Notes Hyam Maccoby, 'Heaven and Shikasta'', The Listener (22 Nov. 1979), p Holmquist, p. 159.

Transcription

1 Notes Introduction 1. The visionary experience is apparent as early as The Grass is Singing in Mary Turner's moments of intense illumination, which has resonance in the process of conscious evolution in the later novels. 2. Michael Magie, 'Doris Lessing and Romanticism', College English, Vol. 38 (Feb. 1977), p See also Robert K. Morris who argues in Continuance and Change, 1972, p. 26, that in her later novels Lessing depicts a 'dead-end world', and Ingrid Holmquist who objects to The Four-Gated City on the grounds that the 'mystical consciousness leads to social nullity', in From Society to Nature: A Study of Doris Lessing's 'Children of Violence', 1980, p See Nancy Corson Carter, 'Journey Towards Wholeness: A Meditation on Doris Lessing's The Memoirs of a Survivor', Journal of Evolutionary Psychology (2 Aug. 1981), pp , and Alvin Sullivan, 'Memoirs of a Survior: Lessing's Notes toward a Supreme Fiction', Modern Fiction Studies, Vol. 26, No. 1 (Spring 1980), p Nissa Torrents, 'Doris Lessing: Testimony to Mysticism', Doris Lessing Newsletter, Vol. 4, No. 2 (Winter 1980), p Doris Lessing, 'A Small Personal Voice', in A Small Personal Voice: Doris Lessing, Paul Schlueter (ed.), 1974, p Ibid., p In an interview with Nissa Torrent she asserts: I recently had to read all my work for reprinting, and in my first work, The Grass is Singing, all my themes already appear. Critics tend to compartmentalize... At first they said that I write about the race problem, later about Communism, and then about women, the mystic experience, etc.... but in reality I am the same person who wrote about the same themes... I always wrote about the individual and that which surrounds him. (Nissa Torrents, 'Doris Lessing: Testimony to Mysticism', Doris Lessing Newsletter, Vol. 4, No. 2 (Winter 1980), p. 1) 8. Doris Lessing, Preface to The Golden Notebook (1962), rpt., 1973, p. 11. All subsequent references to this novel will be to this edition. 9. Doris Lessing, Going Home (1957), rpt., 1968, pp. 103, Joseph Haas, 'Doris Lessing: Chronicler of the Cataclysm', Chicago Daily News (14 June 1969), p Doris Lessing, 'Smart Set Socialists', New Statesman, Vol. 62 (1 December 1961), pp. 822, In his account of 'socialist realism', Damian Grant argues that the 240

2 Notes 241 socialist writers' attempt at synthesis is 'illusory, or at least artificial, because the absolute reality which shall be discovered by the process of dialectic is pre-determined, it must be socialist reality, conforming to political ideal... the vision of socialist society' (Damian Grant, Realism, 1970, p. 77). 13. Lessing, 'A Small Personal Voice', in A Small Personal Voice, Schlueter (ed.), p Ibid., p Diane Johnson, The New York Times Book Review (June ), p Georg Lukacs, The Meaning of Contemporary Realism, 1963, p. 19. In his essay, 'The Intellectual Physiognomy of Literary Characters', Lukacs defines 'Weltanschauung' as follows: Weltanschauung is a profound personal experience of each and every person,... and it likewise reflects in a very significant fashion the general problem of his age. (Georg Lukacs, 'The Intellectual Physiognomy of Literary Characters', L. E. Mins, in Radical Perspectives in The Arts, Lee Baxandall (ed.), 1972, p. 90) 17. Preface to The Golden Notebook, p Lukacs, Realism in Our Time, 1964, p Lukacs, The Historical Novel, 1962, p Lessing, 'A Small Personal Voice', in A Small Personal Voice, Schlueter (ed.), p Ibid., p Ibid. 23. Susan Stamberg, 'An Interview with Doris Lessing', Doris Lessing Newsletter, Vol. 8, No. 2 (Fall 1984), p Lessing, 'A Small Personal Voice', in A Small Personal Voice, Schlueter (ed.), pp Holmquist, p Humanistic Psychology in the narrower sense of an organized 'movement' sprang up in America in the early 1950s, initiated by Abraham H. Maslow ( ), and was established as the 'Association of Humanistic Psychology' in 1962 with James F. T. Bugental as first president. I use the term in its broader sense as referring to a form of psychological theory and therapeutic practice based on the humanistic belief in the possibility of the free individual in a free society and the view of man as potentially positive. The motivation behind it is the strong discontent with the two dominant psychological theories, Freudian psychoanalysis and behaviourism. Both approaches were felt to be based on a negative view of man. Humanistic Psychologists feel that man is neither the arduously socialised 'cauldron of seething excitement' (Freud) nor the outcome of reflexes to which these theories reduce him. They demand a psychology which takes account of man as potential being capable of self-realization. Ronald D. Laing, a British psychiatrist more often labelled as an 'existential psychiatrist', is an exponent of a parallel approach in England. His books The Divided Self in 1957 and The Politics of Experience in

3 242 Notes 1967 introduced important new ideas into the field of psychiatry at that time. Carl Gustav Jung ( ), however, wrote on the issue of the individual's psychological potential long before Laing developed his approach. Jung's description of human individuation is an analysis of the process of self-realisation whose depth and comprehensiveness makes him eligible to be seen as the spiritual father of Humanistic Psychology in this broader sense. The first issue of the movement's periodical, the Journal of Humanistic Psychology, Vol. 1 (1961), names Jung amongst the psychologists whose writings illustrate the approach which the movement has in mind (Anthony J. Sutich and Miles A. Vich (eds), Readings in Humanistic Psychology, New York 1969, p. 7). I shall draw extensively on the work of both Jung and Laing in the study of the motif of descent in Doris Lessing. 27. Karl Marx, Frederick Engels, Marx/Engels, Collected Works III, M. Milligan (trans.), 1975, p The Enlightenment, as is evident from Kant's reference to the movement, valued highly the power of reason as a weapon in the struggle for the individual's emancipation, given 'a priori... in the conceptions of pure reason'. See Immanuel Kant, Fundamental Principles of the Metaphysic of Ethics, T. Kingsmill Abbot (trans.) (1879), rpt., 1900, p. 4ff. 29. Carl Gustav Jung, 'Approaching the Unconscious', in Man and His Symbols, Carl G. Jung et al. (eds), 1964, p Jung, The Integration of the Personality, Stanley Dell (trans.), 1940, p Jung, The Archetype and the Collective Unconscious, The Collected Works ofc. G. Jung, Vol. 9, part I, R. F. C. Hull (trans.), 1968, p Jung, Psychology and Alchemy, The Collected Works ofc. G. Jung, Vol. 12, 1968, p Jung, Psychological Types, The Collected Works, Vol. 6, H. G. Baynes (trans.), 1959, p Increasingly, critics have referred to the correspondence between mental states of Lessing's characters and those of Laing's patients to the extent that parallels have been drawn between patients' experience recorded in Laing's books and figures in Lessing's novels, as in the case of Charles Watkins of Briefing for a Descent into Hell and a patient of the same surname in Laing's Politics of Experience, pp See Marion Vlastos, 'Doris Lessing and R. D. Laing', PMLA, Vol. 91, No. 2 (March 1976), p. 253, and Douglas Boiling 'Structure and Theme in Briefing for a Descent into Hell', Contemporary Literature, 14 (1973), pp R. D. Laing, The Politics of Experience and The Bird of Paradise, 1967, rpt. 1970, pp. 18, Ibid., pp. 18, Laing, The Divided Self: A Study of Sanity and Madness, 1960, pp See infra., for further definition of these terms in my study of The Grass is Singing. 38. Laing, Self and Others, 1961, p Laing, The Divided Self, p. 40.

4 Notes N. Torrents, 'Doris Lessing: Testimony to Mysticism', Doris Lessing Newsletter, Vol. 4, No. 2 (Winter 1980), p Letter from Doris Lessing to Roberta Rubenstein, dated 28 March 1977, quoted in Roberta Rubenstein, The Novelistic Vision of Doris Lessing: Breaking the Forms of Consciousness, 1979, p Letter from Doris Lessing to Roberta Rubenstein, dated 28 March 1977, Ibid., pp Although Jung's exploration of the unconscious led some critics to refer to him as a right-wing thinker involved in obscurantist mythology because of the ahistorical and non-rational nature of the concept of the 'collective unconscious', yet he still remained fundamentally loyal to the scientific approach in psychology which limited his explorations. In his essay on 'the transcendental function' this confining attitude is evident in his assertion: 'It is unprofitable to speculate about things we cannot know. I therefore refrain from making assertions that go beyond the bounds of science' (Jung, The Structure and Dynamic of the Psyche, The Collected Works, Vol. 8, R. F. C. Hull (trans.), 1960, p. 90). 44. Idries Shah, The Sufis (1964), rpt., 1977, p Robert E. Ornstein, The Psychology of Consciousness (1972), rpt., 1977, pp I refer to the Sufi philosophy's exploration of that realm to denote a reality which transcends the empirical level in a spiritual or intuitive sense, but without involving religious exegesis, and it is in that sense that I use the term ascent (see Shah, The Sufis, pp. 23, 43-4, referring to the 'nonreligious viewpoint' of Sufism). 47. Idries Shah's position as spokesman for contemporary Sufism has been acknowledged by a large number of authorities, and Doris Lessing was introduced to Sufism through his books. She affirms, T read a book of Idries Shah,... I realized it answered many of my questions and since then I have studied it sufficiently (Torrents, 'Doris Lessing: Testimony to Mysticism', Doris Lessing Newsletter, Vol. 4, No. 2 (Winter 1980), p. 12). 48. Shah, The Sufis, p Ibid., p Ibid., p Doris Lessing, 'A Revolution', New York Times (22 Aug. 1975), p. 31. In 'An Ancient way to New Freedom' Lessing further refers to that central issue as the basic tenet which attracted her to Sufism: 'Man has had the possibility of conscious development for ten thousand years', say the Sufis.... I have believed this all my life, and that the idea is central to Sufism is one reason I was attracted to it. (The Diffusion of Sufi Ideas in the West, L. Lewin (ed.), 1972, p. 50) 52. Hyam Maccoby, 'Heaven and Shikasta'', The Listener (22 Nov. 1979), p Holmquist, p. 159.

5 244 Notes 54. Ibid. 55. Shah, The Sufis, p Shah, The World of the Sufi, 1979, p Since 1964, Lessing has written numerous articles and essays on Sufism. See the Bibliography. 58. Lessing, 'An Ancient Way to New Freedom', in The Diffusion of Sufi Ideas in the West, L. Lewin (ed.), p Holmquist, p Shah, The Sufis, p Ibid., p Ibid., p Ibid., p. 26. It is worthwhile noting here that Doris Lessing emphasizes the point that Sufism differs from the Western concept of mysticism. In 'An Ancient Way to New Freedom', she asserts that Sufism is 'a far cry from what our conditioning has taught us to call "mysticism"' (pp. 53-4). Her essay on the issue opens as follows: For a long time 'mysticism' has been almost a joke in the West, although we have been taught that at the heart of the Christian religion have been great mystics and religious poets. If we knew more than that, it was that these people's approach to God was emotional, ecstatic, and that the states of mind they described made ordinary life look pretty unimportant. But our information, in a Christian-dominated culture, did not include the fact that the emotional road was only one of the traditional, and very ancient approaches. (The Diffusion of Sufi Ideas, L. Lewin (ed.), p. 44) 64. Shah, The Sufis, p Nasrollah S. Fatemi, in 'A Message and Method of Love, Harmony and Brotherhood', explains that: Sufis divided the works of God into two kinds - the perceived world and the conceived world. The former was the material visible world, familiar to man. The latter, the invisible, spiritual world. The Sufis tried to show that in the relation existing between them could be found the means whereby man might ascend to perfection. (In Sufi Studies: East and West, L. F. Rushbrook Williams (ed.), 1973, p. 59) 66. Lessing, 'In the World, Not of It', in A Small Personal Voice, Schlueter (ed.), p Lessing, 'The Ones Who Know', Times Literary Supplement (30 April 1976), Since Ornstein's study encompasses Western psychology as well as esoteric traditions, it is more comprehensive for my point here. It is also worthwhile noting here that Laing uses the term 'egoic' for the

6 Notes 245 outer mode while Ornstein uses the term 'rational'. 69. See Ornstein, The Psychology of Consciousness, pp. 12,124, 231,126,141, 127ff. 1 The Grass is Singing 1. Lessing, The Grass is Singing (1950), rpt., All subsequent references to this novel will refer to this edition. 2. Lessing, 'Preface for the 1964 Collection', Collected African Stories, Vol. I, 1973 (unnumbered). 3. See Doris Lessing's comment on that issue in an interview with Nissa Torrents, supra. Introduction, note It is worthwhile noting here that Marston occupied a more prominent role in the first version of this novel. In her article 'My first book', Lessing refers to her early version of The Grass is Singing, which was first entitled Grass, referring to the character of the 'young idealist Englishman' who 'does not either leave, or change himself to fit his new surroundings', but 'sticks out, challenging everything around him, with the sincere and radiant conviction of his rectitude', as occupying 'two-thirds' of that early version (Lessing, 'My first book', The Author, Vol. 91 (Spring 1980), p. 12). 5. This is not to say that Doris Lessing was directly influenced by Laing at this stage, for The Grass is Singing predates Laing's publication of The Divided Self by nearly a decade. However, though no direct influence is implied here, I refer to Laing as a point of reference in my study in compliance with the earlier definition of the motifs, since the correspondence between mental states of Lessing's characters and Laing's observations is instructive in understanding the rationale of Lessing's characters. 6. Laing, The Divided Self, p See ibid., pp Laing, Self and Others, p Laing, The Divided Self, p lung, The Integration of the Personality, p Ibid., p Ibid., p Ibid., p Laing, The Politics of Experience, p Jung, Aion, Vol. 9, p Eve Bertelsen, 'Interview with Doris Lessing', in Doris Lessing, Eve Bertelsen (ed.), 1985, p Wayne C. Booth, The Rhetoric of Fiction (1983), rpt, 1987, p Ibid., p D. C. Muecke, Irony, 1970, p Bertelsen, 'Interview with Doris Lessing', in Doris Lessing, Eve Bertelsen (ed.), p. 101.

7 246 Notes 2 The Golden Notebook 1. Ornstein, The Psychology of Consciousness, pp. 12,124,126, Shah, The Sufis, p * 3. Ibid., p It is necessary to note here that though critics refer to Lessing's allegiance to Sufi philosophy, starting with the publication of The Four-Gated City in 1969, I contend that her interest in that philosophy predates that period. Evidence of that interest emerges in her article 'What Really Matters' published in 1963, in which Doris Lessing criticizes current methods of education. Like Sufis, she argues against compartmentalization of thought and advocates a new method of education which would operate by exerting 'shocks' on a candidate as a means of initiating the individual into a new awareness: 'education should ideally be a series of shocks. Every child should be dazzled, startled, shaken into realizing continuously his or her unique, extraordinary potentiality' (Lessing, 'What Really Matters', Twentieth Century, Vol. 172, Autumn 1963, p. 98). This method of learning suggested by Doris Lessing is precisely the method advocated by Sufis as a necessity 'to escape the trap of customary thinking-patterns'. In Learning How to Learn, Shah explains how such methods are useful to 'shock' and 'jolt people' as a means of overcoming the difficulty of transcending limited one-dimensional thinking to new realms of understanding (Shah, Learning How to Learn: Psychology and Spirituality in the Sufi Way, 1978, pp. 128, 48 et passim). It is that difficulty which is central to Anna's block in The Golden Notebook, whose 'essence, the organization of it, everything in it, says implicitly and explicitly, that we must not divide things off, must not compartmentalize' (Lessing, 1971 Preface to The Golden Notebook, p. 10). Further evidence of the early influence of Sufism on Lessing appears in her 'Testimony to Mysticism' where for the first time she asserts that her interest in Sufism started 'at the beginning of the 1960s' (Torrents, 'Testimony to Mysticism', Doris Lessing Newsletter, Vol. 4, No. 2, p. 12). 5. Julian Mitchell, Spectator (20 April 1962), p Irving Howe, 'Neither Compromise, nor Happiness', New Republic (15 December 1962), pp Elizabeth Wilson, 'Yesterday's heroines: on Rereading Lessing and de Beauvoir', in Notebooks/Memoirs/Archives, Jenny Taylor (ed.), p Elizabeth Hardwick, 'The Summer Before the Dark', The New York Times Book Review (13 May 1973), p Roy Newquist, 'Interview with Doris Lessing', in Small Personal Voice, Schlueter (ed.), p Annis Pratt, in 'The Contrary Structure of Doris Lessing's Golden Notebook', has related the main duality in The Golden Notebook to Blake's myth of innocence and experience. Pratt finds this dichotomy central to the novel (Pratt, 'The Contrary Structure of Doris Lessing's Golden Notebook', World Literature Written in English, Vol. 12 (November 1973), pp ). While I agree that this duality expresses Anna's frustration, I make the proviso that this dichotomy is but a symptom

8 Notes 247 of the central problem facing Anna, namely her alienation from the inner self and the imprisonment in the one-dimensional mode of perception which refuses 'to fit conflicting things together'. 11. Jung, Man and his Symbols, p Jung,The Integration of the Personality, p This technique becomes a major one in Lessing's later novels - The Memoirs of a Survivor, the Canopus in Argos: Archives series and later also in The Diaries of Jane Somers - as the title of these works signify. 14. Rubens, 'Footnote to The Golden Notebook: Interview with Doris Lessing', The Queen (21 August 1962), Laing, The Divided Self, p See Jung, Aion, pp Ibid., p Laing defines this state of 'collusion' as a 'game' played by two or more people whereby they deceive themselves. The game is the game of 'mutual self-deception'. Self and Others, p Lessing, 'An Elephant in the Dark', The Spectator (18 September 1964), p Ornstein has described the inner mode of perception as being 'often devalued by the dominant, verbal intellect' since it 'often appears inelegant, lacking formal reason, linearity and polish of the intellect' (The Psychology of Consciousness, p, 231). 21. This is a significant variation on the Marxian dialectic which finds expression in Engels' principle that the unjust mode of production will eventually bring about its own dissolution: 'the elements of the future new organization of production and exchange which will put an end to those abuses' will be revealed 'within the already dissolving economic development' (Marxism and Art: Essays Classic and Contemporary, Maynard Solomons (ed.) 1973, p. 73). Ironically in that context of the Marxian dialectic, Doris Lessing reverses Engels' assumption. Whereas Engels anticipates that change and progress will eventually grow out of that dialectic process, Anna sees it as a cycle of frenzied repetition in which 'the elements of the future organizations' are entrapped in a vicious circle that propagates death rather than life. It is worthwhile noting here that the dialectic process appears in Lessing's fiction as regressive so long as it is depicted within the political level only. Later in her science fiction, the dialectic process takes a pogressive direction because it incorporates more than one level. 22. Mary Anne Singleton, The City and the Veld: The Fiction of Doris Lessing, 1977, p Jung, The Psychogenesis of Mental Disease, Vol. 3, p Jung, The Archetypes of the Collective Unconscious, Vol. 9, part I, p Ibid., p Fatemi, A Message and Method of Love', in Sufi Studies: East and West. L. F. Rushbrook Williams (ed/), p Shah, The Sufis, p M. L. Von Franz, 'The Process of Individuation', in Man and his Symbols, p. 207.

9 248 Notes 29. Jung, The Structure and Dynamics of the Psyche, p Shah, The Sufis, See Shah's reference to this quality of 'detachment' as essential to overcome frustration and to attain freedom and further understanding, The Sufis, p Reference to 'walls' in that context becomes a major element in Lessing's fiction, denoting transcending limitations of perception as in The Memoirs of a Survivor and The Representatives of Planet The use of dreams to symbolize the major action taking place is a technique increasingly employed by Lessing. In an interview with Jonah Raskin, Lessing asserts: The unconscious artist who resides in our depths is a very economical individual. With a few symbols a dream can define the whole of one's life. (A Small Personal Voice, Schlueter (ed.), p. 67) 34. Shah, The Sufis, p This state is similar to 'the Sufi doctrine of equipoise' in which the intellect 'must fall into its right perspective, find its own level, when the present lack of balance of the personality is restored' (Shah, The Sufis, p. 315). 36. It is illuminating to refer in that context to the significance of the 'whirl' in Lessing's later fiction. See infra. Chapter Laing similarly says about the experience that 'At the point of non-being we are at the outer reaches of what language can state' (Politics of Experience, p. 40). 38. Ernst Cassirer, 'The Phenomenology of Knowledge', in The Philosophy of Symbolic Forms, 1955, p See the significance of the form of The Golden Notebook, infra, Chapter 2, note Jolande Jacobi, The Psychology of C. G. Jung : An Introduction with Illustrations, 1943, p Shah, The Sufis, p Ibid., p The 'dervish' are defined by Shah as a group of Sufis. See The Sufis, pp. 267, See John L. Carey, 'Art and Reality in The Golden Notebook', Contemporary Literature, Vol. 14 (Autumn 1973), p See also Betsy Draine, Substance Under Pressure: Artistic Coherence and Evolving form in the Novels of Doris Lessing, 1983, pp. 82, Carey, p Draine, Substance Under Pressure, p Shah, The Sufis, p It is significant to note here that as early as The Golden Notebook Lessing shows a subtle interest in areas illuminated by Sufi philosophy. Reference to the 'blade of grass' has significance in Sufi philosophy. Shah refers to 'a blade of grass' in the context of his discussion of the qualities required in a Sufi teacher - a leader in

10 Notes 249 Sufi terms: The Sufi teacher cannot be an earthshaking personality who attracts millions of people and whose fame reverberates into every corner of the earth. His stage of illumination is visible for the most part only to the enlightened. Like a radio receiving apparatus, the human being can perceive only those physical and metaphysical qualities which are within his range. Therefore the man (or woman) who is bemused and impressed by the personality of a teacher will be the person whose awareness is insufficient to handle the impact and make use of it. The fuse may not blow, but the element becomes destructively or inefficiently incandescent. 'A blade of grass cannot pierce a mountain. If the sun that illumines the world were to draw nigher, the world would be consumed.' (Rumi, Mathnawi, in Shah, The Sufi, p. 351) It becomes possible in that context to understand the tentative and humble tone of Anna and Saul (sun) as leaders. 48. Shklovsky, 'Art as Technique', Russian Formalist Criticism, Lee T. Lemon and Marion J. Reis (trans.), 1965, p A quotation which appeared on the dustjacket of the British edition of The Golden Notebook in a letter to the publisher from Doris Lessing. 50. Marjorie Lightfoot, 'Breakthrough in The Golden Notebook', Studies in the Novel, Vol. 7, No. 2 (Summer 1975), pp Carey, 'Art and Reality', Contemporary Literature, Vol. 14 (Autumn 1973), 440. Carey points out that Tommy is twenty years old in 'Free Women', which is set in 1957, whereas he is seventeen in an entry in the Blue Notebook dating from 7 January While the Blue Notebook tells us that Tommy marries a girl from the 'New Socialists', the 'Free Women' shows him ending with Marion, his father's second wife, in Sicily. Anna's lover in the Notebooks is called Saul but in 'Free Women' he is called Milt (see Carey p. 439). 52. Rafael Lefort, The Teachings of Gurjieff, 1968, p Doris Lessing, 'Introduction to Olive Shreiner', in A Small Personal Voice, Schlueter (ed.), p Carey, 'Art and Reality', Contemporary Literature, Vol. 14 (Autumn 1973), Rubens, 'Footnote to The Golden Notebook: Interview with Doris Lessing', The Queen (21 August 1962), p The form of four and five evokes 'a square and a circle', which in its turn signifies the mandala that later becomes an important symbol in Lessing's canon evoking the Sufi methods of contemplation and meditation and signifying wholeness. See infra, Chapters 3 and Rubens, 'Footnote to The Golden Notebook: Interview with Doris Lessing', The Queen (21 August 1962), p. 32.

11 250 Notes 3 The Memoirs of a Survivor 1. In an interview at Stony Brook in 1962, Doris Lessing flatly states: T believe the future is going to be cataclysmic' and she reveals that in her concern for the survival of humanity she sees that social, psychological and spiritual aspects are issues of equal importance. See 'Doris Lessing at Stony Brook', A Small Personal Voice, Schlueter (ed.), p In a lecture in 1972 at Rutgers University and in 'Doris Lessing on Feminism, Communism and Science Fiction', Doris Lessing states that the only hope for survival lies 'in the new man [who] is about to be born', implying the mutation of new organs of perception ('Doris Lessing on Feminism, Communism, and "Space Fiction/", New York Times Magazine (25 July 1982), 29). 3. Quoted by Doris Lessing in The Four-Gated City (1969), rpt., 1972, p. 461 from Shah's The Sufis, p Doris Lessing, The Memoirs of a Survivor (1974), rpt., All subsequent quotations will refer to this edition. 5. I have said in my study of the inner motifs in The Golden Notebook that the psychological and spiritual domains are not clearly distinguished and they are therefore largely studied within the context of Jungian psychology. In The Memoirs of a Survivor, the distinction between the psychological and spiritual motifs is made clearer. The realm of the 'impersonal rooms' unravels significant affinities with the 'mandala symbols' which are basic in the Sufi method of meditation. More important, the 'She' who dominates these rooms has particular significance in the Sufi philosophy as the 'Feminine Principle' which undertakes the Quest of mediating Between the different levels of perception 'so that a balance is always preserved' (Laleh Bakhtiar, Sufi: Expressions of the Mystic Quest, 1976, p. 18). The Sufi sources will therefore serve as points of reference in my analysis of that realm to set an argument against a largely spread misunderstanding of the novel caused by the interpretation of the 'She' as a 'deity' that leads the characters out of the empirical world. 6. Lessing, 'In the World and Not of It', in A Small Personal Voice, Schlueter (ed.), p J. Mellons praises Lessing for her accurate depiction of reality, and takes the outer action of Memoirs as a literal parallel 'to the conditions we have had a taste of in the last few years' (J. Mellons, 'Island Styles', The Listener, Vol. 93 (23 January 1975), p. 126), On the other hand Lorelei Cederston, interprets it in terms of the inner action as 'the interior symbolic landscape, peopled by mythological figures and the personification of different aspects of the collective and personal unconscious of the protagonist' (Loreli Cederstrom, 'Inner Space Landscape: Doris Lessing's Memoirs of a Survivor', Mosaic, Vol. 13, parts III IV, p. 116). Further still, Michael L. Magie faults Lessing for deserting rationalism and realism and retreating in an ivory tower of hermetic art, conjuring up 'a private religion of her own' (Magie, 'Doris Lessing and Romanticism', College English, Vol. 38 (Feb. 1977), p. 531). See also Melvin Maddocks, termed this book

12 Notes 251 'a ghost story of the future' in 'Ghosts and Portents', Time (16 June 1975), 16. Jenny Taylor terms it 'Doris Lessing's fantasy' in 'Memoirs was made of this' in Notebooks/Memoirs/ Archives, p. 227, and Martin Green concludes that Memoirs 'employs the techniques of fantasy and rejects those of realism', in 'The Doom of Empire: Memoirs of a Survivor', Doris Lessing Newsletter, Vol. 6, No. 2 (Winter 1982), p Betsy Draine, in her study of Memoirs, bases her argument on the 1902 theory of William James that each world 'whilst it is attended to is real after its own fashion, only the reality lapses with the attention'. This creates a rather limited response to the novel since it stops at the point where the novel starts - that is she appreciates the novel's distinction and clear definition of each realm and rejects the increasing interaction between them which is the novel's raison d'etre. Moreover she overlooks the many modern theorists for whom the interaction between two modes within the parameters of two genres is not only valid, but also of great aesthetic value. See in that context Gregory L. Lucente, The Narrative of Realism and Myth, 1979, R. Scholes, The Fabultors, 1975, and Maurice Z. Schroder, 'The Novel as Genre', Masachusetts Review, Vol. 4 (1963), pp Ornstein, The Psychology of Consciousness, p Laing, The Politics of Experience, p Laing, Self and Others, p Ibid., p See Laing, The Divided Self, pp Aniela Jaffe, 'Symbolism and Visual Arts' in Man and His Symbols, Carl Jung (ed.), p Laing, Politics of Experience, p Laing, Self and Others, p Lessing, 'A Small Personal Voice', in A Small Personal Voice, Schlueter (ed.), p. 12. It is interesting to note that this early assertion by Lessing found resonance in her later interest in the Sufi tradition where: ' The Complete Man (insan-i-kamel) is both a real individuality and also a total part of the essential unity' (Shah, The Sufis, p. 294). 18. Shah, The Sufis, p The concentration on patterns is an essential experience in the Eastern methods of thought of meditation and a 'niche' - an opening in the wall - is, according to the Sufis, significant of the initiation into a metaphysical phase. See Laleh Bakhtiar, Sufi, pp. 42, 79; also Ghazalli, Niche, W. H. T. Gaidner (trans.), Laleh Bakhtiar, Sufi, p Ibid., p Ibid., p Ibid., pp See Jung, The Development of the Personality, p The 'mirror' figures as an important device in the motif of descent. According to Frye, both the 'clock' and the 'mirror' 'take on a good deal of importance as objectifying images' for 'the reflection of one's personality' (Frye, Secular Scriptures, p. 117). See also Laing's reference to mirror projections of role-playing as a means to reduce involvement

13 252 Notes in such behaviour (Laing, The Divided Self, p. 75). See also Jung, The Integration of the Personality, pp The mirror projection becomes an important element in the motif of descent in Shikasta. Infra Chapter Jung, The Integration of the Personality, p Laleh Bakhtiar, Sufi, p Ibid., p J. E. Cirlot, A Dictionary of Symbols, Jack Sage (trans.), 1962, p The forms of the mandala are presented with countless variations in Eastern and Western epistemology. In whatever form it is presented, however, the important feature is its concentrical and balancing element. According to Cirlot, the mandala's 'basic components are geometric figures, counterbalanced and concentric. Hence it has been said that "the mandala is always a squaring of a circle"' (Cirlot, p. 200). Cirlot identifies the mandala with 'all the figures composed of various elements enclosed in a square or a circle - for instance the horoscope, the labyrinth,... ground plans of circular, square or octagonal buildings are also mandalas' (201). 31. Laleh Bakhtiar, Sufi, p See for the connection between alchemy and the Sufi quest Shah, The Sufis, p Ibid., pp Cirlot, p Laleh Bakhtiar, Sufi, pp Laleh provides a diagram of two intersecting triangles within a hexagonal form signifying a combination between passive and active forms respectively to achieve a 'complete form'. It is also useful to note here that Shah refers to 'the carpet-making fraternity' as one of the Sufi methods in which 'certain extraordinary perceptions can be developed by means of a certain kind of human association' as in the exercise of the 'alchemist and his assistants' (Shah, Learning How to Learn, p. 205). 36. Ibid., p Ibid., p Shah, The Sufis, p Ibid., p Ibid., p Ibid., p Ibid. 43. The walled garden is a recurrent element in Sufi literature. It is instructive to quote here Laleh's description of the garden and courtyard in Sufi philosophy: The garden is traditionally an enclosure planted with trees surrounding a central pavilion. The whole becomes a mandala, providing both a centrifugal movement outward into the paradise of nature, and a centripetal movement inward, through its four porches, to the water, its spiritual centre. Generating everexpanding ripples, the fountain recommences the cycle of conscious expansion and contraction. (Laleh Bakhtiar, Sufi, p. 106)

14 Notes 253 See also The Walled Garden of Truth, by Sanai of Afghanistan, written in 1131 A.D., and The Secret Garden, by Shabistari. 44. According to Laleh, 'one of the most beautiful of all symbols which has found unexcelled expression in Islamic architecture, carpet, design and poetrv is that of the Gardens of Paradise' (Laleh Bakhtiar, Sufi, p. 28). 45. Ibid. 46. Ibid., p. 30. It is worthwhile noting here that the description of the 'She', in Memoirs is associated with that image of unity in multiplicity: the 'She' whose 'Presence' was 'the Whole they [the multitudes who had once lived there] were minuscule parts of (p. 91). 47. Cirlot, p Laleh Bakhtiar, Sufi, p Shah, The Sufis, p Laleh Bakhtiar, Sufi, p Ibid., p Ibid., p Shah, The Sufis, p Ibid., p Ibid., p Ibid., p Ibid., p Ibid., p Ibid., p Ibid., p It is relevant to refer here to the article written by Lessing in 1972 entitled 'What Looks Like an Egg and Is an Egg?', in which she expressed her interest in the Sufi methods of communication which arrive at an obvious conclusion but which an ordinary man may not be able to perceive because his mind is restricted by the 'patterns of conditioned thinking which form the prison in which we all live'. She gives the example by quoting one of the dervish tales which are 'a mind stretcher' means of communication: A wag met Nasrudin. In his pocket he had an egg. 'Tell me, Nasrudin, are you any good at guessing games?'. 'Not bad.' 'Very well, then, tell me what I have in my pocket'. 'Give me a clue then.' 'It is shaped like an egg, it is yellow and white inside, and it looks like an egg'. 'Oh, I know', said Nasrudin, 'it is some kind of cake'. In his calculated deduction he did not grasp the obvious meaning. See Doris Lessing: 'What Looks like an Egg and Is an Egg', New York Times Book Review (7 May 1972), p According to Shah, the teacher provides help according to his perception of the other's need. As Shah puts it, the Sufi teacher 'must be able to determine the capacity of the disciple. He will have to deal with this disciple in accordance with his potentiality' (Shah, The Sufis, p. 265). That process is evident in Memoirs. Earlier the narrator could

15 254 Notes not take that step because she realizes that Emily was not yet ready (126). 63. Shah, The Sufis, p According to Jung, 'Fire is emotional excitement or sudden bursts of impulse, and if a pot is set upon the fire, then one knows that transformation is under way' (Jung, The Integration of Personality, p. 94). 65. Shah, The Sufis, p Laleh Bakhtiar, Sufi, pp. 10, Shah, The Sufis, p See Victoria Glendinning, "The Memoirs of a Survivor' r The Times Literary Supplement (13 December 1974), p Malcolm Cowley, 'Future Notebook', Saturday Review (28 June 1975), Ingrid Holmquist, p Alvin Sullivan, 'The Memoirs of a Survivor: Lessing's Notes Towards a Supreme Fiction', Modern Fiction Studies, Vol. 25, No. 1 (Spring 1980), p Lucente, The Narrative of Realism and Myth, p Frye, Secular Scriptures, p See also in that respect Joseph Campbell's reference to the descent into the unconscious as a mode of experience typical of the hero's quest in the Romantic traditions as a necessary step towards restoring equilibrium. According to Campbell, the descent into the unconscious is 'the universal formula... of the mythological hero journey... Interpreted from that point of view, a schizophrenic breakdown is an inward and backward journey to recover something missed or lost and to restore, thereby, a vital balance' (Campbell, 'Mythology and Schizophrenia' in Myths to Live By, 1972, pp ). 74. Todorov, The Poetics of Prose, Richard Howard (trans.), pp. 132, 133, Lorna Martens, The Diary Novel, 1985, p Shah, The Sufis, p. 56. See also the definition of fable as an element of romance in literature in Scholes and Kellog, The Nature of Narrative, According to them, the fable 'is inclined to lean heavily on romance for narrative articulation if the narrative artist had anything like a sustained flight of mind' (R. Scholes and R. Kellog, The Nature of Narrative, 1966, p. 14). 77. Term used by Todorov as a strategy to negotiate between text and reader. See Todorov, 'Origins of Genres', New Literary History, Vol. 8 (1976), p Ibid. 79. Wolfgang Iser's comment on that issue of the relationship between text and reader in the modern novel may be helpful here: What is normally meant by 'identification' is the establishment of affinities between oneself and someone outside oneself ~ a familiar ground in which we are able to experience the unfamiliar. The author's aim, though, is to convey the experience, and above all, an attitude towards that experience. Consequently,

16 Notes 255 'identification' is not an end in itself but a stratagem by means of which the author stimulates attitudes in the reader. (Wolfgang Iser, The Implied Reader, 1974, p. 291) In an interview discussing Memoirs Doris Lessing refers to that issue in her novels: I don't think literature is there for people to identify closely with some character. I think the right way to read a book is to try and get some kind of objective view of the situation. If you're going to identify with some character in a book - like a woman's magazine way - it's a form of self-indulgence. It's certainly not what the writer had in mind. (Susan Stamberg, 'An Interview with Doris Lessing', Doris Lessing Newsletter, Vol. 8, No. 2 (Fall 1984), p. 3) 80. In her Defense of Fantasy, Ann Swinfen explains that 'the essential ingredient of all fantasy is "the marvellous ", which will be regarded as anything outside the normal space-time continuum of the everyday world... [and in which] the writer as sub-creator creates a complete and self-consistent "secondary world"' (Ann Swinfen, In Defense of Fantasy, 1984, p. 50). In that context any form of analogy with reality cancels the grip of the marvellous. This marks the crucial difference between Memoirs and the genre of fantasy for as Tolkien explains, fantasy must present a consistent alternative world - 'a Secondary World which your mind can enter. Inside it, what he relates is "true": it accords with the laws of that world. You therefore believe it while you are, as it were, inside'. Tolkien further postulates in that context that since fantasy 'deals with "marvels", it cannot tolerate any frame or machinery suggesting the whole story in which they occur is a figment or illusion' (Tolkien, Tree and Leaf, 1964, pp. 36,14). 81. According to Todorov, 'autobiography is distinguished from the novel in that the author claims to recount facts rather than construct fiction' (Todorov, 'The Origin of Genres', New Literary History, Vol. 8 (1976), p. 165). 82. Lorna Martens in The Diary Novel, further makes the point that memoirs refers to more general background than autobiography, p Darko Suvin, Metamorphoses of Science Fiction, 1979, pp According to Suvin, 'Fantasy' and 'Myth' engage only the imaginative faculties. See Darko Suvin, 'On the Poetics of the Science Fiction Genre', College English (December 1972), pp Michel Butor, 'The Crisis in the Growth of Science Fiction', Inventory, Essays in Science Fiction, p See also Scholes, Structural Fabulation, pp Like Butor, Scholes asserts: 'These fictions of the near future represent a continuation of the tradition of sociological and psychological fiction. They are projections of realism into future time.' 86. Butor, 'The Crisis in the Growth of Science Fiction', Inventory, Essays

17 256 Notes in Science Fiction, p Critics have frequently referred to the similarity between the apocalyptic world of Memoirs and their present culture. To quote but two, see Sydney Kaplan, 'Passionate Portrayal of Things to Come', Twentieth Century Women Novelists, Thomas F. Staley (ed.), 1982, pp. 1-15, and J. Mellons, 'Island Styles', The Listener, Vol. 93 (23 January 1975), p Kermode, The Sense of an Ending, p Gerard Genette, Narrative Discourse, Jane E. Lewin (trans.), 1980, pp Kermode, The Sense of an Ending, p Ferdinand de Saussure's distinction between the signifier - the linguistic unit or word sign, and its signified - all the possible referents for the signifier - is important in relation to how 'it' is used in this context. By laying bare the multivalence of this semiotic sign, the narrator calls into question the perception of language and the process of reading. See Ferdinand de Saussure, Course in General Linguistics (trans.), W. Baskin, It is useful to note in that context that Jungian psychology describes symbols as 'transformers of energy' because they mediate the rational grasp on reality with the non-rational unconscious (Jolandi Jacobi, The Psychology of C. G. Jung, p. 94). According to Sufis, symbols play an important role as 'the place of encounter between the world of Archetypes or intelligibles and the sensible phenomenal world' (Laleh Bakhtiar, Sufi, p. 25). Shah refers to the symbolic significance of the language of alchemy - 'the Philosophers' Stone' as the 'hidden tongue' which transcends the limitation of words through the associations it invokes: the process of 'connecting mundane with the greater dimensions of "other worlds'" (Shah, The Sufis, p. 193). In many instances Doris Lessing has expressed her admiration of the Sufi methods of symbolism (see in that context, Lessing, 'What Looks Like an Egg and Is an Egg?', New York Times Book Review (7 May 1972), pp. 41-3). 93. Shah, The Sufis, p Ibid., p Shah, The World of the Sufi, 1979, p Lessing, An Elephant in the Dark', Spectator, 213 (18 September 1964), p Shah, The Sufis, p Barthes, S/Z, 1974, pp Wayne Booth, The Rhetoric of Fiction, p Lessing, Preface to The Golden Notebook, p The Science Fiction Series Enhancing effects of setting type in italic, bold, bold italic and underline are extensively used in Shikasta. Original settings have been followed in all

18 Notes 257 quoted material; underline is represented in the text by an asterisk before and after the original underlined phrase. 1. I have emphasized in my study of The Memoirs of a Survivor that a misunderstanding of the denouement of the novel arises from overlooking the key word 'order' in the phrase, 'they stepped into another order of world altogether'. In Canopus in Argos series, the same word 'order' creates an implicit primordiality which needs to be brought to the surface to prevent further misinterpretations. The term 'Order' - with a capital letter - evokes the Sufi Dervish Orders. According to Shah, 'Almost all Sufis at one time or another are members of one of the Ways which are called "Orders'". However, Shah makes the point that there is a difference between the Western scholar's understanding of the term as 'a self-perpetuating entity with a fixed hierarchy and premises, forming a training system for the devotee', and the Sufis' use of the term. To the Sufis, the 'Order' is the medium through which they communicate the 'necessities of the "work"' - namely the activation of the levels of perception which Shah refers to as the 'activation of the subtleties' or 'lataif. 'The objective of the Dervish Orders' according to Shah, is to achieve 'harmony with objective reality' to be able to perceive cosmic unity (Shah, The Sufis, pp ). A close look at the term as it is used in Canopus in Argos reveals an initial obscurity. At first the word evokes 'order' as imposed from the outside, but in The Marriages Between Zones the difference is made clear. When Al Ith returns from her visit to Zone Four, she makes the distinction when she complains to Yori, 'It is a place of compulsion... they can respond only if ordered, compelled... [but] not the Order, not Order. But do this. Do that. They have no inner listening to the Law' (p. 74). There is therefore an implied critique in Lessing's use of the word. The implicit primordiality that builds at the beginning opens into another level of meaning - a strategy repeatedly used by Lessing to evoke meaning on outer and inner levels. 2. Doris Lessing, Re: Colonised Planet 5 Shikasta (1979), rpt., All subsequent references will be to this edition. 3. It is interesting to note here that 'Rohanda' implies in Arabic, 'having spiritual connections' and Shikasta means in Persian 'broken'. Also Shammat, which is reminiscent of the malicious poltergeist in earlier novels, means 'malice' in Arabic. This method of incorporating names with significant meanings in foreign languages is a strategy which Lessing employs throughout the series as a part of her project to transcend language limitations and assimilate different cultures. This is particularly evident in her reference to the origins of the title of the overall series in her introduction to the Kalila and Dimna tales where she records her interest in the time when 'people were expected to regard names as signposts' (Lessing, 'Introduction' to Ramsay Wood, Kalila and Dimna, 1982, pp. xvi-xvii).

19 258 Notes 4. Lessing, The Marriages between Zones Three, Four and Five (1980), rpt., All subsequent references will be to this edition. 5. Zone Four is a militistic state of external orders. Zone Two stands for the spiritual realm - 'the blue' colour signifies that realm according to Sufi symbolism and is therefore associated with the Sufi attire (see Shah, The Sufi, p. 217). Al Ith, the representative of Zone Three, is the Feminine Principle mediating between the zones through her ' Descent into the Dark' (75) and her 'ascent' to the heights of Zone Two, and Ben Ata's marriage to the queen of Zone Five achieves the required acknowledgement of the animal level of the self - Vahshi means 'wild' in the Persian language. 6. The theme of 'forgetting' parts of reality is also the central issue in the third volume of the series - The Sirian Experiments - and is the cause of Ambien II's 'blindness' to the 'truth'. 7. Lessing, The Sirian Experiments (1981), rpt., All subsequent references will be to this edition. 8. Lessing, The Making of the Representative for Planet 8 (1982), rpt., All subsequent references will be to this edition. 9. It is noteworthy that Shah refers to the levels of perception as 'the subtleties' in The Sufis p Lessing, Documents Relating to The Sentimental Agents in the Volyen Empire, All subsequent references will be to this edition. 11. Shah, The Sufis, p Frederick Engels and Karl Marx, Marx/Engels: Collected Works, Vol. 25, 1987, p The concept of cosmic unity and 'multiplicity-in-unity' finds resonance not only in the Sufi philosophy (see Laleh Bakhtiar, Sufi, p. 10), but also in the scientific world view. Lessing's repeated references in her series to 'atoms' and the principle of multiplicity in unity is a clear manifestation of her project of interweaving two opposing realms. 14. Robert Reilly (ed.), The Transcendent Adventure: Studies of Religion in Science Fiction / Fantasy, 1985, p. 3. In his introduction to the book, Reilly argues that 'One can... see that physical science can be included within the scope of [the] definition of religion. It uses rational means to explain order in the universe and provides a relationship (the experimental method) to the source of order. The scientists themselves are a sort of priesthood' (p. 3). Doris Lessing expresses a similar point of view. In an interview published in 1980, she postulates: The best scientists, those on the highest levels, always come closer and closer to the mystical. Much of what Einstein said could have been said by a Christian mystic, St. Augustine, for example. Science, which is the religion for today, looks for the metaphysical... Hence the boom in science fiction, which reflects this preoccupation and which moves in the world of the non-rational. (N. Torrents, 'Testimony to Mysticism', Doris Lessing Newsletter, Vol. 4, No. 2 (Winter 1980) p. 12)

20 Notes Engels, Marx/Engels: Collected Works, Vol. 25, p C J. Driver, 'Profile 8: Doris Lessing', The New Review, Vol. 1, No. 8 (November 1974), p Darko Suvin, Metamorphoses of Science Fiction, pp Shah, The Sufis p Patrick Parrinder, Science Fiction: Its Criticism and Teaching, 1980, p Ibid. 21. Betsy Draine, 'Competing Codes in Shikasta' in Critical Essays on Doris Lessing, Claire Sprague and Virginia Tiger (eds), 1986, p Suvin, Metamoiphoses of Science Fiction, p Ibid., p Ibid., p Doris Lessing has repeatedly declared her belief in the importance of the co-existence of the two modes. When asked whether evolution meant to her the Darwinian theory of evolution or the evolution of the inner faculties as defined by the Sufis, she asserts: We have to have both. We have to have a higher feeling of responsibility towards other animals, including the animals and others of our species, and the world and so on. And I think we might develop intuition... ('Interview with Doris Lessing', in Eve Bertelsen (ed.), Doris Lessing, p. Ill) According to her, scientific interest has permeated popular thought from the moon landing to the exploration of subatomic matter, and has brought complementary realms of experience together in the imagination; 'This is how we now think, so this is how as a writer I am now writing. I find it strange that other people think it strange, since this is now our world' (interview by Lesley Hazelton, 'Doris Lessing on Feminism, Communism, and Space Fiction', New York Times Magazine, Vol. 131 (5 July 1982), p. 28). 26. Robert Galbreath, 'Ambiguous Apocalypse: Transcendental Versions of The End', in The End of the World, Eric S. Rabkin et al. (eds), 1983, pp Lois and Stephen Rose, The Shattered Ring: Science Fiction and the Quest for Meaning, 1970, p Lessing, 'A Small Personal Voice', p Quoted in William Irwin Thompson's Passages About the Earth: An Exploration of the New Planetary Culture, 1973, p Scholes, Structural Fabxdation, p Parrinder, p Lorna Sage, Doris Lessing, 1983, p Shah refers to that concept in Sufi philosophy by quoting luminary Jafar Sadiq: Man is the microcosm, creation the macrocosm - the unity. All comes from one. By the joining of the power of contemplation all

21 260 Notes can be attained. (The Sufis, p. 223) 34. Lesley Hazleton, 'Doris Lessing on Feminism, Communism and Space Fiction', New York Times Magazine 131 (5 July 1982), pp. 20, Lois and Stephen Rose, The Shattered Ring, p Marie Ahearn, 'Science Fiction in the Mainstream Novel: Doris Lessing', Proceedings of the Fifth National Congress of the Popular Culture Association (21 March 1975), p Ibid. 38. The Greek word argos also means swift, which would imply the dynamics of the movements of the quest, apt for Lessing's theme which does not approve static worlds, but instead shows the continuing peril of worlds that are static. 39. Introduction to Ramsay Wood, Kalila and Dimna, pp. xvii-xviii. 40. The connection has been suggested by Lessing in her introduction to Kalila and Dimna, ibid., p. xviii. 41. Eve Bertelsen,'Interview with Doris Lessing', in Doris Lessing, Eve Bertelson (ed.), p Shah, The Sufis, p Doris Lessing, 'Spies I Have Known', Partisan Review, Vol. 38, No. 1, 1971, p Eve Bertelsen, 'Interview with Doris Lessing', in Doris Lessing, Eve Bertelsen (ed.), p Ibid. 46. Susan Stamberg, 'An Interview with Doris Lessing', Doris Lessing Newsletter, Vol. 8, No. 2 ((Fall 1984), p Report by Ruth Saxton on 'Lessing's visit to California' on April 5, 1984 in Doris Lessing Newsletter, Vol. 8, No. 2 (Fall 1984), p N. Torrents, 'Testimony to Mysticism', Doris Lessing Newsletter, Vol. 4, No. 2 (Winter 1980), p Northrop Frye refers to the particular usefulness of that technique in science fiction. According to him 'Doubles in time' produced by some kind of 'time machine' have been extensively explored in SF so 'that a memory can be objectified in a conscious being, hence repeated, hence recreated' (Secular Scriptures, p. 117). 50. Shikasta is an archive of 'personal psychological, historical documents' documented by Johor as he descends into his 'memories'. The Marriages is narrated by 'the Chroniclers of Zone Three'. The Sirian Experiments is an 'attempt at a re-interpretation of history' recorded by Ambien II, and The Making of the Representative of Planet 8 is narrated by Doeg, the 'Memory Maker and Keeper of Records' whose role is to make 'a faint coloured... memory, stronger' (p. 122). 51. Frye, p That motif is particularly relevant to the purposes of the science fiction genre. In his pioneering study of the genre, Tolkien pointed out the 'Mirror' as one of the three basic characteristics of the genre - 'the Mirror of scorn and pity towards Man' (Tolkien, Tree and Leaf, 1964, p. 28). In her preface to The Sirian Experiments, Doris Lessing clearly refers to that intent of her cosmology by expressing her attempt to

22 Notes 261 invoke 'parallel universes, universes that lie intermeshed with ours but invisible to us, universes where time runs backwards, or that mirror ours' ('Preface', The Sirian Experiments, p. 9). She adds in the same context that 'What of course I would like to be writing is the story of the Red and White Dwarves and their Remembering Mirror' (p. 12). In line with the use of mirror technique to confront the reader, it is further interesting to note here that the general title of Canopus in Argos evokes resonance with Bidpai's The Lights of Canopus - a sequence of Oriental fables so framed as to constitute 'A Mirror for Princes'. It 'was given to Princes as part of their training to be monarchs', as Lessing explains in her 1982 introduction to the tales (Lessing, 'Introduction' to Ramsay Wood's Kalila and Dimna, p. xiv). 53. According to Frye, 'mirror devices' are an important element in the motif of descent. See Secular Scriptures, p Doris Lessing, 'Introduction' to Kalila and Dimna, p. xiv. 55. The concept of groping towards the truth at the centre is at the core of the Sufi methods of concentration. See Laleh Bakhtiar, p Laleh Bakhtiar, Sufi, p Doris Lessing, 'Some Remarks', preface to Shikasta, unnumbered. 58. Shah, The Sufis, p Doris Lessing expresses her interest in that effect of Sufi literature by referring to Mulla Nasrudin's fables in Doris Lessing, 'What Looks Like an Egg and Is an Egg', New York Times Book Review (7 May 1972), p Nancy Hardin, 'The Sufi Teaching Story and Doris Lessing', Twentieth Century Literature, Vol. 23, No. 3 (October 1977), p Ibid., p Doris Lessing, 'Introduction' to Kalila and Dimna, p. xiv. 62. Ibid., p. xvi. 63. Ibid., p. xiv. 64. In Learning How to Learn, Shah puts this clearly in his essay entitled 'Conditioning and Education': The secondary self stands in the way of learning and it will be conditioned unless it is 'polished' - another technical term, likening it to a mirror on which dust has settled, again emphasized by Ibn Arabi (in his Fusus) as well as by the classical and contemporary exponents of Sufism. (pp ) 65. Laleh Bakhtiar, p Ibid. 67. 'Polishing the mirror' in Sufi terminology means activating the higher levels of perception to be able to perceive the spiritual dimension in the phenomenal world - to see 'unity-in-multiplicity' which is the goal of Sufi quest: 'to go from multiplicity-in-unity to unity-inmultiplicity' and to 'realize that all is reflected in the mirror of one's being' (Laleh Bakhtiar, p. 10). 68. Ibid., p Ibid., p See reference to 'pomegranates' p, 70. According to the Sufis, the

23 262 Notes pomegranate is 'the symbol of integration of the multiplicity in unity, in the station of Union, conscious of Essence' (Laleh Bakhtiar, p. 30). 71. Shah, The Sufis, p Laleh Bakhtiar, p Laleh Bakhtiar, p Shah, The Sufis, p Ibid., p It is worthwhile noting here that this device of coming in on ourselves imaginatively from outside is similar to Mary Turner's first signs of transcending her limitation in The Grass is Singing, and is also similar to the 'game' carried on by Anna of The Golden Notebook and the exercise experienced by Lynda Coldridge in Shikasta where she describes the experience of 'watching myself from the outside... I stand outside [Lynda] and look at her and think' (233-4). This activity also is the key experience in the fourth novel of the series - The Making of the Representative of Planet 8., whose climax is an episode in which the representatives finally manage to cross the 'wall' and transcend their 'old eyes' to have a clearer vision of themselves (153-61). 77. Shah, The Sufis, p Suvin, The Metamorphoses of Science Fiction, p Idries Shah, 'The Teaching Story: Observations on the Folklore of Our "Modern" Thought,' in The Nature of Human Consciousness, Robert Ornstein (ed.), 1974, p See the significance of the names of Rohanda and Shikasta in that context. Supra, note The idea of 'rescue' has been recurrent in Briefing for a Descent into Hell - 'rescue by Them'. But while in Briefing, this expectation remains present throughout the novel, it is destroyed at the outset of Shikasta, since Johor's initial message puts an end to any hope of rescue from the outside (50), This is in accordance with the Sufis' concept of responsibility which is basic to the Sufi quest. Shah postulates in that context: 'Man must develop by his own effort, toward growth of an evolutionary nature' (Shah, The Sufis, p. 202). This lesson also forms the main challenge in the fourth novel of the series. The crucial test in The Making of the Representative of Planet 8 is to stop depending on outside 'rescue' and to learn that the only way for survival is through the fruitful effects of their 'efforts' (65). 82. It may be significant that the division of their realms of experience into two different hemispheres coincides with Ornstein's division of the rational and non-rational modes of consciousness in the left and right hemispheres of the brain - the former being 'predominantly involved with analytic and logical thinking' and the latter 'specialized for synthesis' (Ornstein, The Psychology of Consciousness, pp. 20-1). 83. The relationship between the Sirian Empire and Canopus - the technological and spiritual domains - forms the main theme of the third volume in the series - The Sirian Experiments. 84. Johor approaches Zone Six with 'an inward sigh' (19) and later in his descent he 'had to force each step' (89). This is in accordance with

24 Notes 263 Jung's reference to the individual's reluctance to descend and face the inner self. 85. Laleh explains the relationship clearly: 'It is through geometry that the personality and character of numbers is revealed, providing still another means of coming to know the cosmic processes of nature.' According to Laleh, the Sufi consider mathematics a crucial means of learning because it creates an interesting mediator between the modes of cognition: The creation of shapes through the use of numbers of geometry, as mathematical expressions, recalls the Archetypes reflected through the World of Symbols. Mathematics, then, is a language of the Intellect, a means of spiritual hermeneutics whereby one can move from the sensible to the intelligible world. (Laleh Bakhtiar, p. 104) 'This same relationship', according to the Sufis, 'is found in the science of spiritual alchemy' (104). It is significant that both mathematics and alchemy - suggested by the mentioning of 'osmosis' - are the means of learning on Rohanda. 86. Laleh Bakhtiar, p Ibid., p Ibid., p Shah, The Sufis, p Laleh Bakhtiar, p Shah, The Sufis, p Ibid. 93. Laleh Bakhtiar, p Shah, The Sufis, p Shah, Learning How to Learn, p Shah, The Sufis, p In The Sufis, Shah refers to the importance of 'the search' as an activity by referring to the story of the father who 'has several idle sons. On his deathbed he tells them that they will find his treasure hidden in his field' - the aim being to give them an incentive to search, and the treasure will be the fruit of their efforts: 'They find no gold, but indirectly they become both enriched and accustomed to constructive labor.' Shah concludes by referring to the alchemical analogy that 'the search for gold through chemical methods,... produces gains which are other than those apparently sought', further stressing 'the importance of the work' itself (Shah, The Sufis, p. 200). 98. It is worthwhile noting in that context that while the Sufis consider music an interesting means of activating the consciousness, they consider it also dangerous if it operates on the outer level only. Shah quotes Shibli on that issue: The great Shibli says: 'Hearing music deliberately seems outwardly to be a disruptive thing; internally it is a warning... Unless he has the Sign (awakening of the Organ of

25 264 Notes Evolution), he is submitting himself to the possibility of danger.' (Shah, The Sufis, p. 304) Shah further explains the dangers: 'These are dangers, both because they may lead to sensuality and because, through producing a taste for the secondary indulgence, it veils the real usefulness of music, which is to develop the consciousness' (The Sufis, p. 304). 99. See Shah, The Sufis, pp. 155, It is significant to note here, in accordance with the continuous tendency of introjecting one culture into the other, that in Arabic, Jarsum means 'parasite' Shah refers to this aspect of the Sufi teacher: The Guide must be able to determine the capacity of the disciple. He will have to deal with this disciple in accordance with his potentiality... Unless he has this perception, the Sheikh cannot be a Guide at all. (The Sufis, p. 265) 102. Shah, The Sufis, pp Laleh Bakhtiar, p Ibid., p Ibid., p Shah, The Sufis, pp Ibid., p Ibid., p Laleh Bakhtiar, p Jung, The Integration of the Personality, pp. 71, Ibid., pp Ibid., p It is worthwhile noting here that 'factions and divisions' are among the first signs of weakness and degeneration among the Giants in the fable of the Giants and Natives Jung, The Integration of the Personality, p Reference to 'degeneration' evokes the 'Degenerative Disease' as the text gradually interweaves the two levels Sharon Spencer, Space, Time and Structure in the Modern Novel, 1971, pp. 3, pp. xx Laing, Self and Others, p Ibid., p Ibid That episode sums up in epitome Johor's previous journey, and operates as a reminder of the necessary process of descent and ascent. Significantly, after referring to the necessity of descent by referring to Zone Six, it culminates in an image of ascent as it refers to the spiral flight of the eagle - 'the glide and the swerve and the balances of the eagle, who moved on, on, on, in front' (192). The bird which appears at this stage of the episode, 'to shepherd Ben and Rilla onwards', has significant meaning in terms of Sufi philosophy. It

26 Notes 265 evokes the 'simurgh', a bird from a Persian legend which is a symbol of 'inspiration' (Laleh Bakhtiar, p. 37) and of the development of the mind (see also Shah, The Sufis, p. 197). The appearance of the eagle in that stage of the journey therefore as it guides and directs the characters signifies the ascent to higher levels. It is significant that only after descent does the eagle appear to direct them 'in the opposite direction from the borders of Zone Six' (191) Shah, The Sufis, p See Jung, Development of the Personality, p According to Jung 'emotions' hinder understanding: 'Emotions are instinctive, involuntary reactions that upset the rational order of consciousness by their elementary outbursts' (The Integration of the Personality, p. 10). Jung further states that 'emotions are coupled with... a narrowing down of the mind to a remarkable singlemindedness' (ibid., p. 20). It is only when such emotions are shed that the individual can develop higher levels. According to the Sufis, emotions foil concentration on higher levels, while 'detachment' is crucial for ascent. As Shah puts it, a person triggered with emotion 'will be almost incapable of developing further' (Shah, Learning How to Learn, p. 126, see also pp ). Shah further asserts, 'emotion can swamp... intellect' (The Sufis, p. 311) Doris Lessing, 'An Elephant in the Dark', Spectator, Vol. 213 (18 September 1964), p Shah, The Sufis, p Supra., Introduction, note Kermode, The Sense of an Ending, pp Ibid., p That concept of modern fiction has a long tradition, but one of the best descriptions of it has been given by Benjamin Lee Whorf: It was found that the background linguistic system... of each language is not merely a reproducing instrument for voicing ideas, but rather is itself the shaper of ideas, the program and guide for the individual's mental activity, for his synthesis of his mental stock in trade. Formulation of ideas is not an independent process, strictly rational in the old sense, but is part of a particular grammar... The world is presented in a kaleidoscopic flux of impressions which has to be organized by our minds - and this means largely by the linguistic systems in our minds... which channel the [individual's] reasoning and builds the house of his consciousness. (Benjamin Lee Whorf, Language, Thought and Reality, pp ) 129. Suvin, The Metamorphoses of Science Fiction, p Steven E. Colburn, 'Reading Shikasta: A Reading Comprehension Quiz on "The History of Shikasta"', Doris Lessing Newsletter, Vol. 6, No. 2 (Winter 1982), Shah, The Sufis, p Ibid., pp

27 266 Notes 133. Ibid., p Ibid., p Ibid Ibid., p Ibid., p According to the Sufis, the human soul 'consists of a threefold hierarchical structure: sensory, psychic and spiritual' (Laleh Bakhtiar, p. 18) and the Sufi path to achieve equilibrium is 'to become aware of the possibilities which exist within the human form, to conceive them and then through spiritual practices actualize them' (Laleh, p. 118) Laleh Bakhtiar, p Laleh describes the function of symbolism in Sufi philosophy as follows: Symbolism is perhaps the most sacred of Sufi sciences, for it is through seeing symbols that one continues to remember, to invoke... Symbols are vehicles of transmission... they are the place of encounter between the world of Archetypes... and the sensible, phenomenal world... Everything in creation is a symbol: for everything perceived by the outer senses may be conceived through the inner senses as a Sign of a higher state of reality. (Laleh Bakhtiar, p. 25) 141. Laleh Bakhtiar, pp. 26, 90, Light and darkness refer to stages of enlightenment in Sufi philosophy: Darkness and light are the archetypal symbols of Sufism... they denote the stations of annihilation (fana) and subsistence (baqa). These stations are metaphysical experiences which occur only at a transcendental level of awareness. (Laleh Bakhtiar, p. 90) 143. Ibid., p According to Sufis, 'Through symbols, one moves closer to transformation, the goal of the quest' (Laleh Bakhtiar, p. 84) Ibid., p. 57 (from the fourteenth century Cosmic Mountain, in ms. anthology of Persian poems, Behbahan, Fars, Iran) Laleh Bakhtiar, p Ibid., pp In another context Laleh further refers to the symbolic significance of the cypress tree as a symbol of the reconciliation of masculine and feminine principles: The cypress tree symbolizes potential wholeness, for biologically it is a tree which contains the masculine and feminine principles within itself. It is a form which appears frequently in iconography. Known as the perfect Muslim because of its submission to the

28 Notes 267 wind, it is in this windblown form that it is most often seen... (Laleh Bakhtiar, p. 68) 148. Shah, The Sufis, p Ibid., p Laleh Bakhtiar, p Shah, The Sufis, pp Laleh Bakhtiar, p Ibid., p Ibid., p The concept of 'death and Rebirth' is recurrent in Sufi literature. See William C. Chittick, The Sufi Path of Love, 1983, pp. 183, Ibid., p Ibid., p Laleh Bakhtiar, p Ibid., p Ibid., p Ibid., p Shah, The Sufis, p Ibid., p Ibid., p This activity of taking on the guise of a culture to spread their teachings is a basic tenet in Sufi practices. As Shah puts it, the Sufi teachers spread to different cultures - their 'external behaviour may very well appear to change' (Shah, The Sufis, p. 349). Reference to such practices is recurrent throughout the series. Early in Shikasta, Johor takes on the guise of the Natives when he enters Shikasta in the time of the crisis to deliver his message. Further reference to this activity recurs among Canopean agents - referring to their 'innumerable guises' (Shikasta, p. 423) See supra, Shikasta, note Reference to the importance of the individual as part of a whole, as 'representative' is the basic message in the fourth volume - The Representative for Planet 8. Similarly, in referring to mutual 'respect between cultures' - interaction between cultures referring to 'The high marriage. A real marriage' - it anticipates the second volume The Marriages Between Zones Three Four and Five Shah, The Sufis, p Early in the fable, Johor points out that the repetition of the 'orders' helps to revive the memory which is crucial to keep the orders resound: 'the older Natives... were finding it hard to adjust... Yet the repetition of my orders had made a difference' (94) The concept of projecting the ego patterns on 'puppets' to expose and mock the ego patterns is recurrent in Lessing as in The Summer Before the Dark, where Maureen takes part in a similar experience (Lessing, The Summer Before the Dark (1973), rpt., 1975, p. 232) Shah, The Sufis, p Ibid., p Ibid.

29 268 Notes 174. Laleh Bakhtiar, p Ibid., p Shah, The Sufis, p Ibid., p Laleh Bakhtiar, p Ibid., p Shah, The Sufis, p Laleh Bakhtiar, p Conclusion 1. Jonah Raskin,' Doris Lessing at Stony Brook', in A Small Personal Voice, pp Bruce Bawer, 'Doris Lessing: on the Road to The Good Terrorist', The New Criterion (4 September 1985), p Martin Lings, What is Sufism?, London, 1975, p Doris Lessing's more recent novels - The Good Terrorist (1985), and The Fifth Child (1988) - are a clear evidence of her continuing interest in realistic modes of writing. These novels highlight the continuities and the steady development of Lessing's thought as well as the diversity of her methods. In the domain of the realistic novel, Lessing depicts how the lack of 'imagination' and inability to develop inner levels of perception are at the root of the individual's failure and limitation, causing consequent indulgence in modes of violence in our century. Lessing refers to The Good Terrorist as 'a realistic novel... about a girl... who drifts into becoming a terrorist out of sheer stupidity or lack of imagination' (Virginia Tiger, 'Candid Shot', a report of Lessing's visit to New York, 1 April 1984, Doris Lessing Newsletter, Vol. 8, No. 2 (Fall 1984), 5). The Fifth Child is another example of a child of violence; portraying the nightmare of that experience in an essentially realistic frame is precisely what initiates in the reader the urgency of her message of the necessity for equilibrium. 5. As Professor Darko Suvin explains, 'The cognition gained... may be simply the enabling of the mind to receive new wavelengths, but it eventually contributes to the understanding of the most mundane matters' (Suvin, Metamorphoses of Science Fiction, p. 380). In her later science fiction, Lessing still insists on using the genre 'to talk about what's happening on earth' and considers those who do not understand the interaction as too limited: 'Why is it escapism?... It seems to me that if people have imaginations so narrow that they can't see themselves as Marianne from Planet X, then it's a pity' (Susan Stamberg, 'An Interview with Doris Lessing', Doris Lessing Newsletter, Vol. 8, No. 2 (Fall 1984), p. 3). 6. Scholes, The Fabulators, p. 102.

30 Select Bibliography PRIMARY SOURCES I list only the works from which I have quoted. For more extensive information about works by Doris Lessing see the section on Bibliography. (i) Novels (in order of publication) 1950: The Grass is Singing, London: Granada Publishing, Panther Books, : The Golden Notebook, London: Granada Publishing, Panther Books, : The Four-Gated City, 'Children of Violence', Vol. IV, London: Granada Publishing, Panther Books, : The Summer Before the Dark, Harmondsworth: Penguin Books, : The Memoirs of a Survivor, London: The Octagon Press, : Re: Colonised Planet 5 Shikasta, Canopus in Argos: Archives, Vol. I London: Granada Publishing, Panther Books, : The Marriages Between Zones Three, Four and Five, Canopus in Argos: Archives, Vol. II, London: Granada Publishing, Panther Books, : The Sirian Experiments, Canopus in Argos: Archives, Vol. Ill, London: Granada Publishing, Panther Books, : The Making of the Representative for Planet 8, 'Canopus in Argos: Archives', Vol. IV, London: Granada Publishing, Panther Books, : Documents Relating to The Sentimental Agents in the Volyen Empire, Canopus in Argos: Archives, Vol. V, London: Jonathan Cape, (ii) Autobiographical Narrative Going Home (1957), rpt., London: Granada Publishing, Panther Books, (iii) Essays, Articles, and Short Stories Cited 'The Small Personal Voice', first published in Declaration, Tom Maschler (ed.), London: Maggibbon & Kee, 1957, pp , rpt., A Small Personal Voice: Essays, Reviews, Interviews, Paul Schlueter (ed.), New York: Alfred A. Knopf, 1974, pp 'Smart Set Socialists', New Statesman, London, Vol. 62 (1 December 1961), pp. 822, 824. 'What Really Matters', Twentieth Century, London, Vol. 172 (Autumn 1963), pp

31 270 Select Bibliography 'An Elephant in the Dark', Spectator, 213 (18 September 1964), p 'Spies I Have Known', Partisan Review, Vol. 38, No. 1 (1971), p. 55. Preface to The Golden Notebook (June 1971), The Golden Notebook, London: Granada Publishing, Panther Books, 1973, pp 'An Ancient Way to New Freedom', Vogue, New York, 158 (15 December 1971), pp. 98, 125, 130-1, rpt., The Diffusion of Sufi Ideas in the West, L. Lewin (ed.), Boulder, Colorado: Keysign Press, 1972, pp 'What Looks Like an Egg and Is an Egg?', New York Times Book Review, New York (7 May 1972), pp. 6, 'In the World, Not of It', Encounter, 39 (August 1972), pp. 62-4, rpt., in A Small Personal Voice, Paul Schlueter (ed.), New York: Alfred A. Knopf, 1974, pp Preface to Collected African Stories, Vol. I, London: Michael Joseph, Preface to The Collected African Stories, Vol. II, London: Michael Joseph, 'Introduction to The Story of an African Farm by Olive Shreiner', A Small Personal Voice, Schlueter (ed.), New York: Alfred A. Knopf, 1974, pp 'If You Knew Sufi', Guardian, London (8 January 1975), p. 12. A Revolution', New York Times, New York (22 August 1975), p. 31. 'The Ones Who Know', Times Literary Supplement, London (30 April 1976), pp 'Some Remarks', Preface to Re: Colonised Planet 5 Shikasta, London: Granada Publishing, Panther Books, 1981, unnumbered. 'My first book', The Author, Vol. 91 (Spring 1980), p. 12. Preface to The Sirian Experiments (1981), London: Granada Publishing, Panther Books, 'Sufism: A Way of Seeing', Book World, New York (18 April 1982). ' Learning how to Learn: Reflections on the Sufi Path', New Age, New York, (December 1982). 'Introduction' Kalila and Dimna: Selected Fables of Bidpai, Ramsay Wood, London: Granada Publishing, 1982, pp. ix-xix. (iv) Interviews Bertelsen, Eve, 'Interview with Doris Lessing', in Doris Lessing, Eve Bertelsen (ed.), South Africa: McGraw-Hill Company, 1985, pp Driver, C. J., 'Profile 8: Doris Lessing', The New Review, London, Vol. 1, No. 8 (November 1974), pp Haas, Joseph, 'Doris Lessing: Chronicler of the Cataclysm', Chicago Sun Times, Chicago (14 June 1969), pp Hazelten, Lesley, 'Doris Lessing on Feminism, Communism, and "Space Fiction"', New York Times Magazine, New York (25 July 1982), pp Newquist, Roy, 'Interview with Doris Lessing' in A Small Personal Voice, Paul Schlueter (ed.), New York: Alfred A. Knopf, 1974, pp Raskin, Jonah, 'Doris Lessing at Stony Brook: An interview', in A Small Personal Voice, Paul Schlueter (ed.), New York: Alfred A. Knopf, 1974, pp

32 Select Bibliography 271 Rubens, Robert, 'Footnote to The Golden Notebook', The Queen, New York, (21 August 1962), Stamberg, Suzan, 'An Interview with Doris Lessing', Doris Lessing Newsletter, New York, Vol. 8, No. 2 (Fall 1984), pp. 3-4, 15. Torrents, Nissa, 'Doris Lessing: Testimony to Mysticism', Paul Schlueter (trans.), Doris Lessing Newsletter, New York, Vol. 4, No. 2 (Winter 1980), pp. 1, Reprinted from La Calle, Madrid (1-7 April 1980). SECONDARY SOURCES: (A) SPECIAL STUDIES (i) Bibliography Burkom, Selima R. A Doris Lessing Checklist', Critique, Vol. 2, No. 1 (1969), pp Ipp, Catharina, Doris Lessing: A Bibliography, Johannesberg: University of Witwatersrand, Seligman, Dee, Doris Lessing: An Annotated Bibliography of Criticism, London: Greenwood Press, See also the Doris Lessing Newsletter, published by the Doris Lessing Society, New York: Brooklyn College Press. (ii) Books about Lessing Bertelsen, Eve (ed.), Doris Lessing, Southern African Literature series, No. 5, South Africa: McGraw-Hill Co., Brewster, Dorothy, Doris Lessing, New York: Twayne, Draine, Betsy, Substance Under Pressure: Artistic Coherence and Evolving form in the Novels of Doris Lessing, Madison: Univ. of Wisconsin Press, Fishburn, Katherine, The Unexpected Universe of Doris Lessing: A Study of Narrative Technique, Westport: Green Wood Press, Holmquist, Ingrid, From Society to Nature: A Study of Doris Lessing's 'Children of Violence', Gothenburg: University of Gothenburg, Kaplan, Carey, and Rose, Ellen Cronan, Doris Lessing: The Alchemy of Survival, USA: Ohio University Press, Knapp, Mona, Doris Lessing, New York: Ungar, Pratt, A. and Dembo, L. S. (eds), Doris Lessing: Critical Essays, Madison: University of Wisconsin Press, Rubenstein, Roberta, The Novelistic Vision of Doris Lessing: Breaking the Forms of Consciousness, Urbana, Illinois: University of Illinois Press, Sage, Lorna, Doris Lessing, Contemporary Writers Series, London: Metheun, Schlueter, Paul (ed.), A Small Personal Voice: Doris Lessing, New York: Knopf, Singleton, Mary Ann, The City and the Veld: The Fiction of Doris Lessing, Lewisburg; Bucknell University Press and London: Associated Press University, 1977.

33 272 Select Bibliography Sprague, Claire, and Tiger, Virginia (eds), Critical Essays on Doris Lessing, Boston, Mass.: G. K. Hall & Co., Sprague, Claire, Rereading Doris Lessing: Narrative Patterns of Doubling and Repetition, New Accents, Chapel Hill and London: the University of North Carolina Press, Taylor, Jenny (ed.), Notebooks/Memoirs/Archives: Reading and Rereading Doris Lessing, Boston and London: Routledge & Kegan Paul, Whittaker, Ruth, Doris Lessing, Macmillan Modern Novelists, London: Macmillan, (iii) Articles Ahearn, Marie, 'Science Fiction in the Mainstream Novel: Doris Lessing', Proceedings of the Fifth National Congress of the Popular Culture Association, Massachusetts (21 March 1975), pp Bawer, Bruce, 'Doris Lessing: on the Road to The Good Terrorist', The New Criterion, London (4 September 1985), pp Boiling, Douglas, 'Structure and Theme in Briefing for a Descent into Hell', Contemporary Literature, Madison, Wisconsin, Vol. 14 (1973), pp Carter, Nancy Corson, 'Journey Towards Wholeness: A Meditation on Doris Lessing's The Memoirs of a Survivor', Journal of Evolutionary Psychology, New York (2 August"1981), pp Carey, John L., Art and Reality in The Golden Notebook', Contemporary Literature, Madison, Wisconsin, Vol. 14 ( Autumn 1973), pp Cederstrom, Loreli, 'Inner Space Landscape: Doris Lessing,'s Memoirs of a Survivor', Mosaic, Vol. 13, parts III-IV, pp Colburn, Steven E., 'Reading Shikasta: A Reading Comprehension Quiz on "The History of Shikasta'", Doris Lessing Newsletter, New York, Vol. 6, No. 2, (Winter 1982), p. 15. Cowley, Malcolm, 'Future Notebook', Saturday Review (28 June 1975), pp Glendinning, Victoria, 'The Memoirs of a Survivor', The Times Literary Supplement, London (13 December 1974), pp Green, Martin, ' The Doom of Empire: Memoirs of a Survivor', Doris Lessing Newsletter, New York, Vol. 6, No. 2 (Winter 1982), pp. 6-7, 10. Hardin, Nancy, 'The Sufi Teaching Story and Doris Lessing', Twentieth Century Literature, New York, Vol. 23, No. 3 (October 1977), pp Hardwick, Elizabeth, 'The Summer Before the Dark', The New York Times Book Review, New York (13 May 1973), pp Howe, Irving, 'Neither Compromise, nor Happiness,' New Republic, London (15 December 1962), pp Johnson, Diane, 'Review' The New York Times Book Review, New York (June ), p. 66. Lightfoot, Marjorie, 'Breakthrough in The Golden Notebook', Studies in the Novel, Denton, Texas, Vol. 7, No. 2 (Summer 1975), pp Maccoby, Hyam, 'Heaven and Shikasta, The Listener, London (22 Nov. 1979), pp

34 Select Bibliography 273 Maddocks, Melvin, 'Ghosts and Portents', Time (16 June 1975), p. 16. Magie, Michael, 'Doris Lessing and Romanticism', College English, Vol. 38, (Feb. 1977), pp Mellons, J., 'Island Styles', The Listener, London, Vol. 93 (23 January 1975), p Mitchell, Julian, Spectator, London (20 April 1962), p Pratt, Annis, 'The Contrary Structure of Doris Lessing's Golden Notebook', World Literature Written in English, Guelp, Ontario, Vol. 12 (November 1973), pp Rubenstein, Roberta, 'An Evening at the 92nd Street Y', a report on a lecture by Lessing on April , Doris Lessing Newsletter, New York, Vol. 8, No. 2 (Fall 1984), p. 6. Saxton, Ruth, 'Report on Lessing's Visit to California' on 5 April 1984, Doris Lessing Newsletter, New York, Vol. 8, No. 2 (Fall 1984), p. 7. Sullivan, Alvin, 'Memoirs of a Survivor: Lessing's Notes toward a Supreme Fiction' Modern Fiction Studies, West Lafayette, Indiana, Vol. 25, No. 1 (Spring 1980), pp Tiger, Virginia, 'Candid Shot', a report of Lessing's visit to New York, 1 April 1984, Doris Lessing Nezvsletter, New York, Vol. 8, No. 2 (Fall 1984), p. 5. Vlastos, Marion, 'Doris Lessing and R. D. Laing: Psychopolitics and Prophecy', PMLA, New York, Vol. 91, No. 2 (March 1976), pp SECONDARY SOURCES: (B) GENERAL STUDIES Bakhtiar, Laleh, Sufi Expressions of the Mystic Quest, London: Thames & Hudson, Barthes, Roland, S/Z, Richard Miller (trans.), New York: Hill and Wang, Baxandall, Lee (ed.), Radical Perspectives in The Arts, Harmondsworth: Penguin Books, Booth, C. Wayne, The Rhetoric of Fiction (1983), rpt., Harmondsworth: Penguin Books, Burckhardt, Titus, Mystical Astrology According to Ibn' Arabi, Bulent Rauf (trans.), Aldsworth: Beshara Publications, Butor, Michel, 'The Crisis in the Growth of Science Fiction', Inventory, Essays in Science Fiction, Richard Howard (trans.), New York: Simon and Schuster, Campbell, Joseph, The Hero with a Thousand Faces, Princeton: Princeton University Press, 1972., Myths to Live By, New York: Viking, Cassirer, Ernst, The Philosophy of Symbolic Forms, Ralph Manheim (trans.), New Haven: Yale University Press, Chittick, William C, The Sufi Path of Love: the Spiritual Teachings of Rumi, Albany: State of New York Press, Cirlot, J. E., A Dictionary of Symbols, Jack Sage (trans.), London: Routledge & Kegan Paul, Translated from the Spanish, Diccionario De Simbolos Tradicionales.

35 274 Select Bibliography de Saussure, Ferdinand, Course in General Linguistics (trans.), W. Baskin, Engels, Frederick, Karl Marx/Frederick Engels: Collected Works, Vol. 25, London: Lawrence & Wishart, Frye, Northrop, Secular Scriptures: A Study of the Structure of Romance, Cambridge, Mass, and London: Harvard University Press, Genette, Gerard, Narrative Discourse, Jane E. Lewin (trans.), Oxford: Basil Blackwell, Grant, Damian, Realism, London: Metheun Harari, Jose V. (ed.), Textual Strategies: Perpectives in Post-Structuralist Criticism, London: Metheun & Co., Iser, Wolfgang, The Implied Reader: Patterns of Communication in Prose Fiction from Bunyan to Beckett, Baltimore and London: Johns Hopkins University Press, Jacobi, Jalonde, The Psychology of C. G. Jung, New Haven: Yale University Press, Jefferson, Ann and Robey, David (eds), Modern Literary Theory: A Comparative Introduction, London: B. T. Batsford, Jung, Carl Gustave, The Integration of the Personality, Stanley Dell (trans.), London: Kegan Paul, Trench Trubner & Co., 1940., Psychological Types, The Collected Works, Vol. 6, H. G. Baynes (trans.), London: Routledge & Kegan Paul, 1959., The Structure and Dynamics of the Psyche, The Collected Works, Vol. 8, R. F. C. Hull (trans.), London: Routledge & Kegan Paul, 1960., The Archetype and the Collective Unconscious, The Collected Works of C. G. Jung, Vol. 9, Part I, R. F. C. Hull (trans.), London: Routledge & Kegan Paul, Psychology and Alchemy, The Collected Works of C. G. Jung, Vol. 12, London: Routledge & Kegan Paul, 1968., The Development of Personality, The Collected Works of C. G. Jung, Vol. 17, R. F. C. Hull (trans.), London: Routledge & Kegan Paul, Jung (ed.), Man and his Symbols, London: Aldus books, Kant, Immanuel, Fundamental Principles of the Metaphysic of Ethics, T. Kingsmill Abbot (trans.) (1879), rpt., London: Longmans Green & Co., Kermode, Frank, The Sense of an Ending: Studies in the Theory of Fiction, New York: Oxford University Press, Laing, Roland D., The Divided Self: A Study of Sanity and Madness, Chicago: Quadrangle Books, 1960., Self and Others, London: Tavistock Publications, 1961., The Politics of Experience and The Bird of Paradise, 1967, rpt., Harmondsworth, Middlesex, England: Penguin Books Inc., Lefort, Rafael, The Teachers of Gurjieff, London: Gollancz, Lewin, L. (ed.), The Diffusion of Sufi Ideas in the West, Boulder, Colorado: Key sign Press, Lings, Martin, What is Sufism?, London: George Allen & Unwin, Lois and Rose, Stephen, The Shattered Ring: Science Fiction and the Quest for Meaning, London: SCM Press, Lucente, Gregory L., The Narrative of Realism and Myth, Baltimore and London: The Johns Hopkins University Press, 1979.

36 Select Bibliography 275 Lukacs, Georg, The Historical Novel, Hannah and Stanley Mitchell (trans.), London: Merlin Press, 1962., The Meaning of Contemporary Realism, John and Necke Mander (trans.), London: Merlin Press, 1963., Realism in Our Time, New York: Harper & Row, Martens, Lorna, The Diary Novel, London: Cambridge University Press, Morris, Robert K. (ed.), Old Lines, New Forces, Cranbury, New Jersey: Association of University Presses, Muecke, D. C, Irony, London: Metheun & Co., Ornstein, Robert The Psychology of Consciousness (1972), rpt., New York: Harcourt Brace Jovanovich Inc., (ed.), The Nature of Human Consciousness, New York: Viking Press, Parrinder, Patrick, Science Fiction: Its Criticism and Teaching, London and New York: Methuen, Rabkin, Eric S. et al. (eds.), The End Of the World, Carbondale: Southern University Press, Reilly, Robert (ed.), The Transcendent Adventure: Studies of Religion in Science Fiction / Fantasy, London: Greenwood Press, Shah, Idries, The Sufis, London: The Octagon Press, 1964., The Way Of The Sufi, New York: Jonathan Cape, 1971., The Subtleties of the Inimitable Mulla Nasrudin, London: The Octagon Press, 1973., Learning How To Learn: Psychology and Spirituality in The Sufi Way, London: The Octagon Press, 1978., The World of The Sufi: An Anthology of Writings about Sufis and their Work, London: The Octagon Press, Scholes, Robert, and Kellog, R., The Nature of Narrative, New York: Oxford University Press, Scholes, Robert, The Fabulators, New York: Oxford University Press, 1967., Structural Tabulation: An Essay on Fiction of the Future, Notre Dame and London: University of Notre Dame Press, Shklovsky, Victor, 'Art as Technique', Russian Formalists Criticism: Four Essays, Lee T. Lemon and Marion J. Reis (trans.), Lincoln University of Nebraska Press, Shroder, Maurice Z., 'The Novel as Genre', Massachusetts Review, Vol. 4, (1963), pp Spencer, Sharon, Space, Time and Structure in the Modern Novel, New York: New york University Press, Staley, Thomas F. (ed.), Twentieth-Century Women Novelists, London: Macmillan Press, Sutich, Anthony J. and Vich, A. Miles (eds), Readings in Humanistic Psychology, New York: Free Press, Suvin, Darko, 'On the Poetics of Science Fiction Genre', College English, Urbana, Illinois (December 1972), pp , Metamorphoses of Science Fiction: On the Poetics and History of a Literary Genre, New Haven and London: Yale University Press, 1979.