third letter, once rare but now catching up on the others, is written by a man or a woman who can see nothing in it but the theme of mental illness.
But it is the same book.
And naturally these incidents bring up again questions of what people see when they read a book, and why one person sees one pattern and nothing at all of another pattern, and how odd it is to have, as author, such a clear picture of a book, that is seen so very differently by its readers.
And from this kind of thought has emerged a new conclusion: which is that it is not only childish of a writer to want readers to see what he sees, to understand the shape and aim of a novel as he sees it—his wanting this means that he has not understood a most fundamental point. Which is that the book is alive and potent and fructifying and able to promote thought and discussion only when its plan and shape and intention are not understood, because that moment of seeing the shape and plan and intention is also the moment when there isn’t anything more to be got out of it.
And when a book’s pattern and the shape of its inner life is as plain to the reader as it is to the author—then perhaps it is time to throw the book aside, as having had its day, and start again on something new.
Doris Lessing
June 1971
Anna meets her friend Molly in the summer of 1957 after a separation…
The two women were alone in the London flat.
‘The point is,’ said Anna, as her friend came back from the telephone on the landing, ‘the point is, that as far as I can see, everything’s cracking up.’
Molly was a woman much on the telephone. When it rang she had just enquired: ‘Well, what’s the gossip?’ Now she said, ‘That’s Richard, and he’s coming over. It seems today’s his only free moment for the next month. Or so he insists.’
‘Well I’m not leaving,’ said Anna.
‘No, you stay just where you are.’
Molly considered her own appearance—she was wearing trousers and a sweater, both the worse for wear. ‘He’ll have to take me as I come,’ she concluded, and sat down by the window. ‘He wouldn’t say what it’s about—another crisis with Marion, I suppose.’
‘Didn’t he write to you?’ asked Anna, cautious.
‘Both he and Marion wrote—ever such bonhomous letters. Odd, isn’t it?’
This odd, isn’t it? was the characteristic note of the intimate conversations they designated gossip. But having struck the note, Molly swerved off with: ‘It’s no use talking now, because he’s coming right over, he says.’
‘He’ll probably go when he sees me here,’ said Anna, cheerfully, but slightly aggressive. Molly glanced at her, keenly, and said: ‘Oh, but why?’
It had always been understood that Anna and Richard disliked each other; and before, Anna had always left when Richard was expected. Now Molly said: ‘Actually I think he rather likes you, in his heart of hearts. The point is, he’s committed to liking me, on principle—he’s such a fool he’s always got to either like or dislike someone, so all the dislike he won’t admit he has for me gets pushed off on to you.’
It’s a pleasure,’ said Anna. ‘But do you know something? I discovered while you were away that for a lot of people you and I are practically interchangeable.’
‘You’ve only just understood that?’ said Molly, triumphant as always when Anna came up with—as far as she was concerned—facts that were self-evident.
In this relationship a balance had been struck early on: Molly was altogether more worldly-wise than Anna who, for her part, had a superiority of talent.
Anna held her own private views. Now she smiled, admitting that she had been very slow.
‘When we’re so different in every way,’ said Molly, ‘it’s odd. I suppose because we both live the same kind of life—not getting married and so on. That’s all they see.’
Free women,’ said Anna, wryly. She added, with an anger new to Molly, so that she earned another quick scrutinizing glance from her friend: ‘They still define us in terms of relationships with men, even the best of them.’
‘Well, we do, don’t we?’ said Molly, rather tart. ‘Well, it’s awfully hard not to,’ she amended, hastily, because of the look of surprise Anna now gave her. There was a short pause, during which the women did not look at each other but reflected that a year apart was a long time, even for an old friendship.
Molly said at last, sighing: ‘Free. Do you know, when I was away, I was thinking about us, and I’ve decided that we’re a completely new type of woman. We must be, surely?’
‘There’s nothing new under the sun,’ said Anna, in an attempt at a German accent. Molly, irritated—she spoke half a dozen languages well—said: ‘There’s nothing new under the sun,’ in a perfect reproduction of a shrewd old woman’s voice, German accented.
Anna grimaced, acknowledging failure. She could not learn languages, and was too self-conscious ever to become somebody else: for a moment Molly had even looked like Mother Sugar, otherwise Mrs Marks, to whom both had gone for psycho-analysis. The reservations both had felt about the solemn and painful ritual were expressed by the pet name, ‘Mother Sugar’; which, as time passed, became a name for much more than a person, and indicated a whole way of looking at life—traditional, rooted, conservative, in spite of its scandalous familiarity with everything amoral. In spite of—that was how Anna and Molly, discussing the ritual, had felt it; recently Anna had been feeling more and more it was because of; and this was one of the things she was looking forward to discussing with her friend.
But now Molly, reacting as she had often done in the past, to the slightest suggestion of a criticism from Anna of Mother Sugar, said quickly: ‘All the same, she was wonderful and I was in much too bad a shape to criticize.’
‘Mother Sugar used to say, “You’re Electra”, or ‘You’re Antigone”, and that was the end, as far as she was concerned,’ said Anna.
‘Well, not quite the end,’ said Molly, wryly insisting on the painful probing hours both had spent.
‘Yes,’ said Anna, unexpectedly insisting, so that Molly, for the third time, looked at her curiously. ‘Yes. Oh I’m not saying she didn’t do me all the good in the world. I’m sure I’d never have coped with what I’ve had to cope with without her. But all the same…I remember quite clearly one afternoon, sitting there—the big room, and the discreet wall lights, and the Buddha and the pictures and the statues.’
‘Well?’ said Molly, now very critical.
Anna, in the face of this unspoken but clear determination not to discuss it, said: ‘I’ve been thinking about it all during the last few months…no, I’d like to talk about it with you. After all, we both went through it, and with the same person…’
‘Well?’
Anna persisted: ‘I remember that afternoon, knowing I’d never go back. It was all that damned art all over the place.’
Molly drew in her breath, sharp. She said, quickly: ‘I don’t know what you mean.’ As Anna did not reply, she said, accusing: ‘And have you written anything since I’ve been away?’
‘No.’
‘I keep telling you,’ said Molly, her voice shrill, ‘I’ll never forgive you if you throw that talent away. I mean it. I’ve done it, and I can’t stand watching you—I’ve messed with painting and dancing and acting and scribbling, and now…you’re so talented, Anna. Why?