“여성의 가장 큰 죄악은 자기만족 / 순응이다”- Doris Lessing

“여성의 가장 큰 죄악은 자기만족, 혹은 순응이다”

도리스 레싱은 20세기 지구촌의 자화상 같은 인물이다. 그의 작품에는 공산주의·페미니즘·제국주의 등 20세기 세계의 갈등이 농축돼 있다. 올해 미수(米壽·88세)인 그는 요즘에도 매일 오전 5시에 일어나 새들에게 모이를 주며 하루를 시작하고, 여전히 펜을 놓지 않는 창작욕을 보이고 있다. 최근 외국 언론과의 인터뷰를 통해 그의 문학관·세계관 등을 알아본다.

　◆작가는 자유인=“작가는 절대 선동적이면 안 된다. 물론 나는 사람들을 불편하게 하는 작가다. 그러나 작가의 장점은 다른 사람들의 생각에 신경을 쓰지 않는 것이다. 우리 사회에서 가장 자유로운 사람이 작가다.” (2007년 6월 영국 가디언지). “작가는 자유롭다. 그래서 행운아고, 특권자다. 그것을 이용하지 않을 이유가 있는가.”(2007년 6월 영국 BBC 방송)

　◆여성은 보수적이다=“여성은 남성보다 다소 보수적이다. 여성의 가장 큰 죄악은 자기만족, 혹은 순응이다. 남성은 이런 순응에 대한 해독제다. 나도 나이를 들면서 점차 남성화되는 것 같다. 아마도 폐경이 여성을 좀더 균형 있게 만들고, 삶을 보다 단순하게 하는 것 같다.”(가디언) “남성은 여성에 활기를 주는 존재다. Y유전자(부계 유전자)는 모든 것을 활기차게 만든다. 남성은 계획성이 없는 종족이다. 항상 여성이 돌봐야 한다. 여성만이 있는 세상에 살고 싶지 않다.”(BBC)

　◆사회주의·페미니즘의 한계= “짐바브웨와 런던에서 공산당에 가입했다. 이상주의에 흥분됐다. 하지만 사람들은 대부분 국제관계니, 소비에트공화국(구 소련)이니 쓰레기 같은 것만 말했다. 50년대 중반에 공산당을 나왔다. 소비에트도 ‘나쁜 곳’임이 나중에 명백해졌다. 여성운동은 상당히 낭만화됐었다. 여성의 행동은 설혹 그것이 잘못됐더라도 페미니즘의 이름으로 남성에 대한 승리로 여겨졌다. 여성운동은 자기비판이 약했다.” (2006년 10월 AP통신) “사람들은 우리가 좀더 여성적이고 친절해지고 싶어한다. 그러면 전쟁이 일어나지 않을 것으로 본다. 사실일까. 아니다. 여성들이 저지른 최악의 범죄도 많다. 여성총리가 나왔다고 세상이 평화로워 졌는가.”(BBC)

　◆영원한 건 없다=“내 삶을 지켜보면 1930년대 후반까지 돌아볼 수 있다. 그때 내가 처음 본 것은 히틀러였다. 그는 영원히 살 것 같았다. 무솔리니도 1만년이나 갈 것 같았다. 다음은 소비에트공화국. 말 그대로 영원해 보였다. 누구도 그런 게 끝날 줄을 상상도 못했다. 대체 영원을 믿을 이유가 있나.”(AP통신). “내게 가장 고통스러운 것은 인간이 창조한 것은 지난 1만년 전부터, 그것도 가장 최고에 만들어진 것이다. 새로운 빙하기가 도래해 모든 것을 휩쓸어 갈 것이다. 그러면 우리는 다시 시작해야 한다. 그게 우리의 숙명이다.”(2006년 1월 샌스란시스코 크로니클)

Doris Lessing takes Nobel prize

올 노벨 문학상을 수상하게 되는 레싱

여류 작가로써는 열 한 번 째가 되는 영국 소설가 레싱

Thursday October 11, 2007

The Nobel Prize for Literature has been won this year by the British author, Doris Lessing. Lessing, who is only the 11th women to win literature's most prestigious prize in its 106-year history, is best known for her 1962 post-modern feminist masterpiece, The Golden Notebook.

Announcing the award, the Swedish academy described Lessing as an "epicist of the female experience, who with scepticism, fire and visionary power has subjected a divided civilisation to scrutiny". It singled out The Golden Notebook for praise, calling it "a pioneering work" that "belongs to the handful of books that informed the 20th century view of the male-female relationship."

 

다음은 첫 노벨상이 수상된 1901년부터 2007년까지 역대 주요

노벨문학상 수상자 명단이다.

▲ 2007년 도리스 레싱(영국.소설가) - '마사 퀘스트' '다섯'

▲ 2006년 오르한 파묵(터키.소설가) - '내 이름은 빨강' '하얀성'

▲ 2005년 해럴드 핀터(영국.극작가) - `축하' `과거 일들의 회상'

▲ 2004년 엘프레데 옐리네크(오스트리아.소설가)- '피아노 치는 여자' '욕망'

▲ 2003년 J M 쿳시(남아공.소설가)- '불명예'

▲ 2002년 임레 케르테스(헝가리.소설가)- '운명'

▲ 2001년 V. S. 네이폴(영국.소설가)- '도착의 수수께끼'

▲ 2000년 가오싱젠(중국.극작가)- '영산(靈山)'

▲ 1999년 귄터 그라스(독일.소설가)- '양철북'

▲ 1998년 주제 사라마구(포르투갈.소설가)- '수도원의 비망록'

▲ 1997년 다리오 포(이탈리아.극작가)- '어느 무정부주의자의 우연한 죽음'

▲ 1996년 비슬라바 쉼보르스카(폴란드.시인) - '과 시작'

▲ 1995년 셰이머스 히니(아일랜드.시인) - '어느 자연주의자의 죽음'

▲ 1994년 오에 겐자부로(大江建三郞.일본.소설가) - '개인적 체험'

▲ 1993년 토니 모리슨(미국.소설가) - '재즈'

▲ 1992년 데렉 월코트(세인트루시아.시인) - '또 다른 삶'

▲ 1991년 나딘 고디머(남아공.소설가) - '보호주의자'

▲ 1990년 옥타비오 파스(멕시코.시인) - '태양의 돌'

▲ 1989년 카밀로 호세 세라(스페인.소설가) - '파스쿠알 두아르테 일가'

▲ 1985년 클로드 시몽(프랑스.소설가) - '사기꾼'

▲ 1984년 야로슬라프 세이페르트(체코슬로바키아.시인) - '프라하의 봄'

▲ 1983년 윌리엄 골딩(영국.소설가) - '파리 대왕'

▲ 1981년 엘리아스 카네티(영국.소설가) - '현혹'

▲ 1978년 아이작 싱어(미국.소설가) - '고레이의 사탄'

▲ 1974년 H.마르틴손(스웨덴.시인) - '아니 아라 '

E.욘손(스웨덴.소설가) - '해변의 파도'

▲ 1972년 하인리히 뵐(독일.소설가) - '기차는 늦지 않았다'

▲ 1970년 알렉산드르 솔제니친(구 소련.소설가) - '수용소 군도'

▲ 1969년 새뮤얼 베케트(아일랜드.소설/극작가) - '고도를 기다리며'

▲ 1968년 가와바타 야스나리(川端康成.일본.소설가) - '설국'

▲ 1966년 S.요세프 아그논(이스라엘.소설가) - '출가'

렐리 사크스(스웨덴.시인) - '엘리'

▲ 1965년 미하일 솔로호프(구 소련.소설가) - '고요한 돈강'

▲ 1964년 장 폴 사르트르(프랑스.철학가.작가) - '구토'

▲ 1963년 게오르게 세페리스(그리스.시인) - '연습장'

▲ 1962년 존 스타인벡(미국.소설가) - '불만의 겨울'

▲ 1961년 이보 안드리치(유고슬라비아.시인) - '드리나강의 다리'

▲ 1959년 살바토레 콰지모도(이탈리아.시인) - '시인과 정치'

▲ 1958년 보리스 파스테르나크(구 소련.소설가) - '닥터 지바고'

▲ 1957년 알베르 카뮈(프랑스.소설가) - '이방인'

▲ 1956년 J.R.히메네스(스페인.시인) - '프라테로와 나'

▲ 1954년 어니스트 헤밍웨이(미국.소설가) -'무기여 잘 있거라"

▲ 1953년 윈스턴 처칠(영국.정치가) - '제2차대전 회고록'

▲ 1950년 버트런드 러셀(영국.철학자) - '권위와 개인'

▲ 1948년 T.S.엘리엇(영국.시인) - '황무지'

▲ 1947년 앙드레 지드(프랑스.소설가) - '좁은 문'

▲ 1946년 헤르만 헤세(스위스.소설가/시인) - '데미안'

▲ 1945년 가브리엘라 미스트랄(칠레.시인) - '비수'

▲ 1938년 펄 벅(미국.소설가) - '대지'

▲ 1927년 앙리 베르그송(프랑스.철학자) - '물질과 기억'

▲ 1923년 윌리엄 예이츠(아일랜드.시인) - '환상'

▲ 1915년 로맹롤랑(프랑스.소설가) - '장 크리스토프'

▲ 1913년 라빈드라나드 타고르(인도.시인.철학자) - '기탄잘리'

▲ 1907년 러디어드 키플링(영국.시인.소설가) - '정글북'

▲ 1901년 쉴리 프뤼돔(프랑스.시인) - '스탕스와 시'

 

Set in 1957 at the height of the Cold War, Anna Wulf is a single mother as well as a novelist with writer's block.

Her life is falling apart. She records her experiences in four coloured notebooks. The black notebook records her writer's life, the red notebook expresses her political views, the yellow notebook records her emotional life and the blue notebook records every day events. But it is the golden notebook that brings the strands of her life together.

Sage and storyteller

John Mullan on readers' responses to The Golden Notebook by Doris Lessing

Saturday February 3, 2007
The Guardian

Can contemporary novelists tell us how to live our lives? Few nowadays expect such guidance from writers of fiction, but when Doris Lessing came to speak to the Guardian book club about The Golden Notebook she was asked as many questions about politics and morals as about the workings of her novel. Nuclear proliferation, the demise of political idealism, the roles of men and women within families ... all these, as much as the business of constructing narratives, were the topics on which her views - even her words of advice - were sought. Here was a novelist with readers who treated her as a sage as much as a storyteller. "Have the relationships between the genders improved?" "What about the effects on children of the changing relationships between the sexes?"

Most of the books that we have discussed in the book club have been alive for a year or two. It is something different when you take on a novel that has been in print for more than 40 years, and whose author began writing it half a century ago. Lessing was clearly going back over not only her own past, but the histories of some of those who came to listen to her. The evening's first questioner recalled reading the book "for the first time" 35 years ago and wholly identifying with its protagonist, Anna. With its multiple narratives and slippages of chronology, The Golden Notebook might seem to the literary historian a structurally demanding and difficult novel, but to many readers it had clearly been immediate and personal. "I read your book in 1964 when I was 20 and you saved my life," said another woman in the audience, who recalled believing at the time that it was a book that dramatised the unspoken dilemmas of her own life.

Several readers testified to the novel's peculiar intimacy, a matter of form as well as content. one of the shrewdest observations concerned the number and clarity of dreams in the book, and indeed throughout Lessing's fiction. "Are dreams still as important to you?" she was asked. "Very important. When I'm writing I use them a lot." Lessing even claimed that, when stuck in a recent story, she told herself to have a dream that would resolve her narrative difficulties. The dream promptly turned up and was transcribed. She recommended the strategy to other would-be writers. Anna, it was pointed out, does not just have dreams, recorded in the novel, she also endlessly, confidently analyses them. "That's what it was like. We never stopped analysing, discussing." Lessing herself felt that many who were younger than her would hardly understand the strange intensity of the particular time in which The Golden Notebook was set, in the wake of Khrushchev's anti-Stalinist speech of 1956. Yet there was a vein of vicarious nostalgia among some of those in the audience who were then unborn.

"Have people given up wanting to change the world?" asked one. The characters in her book, Lessing pointed out, "knew exactly" what should be done, and this was exactly their self-delusion. Even though some of the most political characters in the novel are satirised for their certainties, and for the lies that they tell themselves about Soviet communism, the novel's interest in world politics seemed to some the sign of a less cynical age. "Do we have writers in Britain now that are trying to do the same thing that you were trying to do?" Lessing conceded that novelists who felt it necessary to put recent political crises, notably 9/11 and its aftermath, into fiction did not necessarily produce compelling novels.

Though Lessing has always been a novelist of ideas, some noted a turning away from politics in the novels that followed The Golden Notebook. one member of the audience suggested that, in disillusion with communism, Lessing had turned to religion, as she described others doing. She was emphatically not to be drawn on her interest in Sufism. "It's not a philosophy. It's not something you can easily talk about." She did not see it as shaping her later novels.

Lessing was notably unsentimental about the idealism of the past. on matters of sexual politics, she was happy to treat her leading characters in The Golden Notebook, Anna and her friend Molly, with some mockery. Several questions about what the novel reveals about the relationships between men and women led to her observation that Anna and Molly were always "pussyfooting around" the question of what kind of man they wanted. "A real man", apparently - one questioner acutely noted that the novel's homosexual characters are treated somewhat scornfully - but what was this? "A macho man who is immensely sensitive and caring," noted the novelist mordantly. "This is what women want. If Freud had asked me, I would have told him."

· John Mullan is professor of English at University College London. Next week he will be looking at The Keys to the Street by Ruth Rendell

 

 

 

"Knowing was an 'illumination.' During the last weeks of craziness and timelessness I've had these moments of 'knowing' one after the other, yet there is no way of putting this sort of knowledge into words. Yet, these moments have been so powerful, like the rapid illuminations of a dream that remain with one waking, that what I have learned will be part of how I experience life until I die."
--Anna Wulf in The Golden Notebook

"The two women were alone in the London flat."

So begins Doris Lessing's most famous novel, published in 1962, and now considered one of the major works of twentieth-century literature. It is the story of Anna Wulf, a writer and single woman, who lives with her young daughter in a flat, occasionally renting out a room, less for the income than out of a reflex of social obligation. Laboring against a writing block, following the immense success of her autobiographical debut novel about a group of Communists in colonial Africa, Anna struggles to find a way to integrate the multiple selves that fragment her personality and make her life unbearably painful. Out of "fear of chaos, formlessness-- of breakdown," she decides to keep four notebooks, one for each component of her life--black for her experiences in Africa, red for current politics, yellow for a fictionalized version of herself, and blue for a diary. Although framed by a conventional novel called Free Women, the point of the novel, according to Lessing, is the "relation of its parts to each other." By viewing her life from these different angles, going over her experiences, gauging her responses, and carefully probing her intertwined layers of consciousness, Anna eventually manages to unify her identify in one notebook. As she does so, she comes to terms with her growing disillusionment with communism, the trauma of emotional rejection and sexual betrayal, professional anxieties, and the tensions of friendship and family.

1. Lessing has written that the central theme of The Golden Notebook is of "'breakdown', that sometimes when people 'crack up' it is a way of self-healing." In what ways does this theme find ｅxpression in the novel? How does Anna Wulf try to deal with her inner self-divisions? What part is played by each of Anna's four notebooks in her struggle to integrate her fragmented inner world and personality? What enables the notebooks to come together in the golden notebook at the end of the novel? How do her relationships to others, especially to Saul Green, contribute to her "crack-up" and "self-healing"?

2. By embedding Anna Wulf's psyche in the social and political movements of her time, Lessing suggests that the individual is inevitably shaped by history. In what ways is Anna Wulf a creation of the culture in which she lives-- personally, politically? Why does she become disillusioned with communism and revolutionary psychoanalysis? How is her life entangled with culturally endorsed ideas about romantic love? sex? family? friendship? normalcy?

3. Many women consider The Golden Notebook to be the founding novel of the women's movement. Yet the ironically titled novel-within-the novel, Free Women , seems to raise questions of "freedom." What do you feel the novel is saying about women's lives and desires? How do individual characters-- Anna, Molly, Marion--reflect various kinds of women's struggles? Does the novel offer any vision of freedom for women, and if so, what is it?

4. Why is Anna blocked as a writer? What are the inner and outer pressures that seem to inhibit her as an artist? How do her discussions with Mother Sugar and Saul Green illuminate her problem? How do her shifting feelings about the power of "naming" to alleviate psychic pain relate to her writing?

5. Do you think that the novel takes an unrelentingly bleak view of relations between the sexes? Or is there the suggestion of an alternative to the cruelty, betrayal, and emotional numbness that seem to characterize sexual relations in the novel? Do Anna's relationships with men change over the course of the novel (consider Willi, Michael, Saul, Milt)? Why does Molly decide to marry at the end? What do you think is suggested by the novel about Anna's future?

6. Anna, like her friend Molly, is a divorced mother, rasing a child on her own while struggling with other aspects of her life-- professional, political, sexual. How would you describe Anna's relationship with her daughter, Janet? How does she feel about herself as a mother? What is your reaction to Richard, and his criticism that Anna and Molly are "bad" mothers-- responsible, for one thing, for Tommy's attempted suicide? What does the character of Marion contribute to the novel's commentary on motherhood?

7. How does the form of the novel--the frame, the conventional short novel, Free Women , broken up by stages of Anna's four notebooks of different colors (black, red, yellow, and blue), and eventually unified in the golden notebook-- relate to some of the larger themes of the novel? What does the form suggest about an individual layers of consciousness? What is the significance and effect of filtering the world through a woman's point of view?

8. Do you agree with Victoria Brittain (quoted above) that The Golden Notebook is as illuminating today as it was when it appeared thirty years ago? Or do you find the the novel dated in any way?

 

 

From the book jacket:

The Golden Notebook is the longest and the most ambitious work Doris Lessing has ever attempted to write. It is a masterpiece in portraiture of the manners, aspirations, anxieties and the particular problems of the times in which we live.

Mrs. Lessing says: 'About five years ago I found myself thinking about that novel which most writers now are tempted to write at some time or another - about the problems of a writer, about the artistic sensibility. I saw no point in writing this again: it has been done too often; it has been one of the major themes of the novel in our time. Yet, having decided not to write it, I continued to think about it, and about the reasons why artists now have to combat various kinds of narcissism. I found that, if it were to be written at all, the subject should be, not a practising artist, but an artist with some kind of a block which prevented him or her from creating. In describing the reasons for the block, I would also be making the criticisms I wanted to make about our society. I would be describing a disgust and self-division which afflicts people now, and not only artists.

'Simultaneously I was working out another book, a book of literary criticism, which I would write not as critic, but as practising writer, using various literary styles in such a way that the shape of the book and the juxtaposition of the styles would provide the criticism. Since I hold that criticism of literature is a criticism and judgement of life, this book would say what I wanted of life; it would make implicitly, a statement about what Marxists call alienation.

'Thinking about these two books I understood suddenly they were not two books but one; they were fusing together in my mind. I understood that the shape of this book should be enclosed and claustrophobic - so narcissistic that the subject matter must break through the form.

'This novel, then, is an attempt to break a form; to break certain forms of consciousness and go beyond them. While writing it, I found I did not believe some of the things I thought I believed: or rather, that I hold in my mind at the same time beliefs and ideas that are apparently contradictory. Why not? We are, after all, living in the middle of a whirlwind.'

 

 

Photo: Reuters/Kieran Doherty

Doris Lessing chats with media on the doorstep of her house in London on Oct. 11.

Oct. 12, 2007 | Lessing, Doris

1919-

b. Kermanshah, Persia (now Iran)

For over half a century, Doris Lessing has turned her prolific pen to just about every prose form -- fiction, autobiography, essays, drama. Yet all of her writing stems from the impulse to lay bare the grid of class, race, and gender relations that governs her middle-class characters' lives. Lessing brings the microscopic intensity of George Eliot and the combative sexual consciousness of D.H. Lawrence to bear on English culture, whether the context is the provincially hierarchical "settler" society of Southern Rhodesia in "A Proper Marriage" or the beleaguered bohemia of "free women" in "The Golden Notebook." Lessing's reputation as one of the most important novelists of the post-World War II period rests firmly on her contribution to the grand tradition of English social realism. Yet Lessing herself once dismissed George Eliot, to whom she is so often compared, as "good as far as she goes"; she prefers to claim the more cosmopolitan influence of Tolstoy and Balzac.

Indeed, this apparently most British of writers was thirty years old before she set foot in England or published her first novel. Her upbringing on a farm in Southern Rhodesia (now Zimbabwe) acquainted her more thoroughly with the isolation and racial exploitation of white colonial culture than with an imperial literary heritage. Her formal schooling ended at age fourteen, and in "Under My Skin," the first volume of her autobiography, Lessing notes with pride the real accomplishments of her youth: the ability to "set a hen, look after chickens and rabbits, worm dogs and cats, pan for gold, take samples from reefs, cook, sew, use the milk separator and churn butter, go down a mine shaft in a bucket, make cream cheese and ginger beer … drive the car, shoot pigeons and guineafowl for the pot, [and] preserve eggs." By the time she left for London in 1949, she had augmented these accomplishments with two divorces, three children, the obloquy of Communist party membership and anti-apartheid agitation, and the unpublished draft of her first novel.

Colonial race relations, political activism, and the burdens of women have remained her central concerns. Her first novel, "The Grass Is Singing," about a farmer's wife drawn into a doomed affair with an African worker, approaches its material from a distance. Lessing infuses a simple plot with the intensity of Greek tragedy: She portrays the wife's murder by the African, Moses, as the inevitable outcome of male violence and female passivity fostered by white settler culture. Lessing depicts the white experience of colonial Africa more urgently and directly in her five-novel Children of Violence sequence (1953-1969), in which she embeds the sexual, political, and intellectual development of her protagonist, Martha Quest, in a detailed evocation of the communist and progressive political and intellectual life of Rhodesia and London in the 1950s and 1960s.

Anna Wulf, the novelist heroine of Lessing's most celebrated work, "The Golden Notebook," continues Martha's quest: political activism, sexual experimentation, maternity, female friendship, and authorship all feed into her struggle for authentic, integrated selfhood. The declarative simplicity of the novel's opening line --"The two women were alone in the London flat"-- belies its explosive effect on several generations of women intellectuals struggling to reconcile the life of the mind, the imperatives of the body, and the gender roles they inherited from the 1950s. But as Lessing herself insists, "The Golden Notebook" achieved innovations beyond its contribution to what she dismissively terms "the sex war." The novel combines omniscient observation, Anna's own musings in four different journals, and sections from Anna's novel manuscript. These interwoven narratives capture both an individual consciousness and a particular cultural moment with something of the multilayered depth of James Joyce's "Ulysses." Public events shape private histories in Lessing's novels, often violently. In "The Good Terrorist," for example, middle-class Alice Mellings keeps house for a pseudo-communist cadre until a too-successful bombing destroys her illusion of control. In the chilling "The Fifth Child," terror emerges from the bosom of the family, when Harriet Lovatt gives birth to the sociopathic Ben, the embodiment of a disaffected savagery that, Lessing suggests, will inherit the urban future. Lessing anatomizes a less dramatic, but perhaps more pervasive, anguish in "The Diary of a Good Neighbor," "If the Old Could …" and "Love, Again," in which women whose familial and productive relationships have passed away confront the isolation of aging.

 

Lessing's scary genius lies in her ability to bring her readers face-to-face with an unadorned reflection of some of our more depressing, but all too human, features. At the same time, her realism has always coexisted with a tendency toward mysticism. Her novels of the 1970s compellingly combine a surface of social and geographic detail with journeys into an inner space that Lessing described, in "The Real Thing," as "so much more intelligent than the slow, lumbering, daylike self." In the haunting "Memoirs of a Survivor," for example, worlds separated by time and space interpenetrate through the vision of the unnamed female narrator, enabling her to save herself and her companions from extinction. But when Lessing leaves humanity entirely behind, as she does in the science fiction sequence Canopus in Argus: Archives (1979-1983), her depictions of warring galactic empires lack the individuality and emotional insight she brings to earthly society. In the novel "Mara and Dann," she returns once again to the theme of earthly apocalypse, with human, if visionary, protagonists.

In "Under My Skin," Lessing describes her long-ago attempts to explain to her young children her departure from their lives: "[I told them] I was going to change this ugly world, they would live in a beautiful world where there would be no race hatred, injustice, and so forth … one day they would thank me for [leaving] … I was absolutely sincere. There isn't much to be said for sincerity, in itself." It is typical of Lessing to emphasize the limits of good intentions, even her own. Yet in doing so, she paradoxically underlines her dedication to a more rigorous sincerity, a vision as stripped of illusion as her art can make it.

FICTION: "The Grass Is Singing" (1950), "This Was the Old Chief's Country" (stories, 1952), "Martha Quest" (Children of Violence series, 1952), "A Proper Marriage" (Children of Violence series, 1954), "Five: Short Novels" (1955), "Retreat to Innocence" (1956), "The Habit of Loving" (stories, 1958), "A Ripple From the Storm" (Children of Violence series, 1958), "The Golden Notebook" (1962), "A Man and Two Women" (stories, 1963), "African Stories" (1964), "Landlocked" (Children of Violence series, 1966), "The Four-Gated City" (Children of Violence series, 1969), "Briefing for a Descent Into Hell" (1971), "The Temptation of Jack Orkney and Other Stories" ([republished as Volume 1 of Collected Stories, 1978] 1972), "The Summer Before the Dark" (1973), "The Memoirs of a Survivor" (1975), "To Room Nineteen" (Volume 2 of Collected Stories, 1978), "The Diaries of Jane Somers" ([including "The Diary of a Good Neighbor" (1983) and "If the Old Could…" (1984), originally published under the pseudonym Jane Somers], 1984), "The Good Terrorist" (1985), "The Fifth Child" (1988), "The Real Thing: Stories and Sketches" (1992), "Canopus in Argos: Archives" ([contains "Colonized Planet V, Shikasta" (1979), "The Marriage Between Zones Three, Four, and Five" (1980), "The Sirian Experiments: The Report of Ambien II, of the Five" (1981), "The Making of the Representative for Planet 8" (1982), "Documents Relating to the Sentimental Agents in the Volyen Empire" (1983)], 1992), "Playing the Game: Graphic Novel" (1993), "Winter in July" (stories, 1993), "Love, Again" (1996), "Mara and Dann" (1999), "The Sweetest Dream" (2002)

NONFICTION: "Going Home" (1957), "In Pursuit of the English" (1961), "Particularly Cats" (1967), "A Small Personal Voice: Essays, Reviews, Interviews" (1975), "Prisons We Choose to Live Inside" (1987), "The Wind Blows Away Our Words" (1987), "African Laughter: Four Visits to Zimbabwe" (1992), "Under My Skin" (Volume 1 of "My Autobiography, 1949-1962," 1994) "Walking in the Shade" (Volume 3 of "My Autobiography, 1949-1962," 1997)