wash through our cities, the seas rise. But the storyteller will be there, for it is our imaginations which shape us, keep us, create us—for good and for ill. It is our stories that will recreate us, when we are torn, hurt, even destroyed. It is the storyteller, the dream-maker, the myth-maker, that is our phoenix, that represents us at our best, and at our most creative.
That poor girl trudging through the dust, dreaming of an education for her children, do we think that we are better than she is—we, stuffed full of food, our cupboards full of clothes, stifling in our superfluities?
I think it is that girl, and the women who were talking about books and an education when they had not eaten for three days, that may yet define us.
© The Nobel Foundation 2007
Read on
Have You Read? More by Doris Lessing
THE GOLDEN NOTEBOOK
Widely considered one of the most influential novels of the twentieth century, The Golden Notebook tells the story of Anna Wulf, a writer who records the threads of her life in four separate notebooks. As she attempts to integrate those fragmented chronicles into one golden notebook, Anna gives voice to the challenges of identity-building in a chaotic world. Known for its literary innovation, The Golden Notebook brilliantly captures the anxieties and possibilities of an era with a vitality that continues to leave its mark on each new generation of readers.
ESSENTIAL DORIS LESSING CD: EXCERPTS FROM THE GOLDEN NOTEBOOK READ BY THE AUTHOR
ALFRED & EMILY
In this extraordinary book, Lessing offers a moving meditation on parents and children, war and memory, as she explores the lives of her parents, two individuals irrevocably damaged by the Great War. In the fictional first half of Alfred & Emily, Lessing imagines the happier lives her parents might have led had there been no war. This is followed by a piercing examination of their relationship as it actually was in the shadow of the war, the family’s move to Africa, and the impact of their strained union on their daughter, a young woman growing up in a strange land.
TIME BITES: VIEWS AND REVIEWS
In this collection of the very best of Doris Lessing’s essays,
we are treated to the wisdom and keen insight of a writer who has learned, over the course of a brilliant career spanning more than half a century, to read the world differently. From imagining the secret sex life of Tolstoy to the secrets of Sufism, from reviews of classic books to commentaries on world politics, these essays cover an impressive range of subjects, cultures, periods, and themes, yet they are remarkably consistent in one key regard: Lessing’s clear-eyed vision and clearly expressed prose.
THE CLEFT
In the last years of his life, a contemplative Roman senator embarks on one last epic endeavor: to retell the history of human creation and reveal the little-known story of the Clefts, an ancient community of women living in an Edenic coastal wilderness. The Clefts have neither need nor knowledge of men; childbirth is controlled through the cycles of the moon, and they bear only female children. But with the unheralded birth of a strange new child—a boy—the harmony of their community is suddenly thrown into jeopardy.
In this fascinating and beguiling novel, Lessing confronts the themes that inspired much of her early writing: how men and women manage to live side by side in the world and how the troublesome particulars of gender affect every aspect of our existence.
MARA AND DANN
Thousands of years in the future, all the northern hemisphere is buried under the ice and snow of a new Ice Age. At the southern end of a large landmass called Ifrik, two children of the Mahondi people, seven-year-old Mara and her younger brother, Dann, are abducted from their home in the middle of the night. Raised as outsiders in a poor rural village, Mara and Dann learn to survive the hardships and dangers of a life threatened as much by an unforgiving climate and menacing animals as by a hostile community of Rock People. Eventually they join the great human migration North, away from the drought that is turning the southern land to dust and in search of a place with enough water and food to support human life. Traveling across the continent, the siblings enter cities rife with crime, power struggles, and corruption, learning as much about human nature as about how societies function. With a clear-eyed vision of the human condition, Mara and Dann is imaginative fiction at its best.
THE STORY OF GENERAL DANN AND MARA’S DAUGHTER, GRIOT AND THE SNOW DOG
Dann is grown up now, hunting for knowledge and despondent over the inadequacies of his civilization. With his trusted companions—Mara’s daughter, his hope for the future; the abandoned child-soldier Griot, who discovers the meaning of love and the ability to sing stories; and the snow dog, a faithful friend who brings him back from the depths of despair—Dann embarks on a strange and captivating adventure in a suddenly colder, more watery climate in the north.
THE GRANDMOTHERS: FOUR SHORT NOVELS
In the title novel, two friends fall in love with each other’s teenage sons, and these passions last for years, until the women end them, vowing to have a respectable old age. In Victoria and the Staveneys, a young woman gives birth to a child of mixed race and struggles with feelings of estrangement as her daughter gets drawn into a world of white privilege. The Reason for It traces the birth, faltering, and decline of an ancient culture, with enlightening modern resonances. A Love Child features a World War II soldier who believes he has fathered a love child during a fleeting wartime romance and cannot be convinced otherwise.
THE SWEETEST DREAM
Frances Lennox ladles out dinner every night to the motley, exuberant, youthful crew assembled around her hospitable table: her two sons and their friends, girlfriends, ex-friends, and fresh-off-the-street friends. It’s the early 1960s and certainly “everything is for the best in the best of all possible worlds.” Except financial circumstances demand that Frances and her sons live with her proper ex-mother-in-law. And her ex-husband, Comrade Johnny, has just dumped his second wife’s problem child at Frances’s feet. And the world’s political landscape has suddenly become surreal beyond imagination. . . .
Set against the backdrop of the decade that changed the world forever, The Sweetest Dream is a riveting look at a group of people who dared to dream—and faced the inevitable cleanup afterward—from one of the greatest writers of our time.
BEN, IN THE WORLD
At eighteen, Ben is in the world, but not of it. He is too large, too awkward, too inhumanly made. Now estranged from his family, he must find his own path in life. From London and the south of France to Brazil and the mountains of the Andes, Ben is tossed about in a tumultuous search for his people, a reason for his being. How the world receives him, and how he fares in it, will horrify and captivate until the novel’s dramatic finale.
LOVE, AGAIN
Love, Again tells the story of a sixty-five-year-old woman who falls in love and struggles to maintain her sanity. Widowed for many years, with grown children, Sarah is a writer who works in the theater in London. During the production of a play, she falls in love with a seductive young actor, the beautiful and androgynous twenty-eight-year-old Bill, and then with the more mature thirty-five-year-old director Henry. Finding herself in a state of longing and desire that she had thought was the province of younger women, Sarah is compelled to explore and examine her own personal history of love, from her earliest childhood desires to her most recent obsessions. The result is a brilliant anatomy of love from a master of human psychology who remains one of the most daring writers of fiction at work today.
UNDER MY SKIN: VOLUME ONE OF MY AUTOBIOGRAPHY, TO 1949
The experiences absorbed through these “skins too few” are evoked in this memoir of Doris Lessing’s childhood and youth as the daughter of a British colonial family in Persia and Southern Rhodesia. Honestly and with overwhelming immediacy, Lessing maps the growth of her consciousness, her sexuality, and her politics. Under My Skin, winner of the Los Angeles Times Book Prize for Biography, offers a rare opportunity to discover the forces that shaped one of the most distinguished writers of our time.
WALKING IN THE SHADE: VOLUME TWO OF MY AUTOBIOGRAPHY—1949–1962
The second volume of Doris Lessing’s extraordinary autobiography covers the years 1949–62, from her arrival in war-weary London with her son, Peter, and the manuscript for her first novel, The Grass Is Singing, under her arm, to the publication of her most famous work of fiction, The Golden Notebook. She describes how communism dominated the intellectual life of the 1950s and how she, like nearly all communists, became disillusioned with extreme and rhetorical politics and left communism behind. Evoking the bohemian days of a young writer and single mother, Lessing speaks openly about her writing process, her friends and lovers, her involvement in the theater, and her political activities.
THE REAL THING: STORIES AND SKETCHES
The stories and sketches in this collection penetrate to the heart of human experience with the passion and intelligence readers have come to expect of Doris Lessing. Most of the pieces are set in contemporary London, a city the author loves for its variety, its diversity, its transitoriness, the way it connects the life of animals and birds in the parks to the streets. Lessing’s fiction also explores the darker corners of relationships between women and men, as in the rich and emotionally complex title story, in which she uncovers a more parlous reality behind the facade of the most conventional relationship between the sexes.
AFRICAN LAUGHTER
Based on her memories of growing up in Southern Rhodesia and the experiences of four visits to Zimbabwe in the 1980s and 1990s, African Laughter is Lessing’s poignant study of the homeland from which she was exiled for twenty-five years. With rich detail and intimate understanding, she tackles the role that changing racial and social dynamics, the onslaught of AIDS, political corruption, and ecological factors have played in Zimbabwe’s evolution from colonial territory to modern nation.
PRISONS WE CHOOSE TO LIVE INSIDE: ESSAYS
With her signature candor and clarity, Lessing explores new ways to view ourselves and the society we live in, and gives us fresh answers to such enduring questions as how to think for ourselves and how to understand what we know.
<
br /> IN PURSUIT OF THE ENGLISH: A DOCUMENTARY
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 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.
GOING HOME: A MEMOIR
Going Home is Doris Lessing’s account of her first journey back to Africa, the land in which she grew up and in which so much of her emotion and her concern are still invested. Returning to Southern Rhodesia in 1956, she found that her love of Africa had remained as strong as her hatred of the idea of “white supremacy” espoused by its ruling class. Going Home evokes brilliantly the experience of the people, black and white, who have shaped and will shape a beloved country.
MARTHA QUEST
Intelligent, sensitive, and fiercely passionate, Martha Quest is a young woman living on a farm in Africa, feeling her way through the torments of adolescence and early womanhood. She is a romantic idealistic in revolt against the puritan snobbery of her parents, trying to live to the fullest with every nerve, emotion, and instinct laid bare to experience. For her, this is a time of solitary reading, daydreams, dancing—and the first disturbing encounters with sex. Martha Quest is the first novel in Doris Lessing’s classic Children of Violence series of novels, each a masterpiece in its own right and, taken together, an incisive and all-encompassing vision of our world in the twentieth century.
Adore Page 8