Doris Lessing telegrafeert

https://en.wikipedia.org/wiki/Doris_Lessing


Onderstaande telegrafeert dead doris lessing

Third came the Sufi phase, explored in the Canopus in Argos sequence of science fiction (or as she preferred to put it "space fiction") novels and novellas.

Lessing's Canopus sequence was not popular with many mainstream literary critics. For example, inThe New York Times in 1982 John Leonard wrote in reference to The Making of the Representative for Planet 8 that "[o]ne of the many sins for which the 20th century will be held accountable is that it has discouraged Mrs. Lessing... She now propagandises on behalf of our insignificance in the cosmic razzmatazz,"^[46] to which Lessing replied: "What they didn't realise was that in science fiction is some of the best social fiction of our time. I also admire the classic sort of science fiction, like Blood Music, by Greg Bear. He's a great writer."^[47] She attended the 1987 World Science Fiction Convention as its Writer Guest of Honor. Here she made a speech in which she described her dystopian novel Memoirs of a Survivoras "an attempt at an autobiography."^[48]

The Canopus in Argos novels present an advanced interstellar society's efforts to accelerate the evolution of other worlds, including Earth. Using Sufi concepts, to which Lessing had been introduced in the mid-1960s by her "good friend and teacher" Idries Shah,^[45] the series of novels also uses an approach similar to that employed by the early 20th century mystic G. I. Gurdjieff in his work All and Everything. Earlier works of "inner space" fiction like Briefing for a Descent into Hell (1971) and Memoirs of a Survivor (1974) also connect to this theme. Lessing's interest had turned to Sufism after coming to the realisation that Marxism ignored spiritual matters, leaving her disillusioned.^[49]

Lessing's novel The Golden Notebook is considered a feminist classic by some scholars,^[50] but notably not by the author herself, who later wrote that its theme of mental breakdowns as a means of healing and freeing one's self from illusions had been overlooked by critics. She also regretted that critics failed to appreciate the exceptional structure of the novel. She explained in Walking in the Shade that she modelled Molly partly on her good friend Joan Rodker, the daughter of the modernist poet and publisher John Rodker.^[51]

Lessing did not like being pigeon-holed as a feminist author. When asked why, she explained:

What the feminists want of me is something they haven't examined because it comes from religion. They want me to bear witness. What they would really like me to say is, 'Ha, sisters, I stand with you side by side in your struggle toward the golden dawn where all those beastly men are no more.' Do they really want people to make oversimplified statements about men and women? In fact, they do. I've come with great regret to this conclusion.

— Doris Lessing, The New York Times, 25 July 1982^[10]

Doris Lessing Society[edit]

The Doris Lessing Society is dedicated to supporting the scholarly study of Lessing's work. The formal structure of the Society dates from January 1977, when the first issue of the Doris Lessing Newsletter was published. In 2002 the Newsletter became the academic journal Doris Lessing Studies. The Society also organises panels at the Modern Languages Association (MLA) annual Conventions and has held two international conferences in New Orleans in 2004 and Leeds in 2007.^[52]

Archives[edit]

Lessing's literary archive is held by the Harry Ransom Humanities Research Center, at the University of Texas at Austin. The 45 archival boxes of Lessing's materials at the Ransom Center contain nearly all of her extant manuscripts and typescripts up to 1999. Original material for Lessing's early books is assumed not to exist because she kept none of her early manuscripts.^[53] The McFarlin Library at the University of Tulsa, holds a smaller collection.^[54] The University of East Anglia's British Archive for Contemporary Writing holds Doris Lessing's personal archive: a vast collection of professional and personal correspondence, including the Whitehorn letters, a collection of love letters from the 1940s, written when Lessing was still living in Zimbabwe (then Southern Rhodesia). The collection also includes forty years of personal diaries. Some of the archive remains embargoed during the writing of Lessing's official biography.^[55]