Doris Lessing Three-Book Edition: The Golden Notebook, The Grass is Singing, The Good Terrorist
Dick, who was asleep through one thickness of wall, but who was unimportant, since he had been defeated long ago, Moses vaulted over the verandah wall, alighting squarely on his feet in the squelch of rain which sluiced off his shoulders, soaking him in an instant. He moved off towards the Englishman’s hut through the drenching blackness, water to his calves. At the door he peered in. It was impossible to see, but he could hear; holding his own breath, he listened intently, through the sound of the rain, for the Englishman’s breathing. But he could hear nothing. He stooped through the doorway, and walked quietly to the bedside. His enemy, whom he had outwitted, was asleep. Contemptuously, the native turned away, and walked back to the house. It seemed he intended to pass it, but as he came level with the verandah he paused, resting his hand on the wall, looking over. It was black, too dark to see. He waited, for the watery glimmer of lightning to illuminate, for the last time, the small house, the verandah, the huddled shape of Mary on the brick, and the dogs who were moving restlessly about her, still whining gently, but uncertainly. It came: a prolonged drench of light, like a wet dawn. And this was his final moment of triumph, a moment so perfect and complete that it took the urgency from thoughts of escape, leaving him indifferent. When the dark returned he took his hand from the wall, and walked slowly off through the rain towards the bush. Though what thoughts of regret, or pity, or perhaps even wounded human affection were compounded with the satisfaction of his completed revenge, it is impossible to say. For, when he had gone perhaps a couple of hundred yards through the soaking bush he stopped, turned aside, and leaned against a tree on an ant-heap. And there he would remain until his pursuers, in their turn, came to find him.
Doris Lessing
The Golden Notebook
Contents
The shape of this novel is as follows:
There is a skeleton, or frame, called Free Women, which is a conventional short novel, about 60,000 words long, and which could stand by itself. But it is divided into five sections and separated by stages of the four Notebooks, Black, Red, Yellow and Blue. The Notebooks are kept by Anna Wulf, a central character of Free Women. She keeps four, and not one because, as she recognizes, she has to separate things off from each other, out of fear of chaos, of formlessness—of breakdown. Pressures, inner and outer, end the Notebooks; a heavy black line is drawn across the page of one after another. But now that they are finished, from their fragments can come something new, The Golden Notebook.
Throughout the Notebooks people have discussed, theorized, dogmatized, labelled, compartmented—sometimes in voices so general and representative of the time that they are anonymous, you could put names to them like those in the old Morality Plays, Mr Dogma and Mr I-am-Free-Because-I-Belong-Nowhere, Miss I-Must-Have-Love-and-Happiness and Mrs I-Have-to-be-Good-At-Everything-I-Do, Mr Where-is-a-Real-Woman? and Miss Where-is-a-Real-Man?, Mr I’m-Mad-Because-They-Say-I-Am, and Miss Life-Through-Experiencing-Everything, Mr I-Make-Revolution-and-Therefore-I-Am, and Mr and Mrs If-We-Deal-Very-Well-With-This-Small-Problem-Then-Perhaps-We-Can-Forget-We-Daren’t-Look-at-The-Big-Ones. But they have also reflected each other, been aspects of each other, given birth to each other’s thoughts and behaviour—are each other, form wholes. In the inner Golden Notebook, things have come together, the divisions have broken down, there is formlessness with the end of fragmentation—the triumph of the second theme, which is that of unity. Anna and Saul Green the American ‘break down’. They are crazy, lunatic, mad—what you will. They ‘break down’ into each other, into other people, break through the false patterns they have made of their pasts, the patterns and formulas they have made to shore up themselves and each other, dissolve. They hear each other’s thoughts, recognize each other in themselves. Saul Green, the man who has been envious and destructive of Anna, now supports her, advises her, gives her the theme for her next book. Free Women—an ironical title, which begins: ‘The two women were alone in the London flat.’ And Anna, who has been jealous of Saul to the point of insanity, possessive and demanding, gives Saul the pretty new notebook, The Golden Notebook, which she has previously refused to do,