Unhelpful Lessing

The 2007 Nobel Prize winner, Doris Lessing, probably now thinks herself a prophet. A prophet of doom. Lessing spoke to journalists in Stockholm about God-knows-what and also shared views on the US Presidential race. It is what she said about Barack Obama that hit the news wires though, as she must have intended. The Illinois senator, fresh from caucus sweepstakes in yesterday's primaries, will be killed, if he were to become president.

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Obama "would certainly not last long, a black man in the position of president. They would murder him," said Lessing.

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I am not in the cult of Obama (I'm for Hillary), but find Lessing's comments most baffling. If this was all she had to say on the matter, why say it? Troubling even, that her comments do not seem an expression of concern for Obama's safety but rather, a direct statement of what would happen. The rights or wrongs of such an eventuality did not seem worth dwelling upon, it seemed. Never mind that Lessing's views directly contradict voting results, which show more and more white people (men especially) voting for Obama; let's not forget he won South Carolina, in the 'deep south'.

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Literary greats have been talking (and taking sides) on the great race between Hillary & Obama (and this blog will come to that), but here is one instance in which an esteemed wordsmith ought to have kept her words firmly to herself.

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To say Obama would be killed if he were to win the US presidency is the same as if the Nobel committee had refrained from giving Lessing the prize because:

This frail 88-year-old woman on her last legs would surely keel over and die of shock if we were to give her the Nobel.

Reading Lessing

We are in a fragmenting culture, where our certainties of even a few decades ago are questioned and where it is common for young men and women who have had years of education, to know nothing about the world, to have read nothing, knowing only some speciality or other, for instance, computers.



I was brought up in what was virtually a mud hut, thatched. This house has been built always, everywhere, where there are reeds or grass, suitable mud, poles for walls. Saxon England for example. The one I was brought up in had four rooms, one beside another, not one, and, the point is, it was full of books. Not only did my parents take books from England to Africa, but my mother ordered books from England for her children, books in great brown paper parcels which were the joy of my young life. A mud hut, but full of books.

And sometimes I get letters from people living in a village that might not have electricity or running water (just like our family in our elongated mud hut), "I shall be a writer too, because I've the same kind of house you were in."
But here is the difficulty. No.

Writing, writers, do not come out of houses without books.

There is the gap. There is the difficulty.

I have been looking at the speeches by some of your recent prizewinners. Take the magnificent Pamuk. He said his father had 1 500 books. His talent did not come out of the air, he was connected with the great tradition.

Take V.S. Naipaul. He mentions that the Indian Vedas were close behind the memory of his family. His father encouraged him to write. And when he got to England by right he used the British Library. So he was close to the great tradition.

Let us take John Coetzee. He was not only close to the great tradition, he was the tradition: he taught literature in Cape Town. And how sorry I am that I was never in one of his classes: taught by that wonderfully brave bold mind.

In order to write, in order to make literature, there must be a close connection with libraries, books, the Tradition.




Writers are often asked, How do you write? With a processor? an electric typewriter? a quill? longhand? But the essential question is, "Have you found a space, that empty space, which should surround you when you write? Into that space, which is like a form of listening, of attention, will come the words, the words your characters will speak, ideas – inspiration.

If this writer cannot find this space, then poems and stories may be stillborn.

When writers talk to each other, what they ask each other is always to do with this space, this other time. "Have you found it? Are you holding it fast?"

Let us jump to an apparently very different scene. We are in London, one of the big cities. There is a new writer. We, cynically enquire, How are her boobs? Is she good-looking? If this is a man, Charismatic? Handsome? We joke but it is not a joke.

This new find is acclaimed, possibly given a lot of money. The buzzing of paparazzi begins in their poor ears. They are feted, lauded, whisked about the world. Us old ones, who have seen it all, are sorry for this neophyte, who has no idea of what is really happening.

He, she is flattered, pleased.

But ask in a year's time what he or she is thinking: I've heard them: "This is the worst thing that could have happened to me.

Some much publicised new writers haven't written again, or haven't written what they wanted to, meant to.

And we, the old ones, want to whisper into those innocent ears. "Have you still got your space? Your sole, your own and necessary place where your own voices may speak to you, you alone, where you may dream. Oh, hold onto it, don't let it go."

• Excerpts from the 2007 Nobel Lecture by Doris Lessing
  

Nobel Lessing

Hooray for Doris Lessing getting the Nobel Prize

She was one of my favourite writers in the 1970s and one of the people who really bolstered my sense of womanhood in those glory days.

Lessing was described by the Swedish Academy as "that epicist of the female experience, who with scepticism, fire and visionary power has subjected a divided civilisation to scrutiny". She is only the 11th woman to get the Nobel Prize for Literature.

Dr Judith Buckrich

Chair, International PEN Women Writers’ Committee