Doris Lessing`s belief in wholeness of the self and cosmic harmony

Transcription

U N IV E R S ID A D E FEDERAL DE SA N TA C A T A R IN A
PÓS-GRADUAÇXO EM I N G L Ê S E L IT E R A T U R A
COR RESPON DEN TE
D O R I S L E S S I N G * S B E L IE F I N
W HOLENESS
OF THE S E L F AND C O S M IC
HARMONY
Por
M IR IA M HENNI G
D is s e r i a ç S o s u b m e tid a à U n iv e r s id a d e F e d e r a l
de Santa C ata ri
p a r a a o b t e n ç ã o d o g r a u d e M e s t r e em L e t r a s .
F Io r ia n ó p o li s
M a rço d e 1 9 9 0
Esta
fin a l
d is s e r ta ç ã o
fo i
ju lg a d a
adequada
e
aprovada
p e l o p ro g ra m a d e P ó s - G r a d u a ç 2 o em I n g l ê s
em
sua
fo r m a
p a r a a o b te n ç S o do
grau de
M ESTRE EM L E T R A S
OpçSo In g l ê s
e L it e r a t u r a Correspondente
Dra.
Bernadete P aso ld
COORDENADORA
Dra.
S u s a n a B.
F un ck
O R IE N T A D O R A
BANCA EXAM INADORA:
Dra.
S u s a n a B.
F un c k
Çk.o I âJ j l ^ a ^ r t o L
Dra.
F lo rian ó p o lis,
2 6 d e m arço d e 1 Q Q 0 .
Bernadete P aso ld
Ao meu p a i .
A G R A D E C IMENTOS
A g r a d e ç o d e fo r m a e s p e c i a l
a E lisa b e th ,
M a rtin
e
André
H en n ig ;
à p r o f e s s o r a e o r i e n t a d o r a S u s a n a B.
Funck;
à c o o rd e n a d o ra do C u r s o d e Pós- graduaçSo»
Dra.
Bernadete
Pasold;
à to d o s a o s a m ig o s q u e d i v i d i r a m
descobertas
e tem ores;
à CAPES;
à A n n e l i e s e R.
C o rse u il
p e lo m aterial
ao R o g é rio L u c ia n o p e lo v e rsã o f i n a l
aos co le g as
e pro fesso res
F lo rian ó p o lis,
de p e s q u isa ;
da t e s e ;
da Pós- graduaçSo.
2 6 d e m arço d e 1 9 9 0 .
ABSTRACT
The
and
in
co un tercultu re
Europe
revealed
human r e l a t i o n s h i p s ,
the
h ov els
C19693
The
and
in
R o n ald
the
fo r
usual
w ays
an
of
a
the
1960’ s
w ays
Cl 9 6 2 3 ,
in
of
the
U .S .
a p p ro a ch in g
Lessing
F o u r - G a ted
in to
D o ris
p er c e iv in g
d iv id e d
The
Descent
w riter
of
the
s y s te m s a n d t h e e n v ir o n m e n t .
unorthodox
th e o re tic ia n ,
sc h izo p h ren ia ,
of
radical
N o te b o o k
B ritish
Lain g ,
and
p o litical
B riefin g
D.
cultural
n ew
G o lden
tw e n tie th - c e n tu ry
change
m ovem ents
L essin g
the
of
C 1 9 7 1 ),
a
A lo n g
w ith
p sy c h ia trist
and
re v o lu tio n ize d
and
C ity
proposed
w o r ld .
B ritish
self
H ell
In
the
the
concepts
voyage
to
of
in n e r
s p a c e a n d tim e .
The
purpose
L essin g ’ s
w ay
tr a n s fo rm in g
u niversal
so
that
in
a
of
of
it
n ew
way.
an
In
able
The
beco m es d i f f i c u l t
is
p erc eiv in g
in
du ality .
we a r e
my s t u d y
v ie w ,
to
w hen t h e e q u a l
p sy c h ia tric
kn o w ledge and p r a c t ic e
life
d e v e lo p m e n t i n
and
the
w orld,
the study of
The
of
human
I
d e c id e d
reco g n itio n
the
of
and
hum an
"s w e e t
In
order
of
q u e stio n s
w ay o f
fo llo w
a
to
of
and
to tality
sa n ity
L essin g
of
du ality
b ein g ’ s
w h ic h c o n f i n e ,
b e in g s.
to
human
a
n o vels,
the p r o t a g o n is t s ’
self
d i g n i t y among human b e i n g s
In
the
three
d e v e lo p m e n t
d iv id e d
reach
n eglected.
regu late
h er
the
we h a v e t o work on our
understand
attem pt
trace
the
auth entic
h er
to
to
w e"
is
the
frig h te n
and
re c o g n ize
the
u n d e rsta n d in g
c h ro n o lo g ic a l
the s e lf
order
in
L e s s i n g ’ s w orks.
fin d in g s
of
my
in v e stig a tio n
have
led
me
to
the
r e c o g n itio n
of
the
self- kn ow ledge.
work
w ith
In
the
h a r m o n io u s l y .
m e r g in g
Lynda
a
The
in to
H ell,
and
understand
Lessing
th is
L essing
the
planet
the
are
d ig n ity
is
of
absorbed
any
human b e i n g ' s
in tim a te ly
p eo p le,
communi t y a n d cosm os.
Quest,
can
by
In
W u lf
to
a
the
w ith
about
id e n titie s
in
betw een
and
of
a
the
voyage
is
Descent
able
o p p o site
the
can
fo r
he
h ierarch ica l
in
to
forces.
re latio n sh ip s.
the
su rv iv al
h ealth y
them
p ro ta g o nists,
learn
Crystal
the
able
n e c e ssitie s
u n ific a tio n
to
is
liv e
B r ie fin g
the
of
opposed
harm o n y
in
n e c e ssitie s
the
that
lin k e d
of
and
so
of
hope
A nna
shows
tw o
exp e rie n c e
see
of
one
liv in g .
of
is
C ity
of
n e c e ssity
not
she
M a r th a
w ays
deep
Notebook,
another
fu sio n
all
the
women
and
C harles
does
For
equal
w ith
The
through
G olden
F o u r - G a te d
C old ridge
re v o lu tio n ize
The
tw o
self
universe.
p ro tag o n ists'
concept
of
of
of
the
group,
RESUMO
A década
em
de
propostas
proteção
ao
a
os
teó rico cultural
do ego
in g lê s,
n a m a n e ir a
da
Esta du alid ad e
L essing ,
c o m p re e n d er
chegar
a u tê n tic o
a
uma
momento
a
para
to talid a d e
"d o c e
em
que
p re ju d ic a d a .
Em
e n s in a m e n t o s
e
a
se
do
três
fe ito
em uma s e q ü ê n c i a
de
perceber
o
eu
e
o
co n clu sSes
das
também
propôs
uma
o mundo.
E la
eu
é
H ell
d iv id id o
o
perceber
da
nós"
e
e
A
nova
ser
os
c ro n o ló g ic a
e
hum ana
na o p in iã o
m a n e ir a
de
de
se
d ific u lta d a
no
seres
Lessing
hum ano.
d iv id id o
te n ta tiv a
hum anos
q u e stio n a
p siq u iá trico s
do ser
eu
traçar
d u alid ad e
uma
pode
liv ro s,
o
de
c o n h e c id a ,
a
entre
d e se n v o lv im e n to das p erso n ag e n s
As
in to
com um a n t i - p s i q u i a t r a
hum ano.
m undo,
C l9 6 2 3 ,
a Descent
estudo
ser
do
como
p o lític a
N o te b o o k
c o m p re e n d e r
chegue
p rá tic a
am en dron tam e r e g u la m a v i d a
fo i
fo r
e
Lain g :
autora
ig u a ld a d e
seus
G o lden
p r e c is a ser
sa n id a d e
a
o rg a n iza ç ã o
r e c o n h e c im e n to
que
tem a s
e sq u izo fre n ia ,
meu
e universal
D o ris
se
R o n a l d D.
do
a
Lessing
jun tam en te
no
de
de
de
t r a n s f o r m á - lo
.
de
The
D o ris
h ab itu a is
p ro p ó sito
d e se n v o lv im e n to
fo r m a s
Em
in g le s a
c o n tra c u ltu rais
relaçã o
e B rie fin g
co n ceitos
v ia g e m a o i n t e r i o r
O
em
novas
C19692)
m a n e ir a s
re v o lu c io n o u
em m o v im en to s
m e io - a m b ie n te .
escrito ra
m udança n a s
ric a
h u m a n o s,
T h e F o u r - G a t ed C i t y
Cl 9 7 1 3 ,
foi
in o v a d o r a s
r e lac io n a m e n to s
e
60
que
é
os
co n fin am ,
O estudo das obras
para
houvesse
que,
a
nas
m a n e ir a s
percepção
do
p rin c ip a is.
a n á lise s
lev aram
ao
c o n h e c im e n t o
da
um
p ro fu n da
n e c e ssid ad e
a u t o - c o n h e c im ento.
trabalhar
c o n v iv e r
com a s
com
dos
Em T h e
duas
elas
de
p ro tago nistas
G o lden
m u lh e r e s
fo rm a
Notebook,
que são e l a
r ic a
e
d esenvolverem
Anna
mesma d e
p ro fu n da.
C i t y no s m o s tr a a n e c e s s i d a d e d e s e m e r g u lh a r
outra
pessoa
universo .
A
rev o lu c io n ar
C harles
todas
a
não
as
da
ela,
p laneta
d ig n id ad e
de grupo,
por
se : v iv e r.
um C r i s t a l
da
dos
Já
na
em
entre
c o m u n id a d e e cosm os.
ao
fu n d o
é capaz
os
nas
do
de
opostos.
relaçSes
hum ano
n ecessariam en te
h u m a n o s,
pode
B riefin g ,
v ia g e m
esperança
seres
p ró p rio
opostas
de se n v o lv im e n to
estão
Four- Gated
do
u n ific a ç ã o ,
h a r m o n ia
nenhum a
o
de
a
na id e n t id a d e de
id e n tid a d e s
de
consegue
m a n e ira
The
c o n h e c im e n t o
exp eriê n cia
n e c e ssid a d e
do
ao
duas
m a n e ir a s
desta
Para
so b re v iv ê n c ia
saudável
de
p ro jeta
h ie rá rq u ic a s.
c o m p re e n s ã o
chegar
é a b so rv id o
através
c o m p reen der
se
fu sã o
W atk in s
do e g o e ,
Lessing
para
W ulf
o
e
a
lig a d o s
à
c o n ceito
T A B LE OF C O N TE N TS
C hapter
I
- INTRODUCTORY CHAPTER
Chapter
II
- THE GO LDEN NOTEBOOK
. . ............................................
34
Chapter
III
- THE FOUR-GATED C I T Y
............................ ....................
64
Chapter
IV
- B R IE F I N G FOR A DESCENT I N T O H E L L
...................
94
Chapter
V
- CON CLU SION
.......................... ............................................
121
....................... ..................................................................... .. .
1 31
B IB L IO G R A P H Y
............ ..................................
bl
C HAPTER 1
INTRODUCTORY CHAPTER
Much
exp lo re
a tten tio n
in
has
g iv e n
in
the deep ocean fragm ents
of
who c l i m b t h e h i g h e s t
courage,
to
through th e
p eo p le
outer
been
D o r is
who
travel
space
Lessing ,
unorthodox
urgent
and
F our- G ated
Cl 9 7 1 }
3
of
Lessing
C ity
the
p ro ject
of
and
the
the
n ew
so lid ity
frag m e n ta ry
spaces
p lan ets.
B ritish
and
is
in
The
G o lden
B rie fin g
of
the
of
and
of
p eo p le
and
r e e sta b lish
oceans
and
these
are
A c co rd in g
and
R.
t im e
N o teb o o k
-
D.
an
the
C 1 9 6 2 D ,1 The
Descent
a
and
of
in to
groups
a nd
e xp e rie n c e s
s e n s e and
u n d ersta n d in g
through
contact
t h r o u g h t h e k n o w le d g e o f t h e n e c e s s i t i e s
-Hell
en tering
voyages,
a ch ie v e
a
and
c o n scio u sn ess.
th eir
w alls,
persons
our
p ro tago nists
in
to
th e o re tic ia n ,
in
fo r
trav ellin g
frag ility
v isio n s,
n o velist,
r eq u ired
through
reality
However,
cu ltu ral
The p r o t a g o n is t s ,
and
sh ip ,
who
to prove r e s is t a n c e
t im e a n d s p a c e o f
and
n e c e ssitie s
n ig h tm arish
selves
aware
C1969D2
w it h t h e v o y a g e i n .
test
is
peo p le
a human b e i n g h a s t o j o i n .
p sy c h ia trist
im p o r t a n t
to
through, d is t a n t
toward other
jo u r n e y to e x p lo r e th e in n e r
D o r is
alon e
tw e n tie th - c e n tu ry
L ain g ,
a w recked
p e a k s a n d m o u n ta in s
not t h e o n l y w o r t h y p r o j e c t s
to
lite r a tu r e
w ith
dream s
their
o f r e - tu rn in g
to
a c o s m ic harm ony.
In
and
the
three
p rep aratio ns
w o rk s
fo r
m e n tio n e d ,
the
voyage
Lessing
in
portrays
through
the
n ec essities
aspect
of
d iv isio n .
fo rm s,
The
in n e r
sp irals
is
su ffe rin g
w ish
sp lit
and
part
the change,
fin d
and
of
by v io le n c e
r e c o n c ile
c o n fro n tatio n
of
sam e
reality
out
and
d iv id e d
a
new
exp e rie n c e s
presence o f a g u id e
in d iv id u a ls.
conseq uently,
s ta rtin g
m ental
a
the
as
In
so c ial
tran sfo rm s
and
fin ish in g
h o sp itals.
tran sfo rm atio n
the
future
of
the
c o s m ic harm o n y i s
Very
sim ilar
the
voyage
about
d u rin g
the
p sy c h ia trist
s im ilar
It
of
hatred
the
w ay
p lanet
if
of
w ay
to
human
for
the
but,
at
M any
the
re c o n c ilia tio n
t im e s
and
Joy
in
very
rarely
co m p reh en sio n,
as
in to
w e ll
as
rela tin g
succeeds
t im e a n d m a i n l y
w h ic h ,
co n tin u o u s
en tering
in
th is
to
p eo p le
kn o w ledge
g u id in g
sc h izo p h ren ic
a
of
the
L e ss in g uses
the sense of
as
the
presupposes
and
sense,
the
act
le a v in g
call
and
of
for
q u e stio n
self
and
of
not a c h ie v e d .
d isc u ssio n s
about
the
d iv isio n s
in
and
also
about
s c h izo p h re n ia
six tie s,
in
the
w o rk s
of
called
concepts
a llow s
transcend
life
the
in
to
cla ssifie d
of
the
terror
the three n o v els,
of
therapy
and
a lso
p o ssib le
term s
a
the
but
is
up
o n ly
in d iv id u a l
fu n c tio n
h e r /h is
no t
it
in
fin ish e d
d e stru c tiv e
The voyage
psychotherapy
is
and
t im e s
opens
L e s s in g ’ s three n o vels,
in
the
lost
terror
and f r i e n d .
voyager
of
been
the
and
dem onstrates
fear
order.
U n fo rtun ately ,
U su ally ,
crude
d estru c tio n .
because of the t h e r a p i s t ’ s lack
lo v e.
c re a tiv e
fo rces
such
p sy c h o th erap y to show i t s
and
kn o w ledge.
forces
fin d
m in d ,
the d isc o v e ry that
frig h te n in g
it
and
has
personal
tim e ,
e x p e rie n c e
w hat
and
w h ic h
of
t h e movement a n d
and
of
a
body
c itie s,
so m eth ing
r e la tio n sh ip s
the
outer
brought
to b u ild
betw een
R o n ald
of
D.
m adness
L ain g .
and
an
of
the
are
unorthodox
present,
B ritish
Both L a in g and L e s s i n g
san ity
d u rin g
th is
self,
share
decade
-
concepts
w h ic h
r e v o lu tio n ize
The
F e m ale
in te r p r e t
the
order
M alady
headquarters
of
she
h im
presents
reality
of
the
th in gs.
as
the
In
of
the
a u th ority
at
E laine
traditio n
i n s a n i t y ".4
and
the
Sho w alter
E n gland
chapter
in
the
sam e
as
analyzes
"t h e
d e d icated
E n g lish
t im e
in
global
to
Lain g ,
a n tip sy c h ia try
movement:
W it h t h e p u b l i c a t i o n o f T h e D i v i d e d S e l f , i n 1 9 6 0 ,
h e becam e t h e m entor o f t h e c o u n t e r c u l t u r e i n a l l
of
its
p o litical,
p sy c h ed elic ,
m y stic a l,
and
e sp e c ia lly
artistic
m a n ife sta tio n s.
H is
books
p r o v i d e d t e x t s f o r t h e New L e f t , t h e d r u g c u l t u r e ,
a n d t h e E a s t e r n r e l i g i o u s r e v i v a l , a s w e ll a s f o r
t h e n a s c e n t wom en’ s m ovem ent. L a i n g ’ s c o n c e p t s o f
m adn ess
and
s a n ity ,
the
self,
and
the
Other
p e r v a d e some o f t h e most im p o r t a n t E n g l i s h w r i t i n g
of the decade.
In
L essin g ,
the
k in d
t h e w ay c h a r a c t e r s a r e d i a g n o s e d a s s c h i z o p h r e n i c
of
in trig u e s
v isio n ary
the
reader
betw een
the d o c t o r ’ s
creates
such
a
m utual
at
the
that
and
it
change,
fragm en ts,
in
the
p o te n tia litie s
w ith
nature
person,
the
Laing ’ s
v ie w
and
is
an
in
a
readin g.
the
have
The
p a tie n t’ s
e v id e n t,
exten sio n
fo r
of
tra n sfo rm a tio n
p ro p h e tic
Lessin g ,
the
and
children
w ith
groups
in
but
and
of
them selv es.
and
order
of
life
c o n tr a d ic tio n
power
that
m e a n in g
o n ly
of
lo v e
ap p reh en sio n of
the
usual
not o n ly th e s i t u a t i o n o f
c o lle c tiv ity
of
towards
w ays
of
co m p artm e n ts.
L a i n g a nd L e s s i n g s t r e s s
b e in g
first
p atien ts
T h e s c h i z o p h r e n i c ’ s more s e n s i t i v e
im p lie s
liv in g in
these
d ia g n o s is
an a b y ss
can b rid g e i t .
reality
attitu de
and
to
so c ie ty ’ s
better
also ,
and
p eo p le
who
So,
d e c id e d
sic k
I
e sp e c ia lly ,
liv e
b eh av io r
understand
t h e human
^ the
h arm o n io u sly
to
study
a cc o rd in g
L e s s i n g 's
w orld
the
to
and
fu n d a m e n t
her
co n sisten t
id e a s
the
danger
h o s p ita ls
by
of
a nd
so c ie ty
out o f
d u rin g
sc h izo p h re n ia
as
su b m issio n
so c ia l
to
change
san ity
fro m
study of
a
a
the
general
and
c h a ra c te riza tio n
the
b e in g
n o n - b e in g i n
and
acting
w ill
d u rin g
the
re la tio n
h elp
six ties
of s c h izo p h re n ia
60s
in
w ill
be
1960,
L ain g
q u e s tio n s
human b e i n g s
another
center
be
man or
of
a
the
in
c itie s
the
each
w ill
of
the
b eh av io r
context
w ill
be
aw are
m ental
in te rp re ta tio n
of
of
c larity
and
order
h ig h e r
and
w ay
of
se e in g
and
u niverse.
The
the
out
in
the
chapters.
But
stud ies
of
about
the
actio n ,
and
D iv id e d
betw een
p. 2 3 D .
of
of
in
L ain g
action s
h is
v ie w
in
the
p ublish ed
1967.
personhood,
the e x is te n c e of
t o d a y ? C an a man b e
o rig in
S e l f * 5,
a nd
sic k n e ss
fr o m o n e
p ublish ed
and
b e h a v in g
so c ie ty ’ s
concept
the
e xp erien c in g
why h e c h a n g e d
The
of
of
p ointed
of
of
o n ly
e x p e rie n c in g ,
E xp e rie n c e 7 ,
the p o s s i b i l i t y of
CTPE,
concept
L a i n g ’ s tw o w orks p u b l i s h e d
a n a ly sis:
of
a
fo llo w in g
a n a ly sin g
and
is
to
and
fu n c tio n
and
exp e rie n c e
a
p eo p le,
general
re v o lu tio n a ry
the
persons
as
control
in
many
fr o m
not
person,
our
and
rules
the
Laing ’ s
the
w o m an ?"
to
concept
other
betw een
starts
move
of
in
for
th eir
and
houses,
to th e o th er.
ba sic
L ain g
L ain g
among
o v erv iew
and The P o l i t i c s
When
first
as
the
b e h a v in g ,
a
of
n o vels
of
to
to
clo se
dev elo p
re sista n c e
a lso
such
break
tendency,
see
power
p sy c h ia try .
who
six tie s
rules
v isio n
three
those
L ain g
strong
space
one
through
of
I
of everybody.
the
but
context.
a n a ly sis
the
fear
and
s c h izo p h re n ia
the
c o n fin in g
Lessin g
v isio n a ry
to
ack n o w led ges
create defences
B o th
a p sy c h o lo g ic al
co n trib u to r
in stitu tio n a lize d
of
in
persons:
actual
d e fin e s
and has
a
self
person
a curiou s
he
“ Can
w ith
as
a
w ay
of re latin g
e xp erien c e
to b e h a v io r :
When tw o Cor m ore} p e r s o n s a r e i n r e l a t i o n ,
the
b e h a v io r o f each tow ards th e other i s m ed iated by
the
e x p a r ia r ic e
by each
of
the
other,
and
the
e x p e r i e n c e o f e a c h i s m e d ia t e d b y t h e b e h a v i o r o f
e ac h . T h ere i s no c o n t i g u i t y betw een th e b e h a v io r
o f o n e p e r s o n a n d t h a t o f t h e o t h e r . Much human
b e h a v i o r c a n b e s e e n a s a u n i l a t e r a l or b i l a t e r a l
attem pt
to
e lim in ate
e x p e rie n c e .
A person
may
t r e a t a n o t h e r a s t h o u g h h e w er e n o t a p e r s o n , a n d
h e may a c t h i m s e l f a s t h o u g h h e w er e n o t a p e r s o n .
There
is
no
c o n tig u ity
betw een
one
p e r s o n 's
e x p e r i e n c e a n d a n o t h e r 's . My e x p e r i e n c e o f y o u i s
a l w a y s m e d i a t e d t h r o u g h your b e h a v i o r .
B e h a v io r
t h a t i s th e d ir e c t co n seq uen ce o f im p act, as of
o n e b i l l i a r d b a l l h i t t i n g a n o t h e r , or e x p e r i e n c e
d ire c tly
tr a n s m itte d
to
e x p e rie n c e ,
is
not
p e r s o n a l . C T P E , p. 25 3
So.
when
Laing
e xp e rie n c e o f
lin k s
says:
th is
w hat most o f
B ut
Laing
c o n d itio n
the others
is
"M y
room i s
out
is
there in
p eo p le d iv id e in t o
sees
one
exp e rie n c e
of
that
"p e r s o n s "
a lie n atio n
and
no t
in sid e
my
t h e ro o m " CT P E ,
in n e r
are
a n d o u te r
d iffic u lt
in s e n sitiv ity
My
p. 2 1 3 ,
he
w orlds.
to
to
head.
fin d .
w hat
we
Our
and
are.
We w i l l f i n d n o i n t e l l i g i b i l i t y i n b e h a v i o r i f we
s e e i t a s a n i n - e s s e n t i a l p h a s e i n an e s s e n t i a l l y
in h u m a n p r o c e s s .
We h a v e h a d a c c o u n t s o f men a s
anim als,
men
as
m a c h in e s ,
men
as
b io c h e m ic a l
com plexes,
w i t h c e r t a i n w ays o f t h e i r
own,
but
t h e r e r e m a in s t h e g r e a t e s t d i f f i c u l t y i n a c h i e v i n g
a human u n d e r s t a n d i n g o f man i n human t e r m s . C T P E ,
p. 28- 93
L ain g
co n sid ers
c o rru p tiv e
product
our
w ay o f
of
in tro je c tio n
"n o r m a lit y "
re la tin g
r e p re ssio n ,
and other
as
to peo p le:
de n ia l,
a
very
d e stru c tiv e
"W h a t we c a l l
and
"n o r m a l" i s
a
sp litting ,
p ro je c tio n ,
fo r m s o f d e s t r u c t i v e a c t i o n
on e x p e r i e n c e "
6
CT P E .
p. 2 7 ) .
B e h a v io r
m a n ip u la tio n
and
therapy,
co n tro l,
the e x p e r ie n c e of
fo r
w h ic h
in sta n c e ,
favo rs
the
is
a
te c h n iq u e
b e h a v io r
rather
of
than
the p atien t.
A n y t e c h n i q u e c o n c e r n e d w it h t h e o t h e r w i t h o u t t h e
self,
w ith
b e h a v io r
to
the
ex c lu sio n
of
e x p e r ie n c e , w ith the r e l a t i o n s h i p to th e n e g le c t
o f th e p erso n s i n r e l a t i o n , w ith th e i n d i v i d u a l s
t o t h e e x c l u s i o n o f t h e i r r e l a t i o n s h i p s , a n d most
o f a l l , w i t h a n o b je c t - t o - b e c h a n g e d r a t h e r t h a n a
p e r s o n - to - b e
accepted,
sim p ly
perpetuates
the
d i s e a s e i t p u r p o r t s t o c u r e . C T P E , p. 5 3 )
It
calls
the
is
o n ly
th is
process
o n ly
w ay
in te r a c tio n
n egative.
the
n o - th in g ,
and
of
at
a
who
b e in g ,
our
crave"
have
You
p. 4 3 ) .
t r o d d e n a n d kno w n
others
who
darkness,
liv e
in
the
can
be
quoted
rather
of
by
to cre a te
the
the
of
p seu d o - realities,
acts
the
of
cre atio n
voyage
p a t h t o t h e en d o f
in ,
state
of
p o s itiv e
the
"t h e
of
p .3 8 ).
we
of
any
Some
take
to
be
g iv e
us
d esp ise
persons
th e end o f
p. 4 5 ) .
w here
In
fath o m less
we
these
in to
out
pseudo- w ants,
that
or
human
p .3 7 ).
so m ething
CTPE,
tim e ,
n o n - b e in g ,
of
CT P E ,
w hat
as
c re a tio n ,
p re - c o n d itio n
e v e ry th in g "
it
n o n - b e in g
source,
n o n - b e in g
in
of
Lain g ,
b e in g "
L ain g
cap acity
e ith e r
in je c ts
of
w h ic h i s
reach
of
a n d t h e e n d o f l i g h t " CT P E ,
a
occur.
The
a b ility
can
a b ility
the
Through
"t h e
but
to
of
p seu do - v alu es,
CT P E ,
as
silen c e
aware
epoch
w h ic h
the
have
our
p len titu d e
gro ud lessn ess
beco m e
present
the end o f
had
of
of
b e in g
change
e x p e r ie n c e and b e l i e v e s
Sartre,
o rig in a l
a
a n n ih ila tio n .
g iv e n ,
to
zone
bo tto m less
our
the
an
b e in g .
that
our
because
create
peo p le
p eo p le
"in
not
in to
few
attem pt
prevent
A c co rd in g
w orld,
fact,
to
upon
"d o e s
action
tran sac tio n a l
happens
c o nstructio n
b e in g
through
th is
and
have
space,
T h e r e ar,e
zone
of.
n o th in g
really
re latio n .
path
And
in
a
analo gy
Ita ly
m eans
Laing
p oints
re g io n
w ith
in
e m p tin e ss ,
silen c e
in
Laing ’ s
1979,
su g gestiv en ess
out
of
m u s ic
h elp s
b e h in d
sile n c e ,
that
do
p eo p le
not
Sobre
us
and
not
a
who h a v e
meet
Loucos
to
is
o n ly
e
trodden
of
th is
em p tin e ss.
S3os,
realize
source
the
An
p ub lish ed
ric h n e ss
in
and
sim p le sounds and m elo dies:
O u v in d o
Bach,
ou
q ualq u er
outra
m ú sic a,
v o cô
c o m eça a o u v ir a s n o t a s . . . Aqui 1 o a q u e v o c ê r e a g e ,
e q u e t r a d u z a s e u modo,
é a re la ç ã o e n t r e as
n o t a s , e n S o a s n o t a s por s i mesmas. . . E q u a l ó o
o p o s t o d o som ? O b v i a m e n t e , o s i l ê n c i o . O f a t o é ,
portanto,
que
as
notas
c riam
uma
ilu s S o
c in tila n te ,
fo r m a n d o
o
s ilê n cio
em t r a m a s ,
ou
m ó d u lo s d i f e r e n t e s .
He
co n clu des
oceano
tram a
do
by
say ing
silê n cio .
de
silê n cio
-
C on seq uen tly ,
"t h e
betw een
CT P E ,
them "
n o th in g
and
co n sciou s
p o ssib le
Then,
a
but
also
co n sciou s
attem pt
este
oceano
também
p .413.
of
do
to
que
é
a
b e in g
It
o
te c id o
-
isto
uma
is
the
a ll
th in gs
that
our
through
touch and lo v e i n
u n ify
s im p l e s m e n t e
o
of
sile n c e
stand
é
lin g u a g e m ".
w hen
not
é,
revela
da
o n ly
O nly
sonoro
p r é - c o n d iç S o
is
active.
hear,
a ctio n s
"o
ground of
zone
to s e e ,
the
E
that
we
b e in g
th is
is
a
p lace
not
e x p e rie n c e
a never
is o la te d
and
reach
re la tio n
o n ly
is
e xp e rie n c e d
but
are
in teg rate
w hat
part
of
it
w ay.
of
has
a
been
fragm en ted .
Lain g
also
m y stific a tio n
re c o g n ize s
of
e x p e rie n c e
c o m p artm en talizin g
of
p eo p le
a v o c a b u la ry and o f
w hat
is
really
and
a
rh eto ric
among
th eir
d e fin itio n s,
h ap p e n in g
r e m in d s
of
groups
m o rality
w h ic h
n e c e ssitie s.
fo r
h im
in sta n c e ,
of
and
in sist
a
on
The
em p lo ym en t
that
m asquerade
O rw ell’s
t im e :
"T h e
8
ch o ice
and
of
syntax
c irc u m sc rib es
exp erien c ed .
the
facts
ch ildren
Lain g
that
is
on
u nd er
m ost
lo v e"
up
a
to
to
liv e
c o n sid ers
L ain g
liv e s.
everyone,
We
each
of
the
ghosts
can
everyw here but
be
ghosts
to
who a r e ,
in
in
fact,
the
of
v io le n ce
goes
exp e rie n c e
"O n ly
by
a ch iev ed
a
is
the
our
c iv iliza tio n
p .763.
c iv iliza tio n ,
u n re a lity
p eo p le
among
c h i l d r e n 's
and b y each
we
our
and
other
fo u nd
CTPE,
of
of
e v e ry th in g .
to
creates
work
of
have
be
id e o lo g ie s .
the
th is
a d ju stm e n t
falsity
of
us,
much o f
to
even
larg ely
of
d e fin e s
ed u c atio n
on
is
o urselves
the
and
The
act
own d e s t r u c t i o n "
about
are
S o litu d e
of
are
d estru c tio n
re la tiv e
to it s
talks
on
that
The
“ facts*'
im p in g e m e n t
adults
d e stru c tio n
in
b asically
re latio n sh ip s.
our
the
v io latio n
a p p are n tly d riv e n
When
p .593.
that
fu rth er
d ev astatio n
name
act
p .623.
the
perpetrated
usual
CT P E ,
outrageous
cap acity
that
The
goes
CT P E ,
w ays
th is
p o litical
w h ic h
it
of
been
way
sense
exam p le
"S p e c ific a ly
o u rselv es.
o p e n in g
a
a
in
stu d ied "
the
has
is
manner
in
another
that
is
the
are
c ritic ize s
v io le n ce
v o cabu lary
In d e e d ,
e x p e rie n c e :
us
and
who
p eo p le
are
who
of
the
ghosts
talk
in essen tial,
he
in
about
nowhere.
Each p e r s o n , not b e in g h im s e lf e it h e r to h im s e lf
or t h e o t h e r , j u s t a s t h e o t h e r i s n o t h i m s e l f t o
h i m s e l f or t o u s ,
i n b e in g another fo r another
n e i t h e r r e c o g n i z e s h i m s e l f i n t h e o t h e r , nor t h e
other i n h im s e lf.
Hence b e in g at le a s t a do uble
a b s e n c e , h a u n t e d b y t h e g h o s t o f h i s own m u r d e r e d
s e l f , no w onder m o dern man i s a d d i c t e d t o o t h e r
persons,
and
the
m ore
a d d ic te d ,
the
less
s a t i s f i e d , t h e more l o n e l y . CT P E , p. 74 3
We a r e l o n e l y i n
our
and c r e a t in g out o f
L ain g
c o m m u n ity ,
th is
c lassifie s
in
ou r
groups and i n s i s t
on b e i n g
lo n e lin e ss.
our
in d iv id u a lity
in
three
ba sic
c a te g o rie s:
the
Other,
in stan ce,
fo r
personal
us r e s e n t
___ ___
not
so
its
to
also
a
in
te rm s
a
our
of
lo g ic a lly
does
"o n e
of
of
a
not
of
dare
in to
fit
k in d
re c ip ro c a l
so litu d e ,
to a
us
I
of
a
to
m o s a ic
th is
about
so m eo ne
sam e t im e
the
w ith o u t
tra n sfe rin g
a
there
presence
to
"o n e
k in d
of
fit
to
g u ilt
annoys,
t h e m ",
of
we
a
and
m akes
of
to e x i s t
of
a
"Y e t
th in k
CT P E ,
re c ip ro c a l
at
We
other
as
of
elsew h ere"
We a r e
p lace.
parts
How
a
to
of
can
a
we
when we c o n fo r m
th is
There
CTPE,
true
d iffic u lt
co lle c tio n
in e sse n tia lity
n o fr e e d o m .
the
p .845.
the
is
and
I
CTPE,
no freedo m
"In
act
although
absence
w h ic h
m ould.
fo r
we
in fin ity ”
sees
and
re sp e c tiv e
B r ie fin g
w hat
on u s a n d w h i c h ,
u n ity
is
"W e
e xp e rie n c e ,
to
w h ic h
pattern
Them:
of
d iffe re n tly :
presence:
everyw here
p ro tago nist
thin k
acts
to
but
sp ira l
act
There
o m n ip o t e n t
is
they
of
lack
p lace?
appears
that
e xp erien c e,
p re- estab lish ed
and
the
e xp e rie n c e s
cannot act d i f f e r e n t l y "
in d iffe re n c e ,
W a t k i n s ,t h e
th in k
is:
and
own
th is
shapes
p r e - d e s ig n e d
to
it
the
a group th a t
allow
A nd
We c o n fo r m
not
at
v e rtig in o u s
m e c h a n is m ,
t h e m ".
re latio n sh ip s
break.
w h ic h
we
about
sim p ly
how we t h i n k
c a n make n o d i f f e r e n c e ,
part
are
a ctio n s
our
and
We a r e p a r t
sam e t i m e ,
When
talking
We
"t h in g "
connects
in
p . 7 8 - 9 ).
are
are
Us.
The Other that governs ev ery o n e i s ev ery o n e i n h is
p o s i t i o n , no t o f s e l f , b u t a s o t h e r . E v e r y s e l f ,
h o w e v e r , d is a v o w s b e i n g h i m s e l f t h a t o t h e r t h a t h e
i s for th e O th e r. The Other i s n o t h in g b e c a u s e o f
the
other.
The
other
is
everyw here
elsew h ere.
C T P E .p . 9 2 )
e x p erien c e,
on
we
and
p r e s e n c e w h e r ev er
______
o n ly
they
Them ,
c h a rac te ristic .
r e sp o n sib ility
L aing
Other,
is
and
c o n fo rm ity
p .8 4 ).
Descent
of
C h arles
in to
H ell,
realizes
in
catastropha
the
voyage
that
the
in
the
di v o r ç a
sam e
id e a s
betw een
about
the
the
"I "
terrib le
a nd
the
"w e "
pr ovok e s .
Some s o r t o f a d i v o r c e t h e r e h a s b e e n so m ew h ere
a l o n g t h e l o n g p a t h o f t h i s r a c e o f man b e t w e e n
the " I " and the
"w e ",
some s o r t o f a t e r r i b l e
f a l l i n g a w a y , a n d I Cwho am n o t I , b u t p a r t o f a
w h o le c o m p o sed o f o t h e r human b e i n g s a s t h e y a r e
o f meD h o v e r i n g h e r e a s i f b e t w e e n t h e w in g s o f a
g r e a t w h i t e b i r d , f e e l a s i f I am s p i n n i n g back
C th o u g h
it
may
be
fo rw a rd s,
who
knows?}
yes
sp in n in g
back
in to a vortex of
terror,
lik e
a
b ir t h i n r e v e r s e , and i t i s tow ards a c a t a s tr o p h e ,
y e s , t h a t w as w hen t h e m i c r o b e s , t h e l i t t l e b r o t h
t h a t i s h u m a n i t y , was k n o c k e d s e n s e l e s s , h i t f o r
s i x , knocked out o f t h e ir tr u e u n d e r s t a n d in g , so
t h a t e v e r s i n c e most h a v e s a i d I , I , I , I , I , I , I
a n d c a n n o t , s a v e f o r a f e w s a y we. Y e s , b u t w hat
a w fu l b l o w or k n o c k ? W hat s e n t u s o f f c e n t r e a n d
aw ay fr o m t h e s w e e t s a n i t y o f w e? C p. 1 0 3 3
T h is
of
“ sweet s a n it y of
tran sfo rm atio n .
sense
of
group
ourselves
one
is
w© n e e d i s
not
liv e
everyone
of
as
if
does
be
sin c e
to d is c o v e r
so im p e rso n a l,
to
no
o n ly
- in
my
th is
“I "
is
so a b s t r a c t ,
by
a
h is
v ita l
so far
c o n scio u s
is
"o n e
of
for
recover
alw ay s
of
T h e m ".
- nobody
our
liv in g .
sane
"w e "
"t h e y
and
w hat
w ill
Our
No
W hat
e x p e rie n c in g
W e"
the
about
too u n r e a l.
a w a y fr o m w hat
and
point
in d iv id u a lity i s ,
W ith o u t
s a n ity
to
th in k
too f a l s e ,
existed .
w hat i s
need
We
Everyone
"U s "
"s w e e t
we
exists.
Them.
our
lo st,
w hat e v e r y o n e i n
common,
replaced
is
lo n ger
n o tic in g
Us"
L e s s i n g ’ s and L a i n g ’ s s t a r t in g
so m ething
that
a n d s h a r e w hat i s
has
If
w it h o u t
"one
w e" is
act
"W e ",
sho u ld do,
are
one
w ith
u s ".
I t i s j u s t p o s s ib l e th a t a fu rth e r tra n sfo rm a tio n
is
p o ssib le
if
men
can
come
to
e x p e r ie n c e
them selv es as "O n e o f U s ". I f , even on t h e b a s i s
o f t h e c r a s s e s t s e l f - i n t e r e s t , we c a n r e a l i z e t h a t
11
We a n d T h e y must b e t r a n s c e n d e d I n t h e t o t a l i t y o f
t h e human r a c e , i f we i n d e s t r o y i n g them a r e n o t
to d e s t r o y us a l l . C T P E , p. 0 8 3
So,
way
I
acc o rd in g
see
the
o r g a n is m .
value
m a n 's
th e sis
is
person
loses
p. 2 3 3 .
man
as
'd i s e a s e ';
one
existen ce"
CTDS,
and say s
a
the
of
the
But
is
disju n c tio n
of
c lassifie s
h im self
and
im p lo sio n
the
p a tie n t,
w ith
the
a
one
p sy c h o tic
r e latio n sh ip
a cc o rd in g
has
w hen
reacts
The
the
to
w ith
fear
in d iv id u a l
the
other
w h ic h
p etrific atio n .
h im s e l f /h e r s e l f
b y fear
of
em p tin ess,
p etrifie s
b e in g
w hen
as
p a tie n t
as
's i g n s '
way
we
do n o t
w ith
a
We t e n d
lo v in g
has
to
and
exists
the
open
h e r /h im .
because
The
c o n ju n c tio n
p eo p le.
th is
w ays
w orld
to
nam es
be
the
other.
or
The
w h ic h
deal
w ith
e n g u l f raent,
in d iv id u a l
understood,
of
leav e
there
of
tow ards
The
w ith
the
of
other
a
CT D S ,
a
norm al
L ain g
d e a lin g
man
as
see
degree
uses
man
the
w ith
to
"M y
h is
and
has
co m p ared
sees
of
d iffic u lty
the
of
h ie ro g ly p h ic s
h e /s h e
an
exp ressive
in stan ce,
betw een
as
of
w ith th e h e a r t .
person
and
as
the
w orld:
theory
b e h av io r
to do i t
for
the
of
study
tested
and
e x a m p le
h is
or
it- p ro cesses"
our
as
w ith
of
on
Lain g
account
e m p h a size s
and p s y c h i a t r i s t ,
h e r /h im .
the
an
b e h av io r
Laing
person
in
of
h e /s h e
sc h izo p h re n ic
A nd
that
system
an
h is
a
b e in g
in to
may s e e
an o b je c t
d isju n c tiv e
p sy c h o tic
see
as
such
in terp reter.
w ith
as
depends
p h e n o m e n o lo g y ,
h is
falls
t h a t we t e n d n o t
p a tie n t
d y n a m ic s
in
o rg an ism ic
p .313.
p o ssib ility
W it h
it
"O n e
may
to s e e the other
the
and
illu strates
excitem en t:
h e r /h im
c o n te n tio n
if
an
see
re la tio n sh ip
e x iste n c ia l
the
way
every
can
to
to
its
L ain g
catato nic
other,
I
existen ce
lim ite d
or
Laing ,
other.
A c c o r d in g
in
m a c h in e
to
en gu lfs
im p lo d e s
by
p eople
who
fe e lin g
beco m e
12
tire so m e
or
d istu rb in g .
c h a rac te ristic s
it
"p r e v e n t s
CTOS,
is
others.
p o ssib ility
D iv id e d
Self,
w ith
the
the
person
others
o n lo ok er
is
exist:
w ith
the
at
a ll
the
because
the
other"
p .7 7 ).
core
false
self
true
a liv e ,
there
self
w orld i s
fantasy
is
p erceiv es
is
is
a
T h is
does,
the
is
d e stru c tiv e
that
the
to the in d iv id u a l
c ita d e l.
d efen ded,
the
m a in ta in s
real,
the
the
CTDS,
the
scru tin y :
o m n ip o t e n t
and
p .8 5 ).
self
"T h e
In
is
the
thoughts
the
are
self
but
can
s c h izo p h re n ic
dead.
in d iv id u a l
detached,
is
an
c ritic
and
the true
and co ntrol
the
paradox is
is
destroyed"
self
and
e m bo died,
fe e lin g
g en u in e.
are
W hen
b eco m es d i s e m b o d i e d ,
fu tile
free
ap p arently
sc h izo id
a
o b ject
self
it
h e r /h is
a ctio n s
false,
and
m ore
the body
sin c e
But
sp lit
an
self- su ffic ien c y
as u n r e a l,
w orld
w ith
the
to others.
is
observer,
a central
and
body
d ise m b o d ie d
e m b o d ie d a n d t h e t r u e s e l f
self
and
is
center
the
ru in s,
a
self.
body
self
e x p e rie n c e d
ashes"
of
p rim a rily
and r e l a t e
the
fr o m
the s e l f ,
a n e m b o d ie d s e l f ,
self,
W hen t h e i n d i v i d u a l
self
as
L ain g ’ s
th em selv es
to protect
d ise m b o d ie d
the
the
portrays
them selv es
a nd a s u p p o s e d fr e e d o m ,
more
the
cruel
p sy c h o tic ’ s
by
p ro tec tin g
can be a person
There are advantages
safe
i960,
th e attem pts
"H e w it h d r a w s w i t h i n
CTDS,
in
the
co n su m e d
in
are
e xp e rie n c e
a
in n e r,
co n tro ller.
false
of
b y o n e ’ s own l o v e "
To th e p erso n w it h
and
d ise m b o d ie d
w hat
one
b e in g
p eo p le
a b a s e fr o m w h ic h h e / s h e
among
and
w ay
p eo p le
i n t o b o d y a n d m in d .
that
of
p ub lish ed
As a c o n s e q u e n c e o f
self
that
“ T o c o n su m e o n e s e l f
the
p re o c u p a tio n
To
says
p .5 1 ).
The
is
Laing
the
and m e a n in g le ss.
"P h a n t a s y
be
reduced
state,
W hat
exists
can
the
be
is
the
In
so
dust
w orld
destroys
under
to
a
is
th is
b lack
13
sun,
the
under
and
in
e v il
it"
eye,
CT D S ,
starts
grow,
as
liv in g
in
L a i n g rs
perm anent
betw een
and
1967,
co n sider
Laing ’ s
th is
is
h is
of
dram a
"it
as
of
a label
of
b r o k e n h e a r t b e m ended.
is
was
regard
the
to
c ritic
forces
on
the
struck
by
the
and
the
p atho lo gical
a lie n atio n
expressed
in
the
P o litic s
of
study
sc h izo p h re n ia .
a p p lie d
does e s t a b lis h
Them "
death
p
One o f Them " C TP E,
"O n e
so c ial
The
on
W ith
six tie s,
"H e
d ia g n o se d
p u b lica tio n
is
the
v isio n :
and
more
t im e t h e s c h i z o p h r e n i c
of
human d ile m m a s
mad:
of
w it h e r s
b eco m es
fa lsity
n o n - b e in g .
in flu e n c e
a d ia g n o sis,
labeled
e xp e rim e n tal
of
of
system
u n re a lity ,
b e g in n in g
new p e r s p e c t i v e s
them selv es
the person
the
of
the
E v ery th in g
fa lse- self
a n d m o d e r n is t w r i t i n g " .
the
The c o n d it io n
the
threat
p ro b le m s
p rofou nd
existen tia list
reflects
out
s c r u t i n y ...
W it h t h e p a s s i n g
the
sim ila rity
When
constant
at
p oints
d e c isiv e
In
a
own
a u to n o m o u s ,
w ell.
stud ies
Sh o w aite r
h is
p .1223.
more e x t e n s i v e ,
life
of
of
b y t h o s e who d o n o t
as
a so c ia l
p .1203.
liv in g
E xp e rie n c e
and
fact
that
"W e " d i s t o r t
the
very
let
rarely
M e a n w h ile ,
It
is hardly s u r p r is in g that the person in h is
t e r r o r may s t a n d i n c u r i o u s p o s t u r e s i n a n a t t e m p t
to control th e i r r e s o l v a b l y c o n t r a d ic t o r y s o c ia l
"f o r c e s " that are c o n t r o llin g h i m ... th at he t r ie s
i n s h o r t t o p r o t e c t h i m s e l f fr o m d e s t r u c t i o n b y
every
m eans
that
be
has,
by
p ro je c tio n ,
i n t r o j e c t i o n , s p l i t t i n g , d e n ia l and s o on.
CT P E ,
p. 1 1 7 3 .
In
fo rces
th is
w ill
breakthrough.
m adness
but
broken
p rev ail
L ain g
w o r ld
sees
a c k n o w le d g e s
of
the
those
the
its
of
sch izo p h ren ic
breakdow n
im p o rtan ce
danger:
of
"It
we
or
the
is
a sk
w h ic h
those
e x p e rie n c e
of
of
p o te n tia lly
14
lib e ra tio n
and
ren ew al1
d e a t h " CT P E ,
p .1333.
w ay t o a v o i d
the
d y n a m ic ize
group,
the
of
exp e rie n c e
person
of
the
en tering
th e other
in to
of
c u rta in s
the
for
respo n sible
appears
p erc ep tio n
to
external
p. 1 4 1 3 .
so lve
rest
w orld,
L ain g
p erc e iv e
the
nor
and
a
fo llo w in g
the
re la tio n
that
that
or
w ay
or
of
a
true
the
external
fo r
person
d ig n ifie s
the
of
Our
the
L ain g
v e il
as
Our
hum an
in
the
other
in d iv id u a l
the
turns
th is
d e sc rib e s
reflects
"O n e
the
enters
through a
lifte d .
Seven
a sso c ia te d
in
a
cap acity
new
exist:
to
the
w orld
of
to
and
c o n fo r m
for
“S a n it y
to
the
adapt
w ay
studies
n e c e ssitie s
exposes
w ay
and
w h ic h
w ill
of
process
hum an
we
today
the
CTPE,
see
and
n e ith e r
m a n k in d .
that
b e in g s.
w ill
the
to
c o lle c tiv itie s"
o r g a n is m ic
w ith
is
cap acity
real
the
p .1393.
really
a
is
Laing
so m eth ing
m o d ific a tio n
w orld.
q uo tatio n ,
the
realm
a
w ays
on
th is
the
w h ic h
and
the
h e /s h e
san ity
try in g
re g io n s
largely
on
no
towards
through a door:
rise :
is
n ew s p a c e
and prophecy:
breakthrough
of
new
proposes
of
how
m y s t ic
There
A nd
m e a n in g fu l.
to i n s ig h t
of
fear
very
up
on
p se u d o - d e fin itio n s.
and
open
the
process
depends
part
the
existen clal
b eh av in g
E v ery th in g
d e fin itio n
for
of
harm o n y.
s e v e n h e a v e n s " CT P E ,
and
and
up a
and
in
e x p e rie n c e
the
p seu do - realities
of
u n ity
s o m e t h in g
newness
open
other,
broken
th e voyage in
the
He s e e s
lack
is
in to
seven s e a l s ,
search
of
w ill
w orld by b r e a k in g a s h e l l :
p artitio n :
v e ils,
the
breakthrough.
w hat
enslav em en t
when i t
se e in g
fa v o r
m aterial
a sso c ia tio n
is
in
as
h a s t o bo w o r k e d t h r o u g h .
e xp e rie n c e
o rg an ize s
fr a g m e n t e d
w e ll
B ut i t
w ay o f
actin g
as
m o d ifie s
It
be
In
is
a
present
throughout L e s s i n g ’ s th r e e n o v e ls:
True
s a n ity
e n ta ils
in
one
w ay
or
another
the
15
d i s s o l ui,i on o f
t h e norm al
ego,
that, f a l s e
self
s y s t e m c o m p l e t e l y a d j u s t e d t o our a l i e n a t e d s o c i a l
reality ;
the em ergence o f th e " i n n e r " a rc h ety p a l
m e d ia to rs o f d i v i n e pow er, and thro u gh t h i s d e a th
a r e b i r t h , and th e eventual r e e s t a b lis h m e n t o f a
new k in d o f e g o - fu n c t io n in g ,
t h e e g o now b e i n g
t h e s e r v a n t o f th e d i v i n e , no lo n ger i t s b e t r a y e r .
CT P E , p . 14,53.
A sso c ia te d
c h ildren
and
to
the
the
if
n o th in g
p o ssib ility
that
of
L ain g
child
is
p rince,
a
darkness.
fo r
else,
n ew
n ew
Who
c h ild
b e in g ,
are
who
CTPE,
an
spark
we
t im e
has
p .303.
d e c id e
the
of
lig h t
L essing
baby
It
born
to
prophet,
is
sim ila rity
sp iritu al
to
new
is
observe
Each
the
outer
p. 3 0 3 .
Joseph
to
a
sp iritu al
CTPE,
presents
v isio n
that
there
in to
hop eless?
sees
ch ild ren :
a
p re c ip ita te d
it
psychotherapy
cu riou s
d iv in ity
re b irth ,
Lain g
is
is
and
in
h u m a n it y .
new
p o te n tia l
of
to
of
a
aspect
a
d isso lu tio n
re la tio n sh ip
su rv iv a l
each
re p rie v e "
T h e F o u r - G a te d C i t y ,
the
the
a sso c ia te s
a
of
in terexp eriential
becom e fu n d a m e n t a l
"y e t
process
In
Batts
cu ltivate
as
the
g e n e r o s i t y a n d h ar m o n y m a n k in d s o u r g e n t l y n e e d s .
For
the
both L a in g
nature
of
psychotherapy,
t h e r a p is t
in
is
and L e s s in g
h is /h e r
fo r
co n siders
so m eth ing b a s i c
the
Laing
human t h r o u g h t h e
The
fo r
has
relatio n sh ip
r e d i s c o v e r i n g our
p a in fu lly :
w ith
re latio n
fa ith
in
"W e
In
betw een
p atie n t
and
in the d ia lo g u e
a
psychotherapy
m ust
w o rlds,
to
we f i r s t
becom es
share
a
the
and
that
re m a in
th e w ho leness
betw een them " CTPE,
r e la tio n s h ip
hope
other.
"P s y c h o t h e r a p y
personal
w h o le i s
the
the progress
tw o p e o p l e t o r e c o v e r
psychother apeu ti c
start
the
tra n se x p e rie n ce :
o b s t in a t e attem pt o f
start
re la tio n sh ip
in s ta n c e ,
u n d e rsta n d in g .
w hat m akes an i n d i v i d u a l
of
an
b e in g
p. 5 3 3 .
W hen we
d isc o v e r
ru in s.
re- search.
e xp erien c e
It
of
may
a
16
re latio n sh ip ,
but
the o n ly
honest
to sh a re the e x p e r ie n c e of
Laing
em p h a size s
by p sy c h ia try
voyage
to
be
our
in :
own
p .1 6 7 ).
w here
T h is
the
we no t
o f,
but
a p p a llin g
tr y to suppress
see
that
state
that
the
o rie n t
is,
th is
is
of
a lie n a tio n
the
or,
itse lf
in
o rig in
a
even
have
may b e
been
taken
the e x p e r ie n c e w ith
is
not
natural
called
source
what
w ay
we
of
of
the
need
h e alin g
n o rm a lity ?
L a i n g ’ s words,
and
end,
p .5 6 ).
w h ic h
voyage
it
We n e e d o r i e n t a t i o n
or
a b se n c e " CTPE,
w ro ng d i r e c t i o n s
when " t h e y "
"C a n
cured
its
b e g in n in g ,
CTPE,
we n e e d t o kno w
our
e x p e rie n c e .
p l a c e c a n o n l y b e f o u n d w hen we t a k e a p e r i l o u s
but
necesary
voyage:
I n t h is p a r tic u la r type of jo u rn e y , the d ir e c t io n
we h a v e t o t a k e i s b ack a n d i n , b e c a u s e i t w as w ay
back t h a t w© s t a r t e d t o g o down a n d o u t . T h e y w i l l
s a y we a r e r e g r e s s e d a n d
w it h d r a w n a n d o u t
of
c o n t a c t w i t h them .
T r u e e n o u g h , we h a v e a l o n g ,
l o n g way t o go b ack t o c o n t a c t t h e r e a l i t y we h a v e
a l l l o n g l o s t c o n t a c t w i t h . And b e c a u s e t h e y a r e
h um ane, a n d c o n c e r n e d , a n d e v e n l o v e u s , a n d a r e
very f r ig h t e n e d , they w ill t r y to c u re us.
They
may s u c c e e d .
But t h e r e i s s t i l l
hope th a t th e y
w i l l f a i l . C T P E , p. 1 6 8 ) .
Cure
and
in
L essin g ’ s
B r ie fin g
im p in g e m e n t
Lessing
m adness
in
p ro tago nists
by f u l l y
the
is
of
truth
by
p sy c h o th e ra p ists
s y s te m
of
establish ed
a
in n o v a te s
a
sim ilar
in to
Notebook,
a Descent
H ell
and
m o d ifie s
w ay
to
is
e x p e rie n c e
in
of
their
shallo w n ess
breakdown
their
and
c o n d itio n
not
a sso c ia te d
u po n
D u rin g
and
the
p a tie n ts.
It
of
the
se c u rity .
s a n ity
and
six ties,
h er
who c o n t e s t
depths,
The
neglected
C ity
to
and
concepts
breakthrough.
is
F o u r - G a te d
co nform ity
the
L ain g *s.
The
alw ays
a re the la b e le d s c h izo p h r e n ic s
ex p lo r in g
in h e re n t
G o lden
for
c h a rac terizes
But
The
by
d ia g n o se s
liv in g
d iv isio n
but
both
w h ic h
transcended
17
in to
a
new
separate
structure
L ain g
re la tio n sh ip s
routes
to
these
to
and
the
L essing :
that
and
sec taria n s,
C ritic a l
The
in
in
q u e s tio n ,
fu ture.
in d iv id u a ls.
order
Lessing
to
destru c tio n
governors,
upon
fr o m
common p o i n t s
the
a nd
life .
th is
fo r
the
voyage
in
converge
the
p sy c h ia trists,
Pratt,
Essays,
to
b e n e fit
of
in
the
fa m ilie s
w ay
better
of
to
human
h u m a n it y ,
e x p e rie n c e
the
no
d iv id e d
a tte n tio n
of
is
effort
and
a n n ih ila tio n
A nnis
There
the
self
human
are
b e in g s
m a in ta in e d
and
by
in d iv id u a ls
in tro d u c tio n
to
D o ris
says:
L ik e th e decade fo ll o w in g the French R e v o lu tio n ,
t h e s i x t i e s bec a m e a t im e i n w h ic h an i d e a l i s t i c
daw n o f t h e W a s h i n g t o n M a rc h w as f o l l o w e d b y t h e
J a c o b i n R i o t s o f W a t t s , N e w a r k , a n d D e t r o i t , w h ic h
il l u s t r a t e d the in e x o r a b le c o n ju n c tio n o f v io le n c e
and
chaos
w ith in
even
the
most
h u m a n istic
of
refo rm schem es.
It
was p r e c i s e l y t h i s t i g h t r o p e
betw een
id e a lism
and
reality ,
betw een
u to p ia n
left- w in g
v isio n s
and
human
d e p ra v ity ,
that
Lessing’ s
heroes
w alked
open- eyed,
w ryly
and
c o m p a s s i o n a t e l y c o m m e n tin g u p o n t h e h a v o c .
I
w o u ld s a y t h a t t h e t i g h t r o p e i s
Lessing ’ s
p ro tago nists
d iv isio n s
and
im a g e
of
d e sirab le
the
w illin g n e s s
d ifferen ces.
Crystal
state
of
in deed
To
w h ic h
not
that
stands
transparency.
a n a p p r o p r i a t e im a g e fo r
to
I
w o u ld
fo r
The
g iv e
up
in
add,
how ever,
Lessing ’ s
purpose
of
search
th is
not o n ly to a n a ly z e L a i n g ’ s and L e s s i n g ’ s s i m i l a r i t i e s
of
a ttitu d e
show th a t
three
to w a r d
Lessing
n o vels
d iv isio n
But
and
sc h izo p h re n ia
o r g a n ize s
her
m oves
transcends
to a s ta te of
befo re
s c h izo p h re n ia ,
as
d u rin g
and
e x p e rie n c e s
six tie s
w ith
fr o m
the
as
the
the
a n a ly sis
voyages
of
for
a
is
and change
but
also
d iv isio n
in
sub m ersion
I
to
the
in to
fo rm .
d iv isio n
them selv es,
of
the
th e sis
transparency exp ressed by a Crystal
u n d e rta k in g
w e ll
the
sp ite
w ant
and
to
18
d isc u ss
three
c ritic a l
im p o r t a n t
in
id ea s.
a chapter
In
H y ste ria
as
R i g n e y 11
and
my i n v e s t i g a t i o n
and
in
M a d n e s s:
her
The
needs
m in d ,
m in d.
of
h id eo u s
© yes’
a lot
o b liv io u s
of
b a rb arism .
h er
when
Mark
R ign ey
p o ints
a d ju stm e n t
to
c o lle c tiv e
m adness.
lo v e.
To
such
L ain g ’ s
a
w o r ld
“Is
fo r
portrays
o v er
reality
q u e stio n
the
w h ic h ,
a
a
very
in
by
a
th eir
a
own
of
b e in g
b e h in d
th eir
very
such
of
p e c u lia r
thoughts,
for
passage
owner
b o d ies,
its
c ity
Jean
a
cu rio us
p sy c h o tic
e v e r y w h e r e t h e w ay
o p p re ssio n .
B e in g so
the body can o n ly be a r e f l e c t i o n
out,
The
M y t h ",
locked
p erc eiv in g
C o ld rid g e,
p e r p e t r a t e d b y h u m a n it y a l l
b e in g
of
"M a r x i s m
q u o tin g
in
person’ s
savagery,
and
M a r x is m a n d m a d n e s s.
by
apprehended
H ill
Lain g :
In
id e a l
Hesse,
stands
in London,
its
of
M adness*:
Laing ’ s
L e s s i n g 's
d e fe c tiv e
Cp. 67D
c o v e r e d w i t h maps a n d h e a d l i n e s
As
Quest
la in g ia n
R. D.
exp lo red.
chapter
other
h id e o u sly
and
archetypal
to
Barbara
V l a s t o s 12,
"n o r m a l“ p e o p le
any
and s e lf- p r o t e c t iv e ,
so c ie ty ’ s
the
extrem ely
for
by
L essing
D o ris
M artha
the
n o rm a lity
re latio n
carefully
of
been
C it y ",
M a r io n
sle e p w a lk in g ,
’ their
M a r t h a w a lk s
so c ie ty is
C ity .
of
in
L e s s i n g ’ s v ie w o f
c o n sid erin g
drugged
percep tio n
very
Faces
p erc e iv e s
in sid e
d r e a m in g
are
R ig n ey b e g in s
Th e c o n d i t i o n
is o la te d
“D o ris
Jerusalem ,
F o u r - G a te d
w ith o u t
a rtic le
by
have
" ’ A Rehearsal
F o u r - G a te d
in teg rates
H ill
L essing
The
Two
to
w h ic h
study,
P r o p h e c y ",
The
o p inio n,
p sy c h o tic
way.
the
p o ints
Barbara
fr o m
in
and
of
longer
sim ila ritie s
P ic k e rin g
in
of
S a n ity
P sy ch o p o litics
L e s s i n g 's
a rtic le s
in sta n c e ,
in
t h e p h y sic a l
h is
of
room
d estru c tio n
the p lanet.
both
not
in
L essing
as
and
n o rm a lity
The
but
F o u r - G a ted
e x p e rie n c e
of
L ain g
lo v e
as
C ity
see
a
fo r m
the
of
does
not
p o ssib le ?"
the
19
answ er
part
is
of a
because
are
’ universal
sim p ly
lo sin g
u sing
h erself
ego.
the
too
of
p lug
sex
a ffa irs?
who
w hat
L ain g
and
to
of
as a s t e p tow ards a h ig h e r
the
lo v e,
of
self
been
L essing
w o rd s
In
co m m its
p eo p le
sex
is
M artha
the
su ic id e
extends
because
itse lf.
for
re c o g n itio n
of
of
of
W hat
th is
our
an
a v o id s
d is s o lu tio n
co n trib u tio n
the
of
are
fo rce
m arriage,
self.
of
w h ic h
w h ic h
a n im p e r s o n a l
the
fear
our
see
state
is
other.
protect
a
o n ly
d e p e rso n a liza tio n
does
has
are
Sex,
each
The
need
dem ands
and
in to
because
Sally - Sarah,
th is
m a rriag e
C p. 7 1 3 .
other.
the
in
and
m ockery’
each
p re ssin g
is
lo ve
s im p ly
e x a m p le
the
w orld
Sex,
p eo p le
e v id e n t
of
’ no’ .
state
m a dn e ss
of san ity .
N o rm a lity , fo r L a in g and L e s s i n g , i s t h e n e g a t iv e
and t r u l y
in s a n e
state
because
it
im p lie s
the
c lin g in g
to
u n c erta in
certa in tie s
and , th e
d ep end ence on a r e a l i t y th a t i s , i n f a c t , u n r e a l.
To go mad i n a p o s i t i v e s e n s e i s t o g i v e u p a l l
c e r t a in t y , a c c o r d in g to L a in g and L e s s i n g , to lo s e
th e d i s t i n c t b etw een t h e r e a l and t h e not- real ,
b e t w e e n t h e s e l f a n d t h e n o t - s e l f . Cp. 7 4 3
R ign ey
search
says
fo r
th is
s e lf- c o n sc io u s
a
rehearsal
C p. 7 5 3 .
self.
fu rth er
that
M a r t h a 's
su p e rio r
"q u e s t “
s a n ity
the
A n o th e r
w ay
m a d n ess
of
M a r th a u n d e r s t a n d s
w h ic h
fin d in g
that
of s e lf
of
m ilk
fr o m
a
a n im a l
T h eir
w ay a nd
M artha
c o n fin em en t,
drin k s
d rin k s
th erefo re,
sy m b o lic a lly
is
a
thus
by
k in d
Lynda
"is
is
A
com m union:
w h ic h
id e n tity
the
th eir
v irtu a lly
e n lig h te n m e n t"
the lo ss
C old rid g e.
the
to
to liv e
Lynda
of
lead
r e a c h s a n i t y a t t h e t im e s h e d e c i d e s
m y s t e r io u s
a
h y ste ria "
w ill
true
that
"t h r o u g h
a n d p l a n n e d in d u c e m e n t o f
for
is
w ay
to
is
in
the
t h e o n l y w ay t o
t h e basem ent
r itu a l
broken
fr o m
lo sin g
the
w ith
establish es
saucer
sam e
in v estig ate
in
an
saucer.
and
sense
20
the
w alls
sin c e
of
the
re g io n s
senses
the
t im e
in sid e
are
m ind.
has
the
those
of
h y ste ria
as
has
reality
the
and
’ lig h t
Cp. 8 4 3 .
L ik e
a
no
fo r
w it h
exiled
need
the
resurrected
th is
truth *,
w orld,
her
a lso
self
h er
reborn
the
p h y sic a l
unknow n
c o n fin em en t,
But
the
"J u s t
u g lin e ss
e x p e rie n c e s,
beauty
her
how c a n
exp erien ce?
h y ste ria
deep ly
b a se m e n t
w ith
person.
p o w e r fu l
h er
the
escape
leaves
n ew a n d
so she
to
co n fro n tation
and
through
h u m a n it y ,
h er
is
When M a r t h a
p erc e iv e d
of
of
come
self.
one r e la t e
M artha
There
of
of
through
the
w orld"
seem s new.
T h e d a y was f r e s h a n d t h e w o r ld n e w l y p a i n t e d . . .
S h e w a n t e d t o c r y b e c a u s e i t was s o b e a u t i f u l . . .
She stood g a zin g up,
up,
until
her e y e s s eem ed
absorbed in the c r y s t a l l in e substance of the sky
w i t h i t s c l o u d s l i k e s n o w b a n k s , s h e s ee m e d t o b e
s t re a m in g out thro u gh her ey es i n t o t h e s k i e s . . .
C F G C , p. 5 1 9 3
But
have
the
of
to
some
be
of
the
d iffe re n t
self
C p .8 5 3 .
’ self- hater*
w ho le"
of
has
tunes
to
the
So,
to
and
g a in
balan ces
of
a c c o r d in g
d iv id e d
the
fear
self
one
of
the
also
second,
w av eleng th s
c re a tin g
a
control
and f i n a l l y ,
o f;
"t h a t
e v il
s o m e tim e s
the
first
co m p rises
and
fie ld
the
in
the
a n n ih ila tes
co n fro n tation
Lessing ,
jo y
e x p e rie n c e
co ntro l;
and
and
of
lo sin g
or
to
exp e rie n c e
v isit:
of
self- hater,
"R e c o g n itio n
the
aspects
the
has
w h ic h
are,
C p .8 5 3 .
traveller
F irst,
w ith
k no w ledge
n ig h tm a r is h
character
co n fro n tation
good"
the
m e n t io n e d .
presence
sounds
of
the
w ith
the
p re re q u isite s
for
steps
tw o
beauty
to
m a k in g
re g io n s
and
that
it
the
another
of
terror.
M artha
im p o r t a n t
c o n sid ers
fo r
the
the
later
e xp e rie n c e s
adult
life .
of
She
c hildho o d
sees
as
ch ild ren
very
as
£1
possessors
of
d em o lish ed
by
o p in io n s
on
the
the
irre p a rab ly
present
sen sitiv ity
adults.
dam aged
R ign ey ,
m aternal
lo v e
says,
then,
as
Four- Gated
C ity .
The
catastrophe
at
end
new
w orld,
"o n e
sc h izo p h re n ia ,
lik e
that
B rie fin g
but
of
ruled
a Descent
-
"h e r
h y ste r ia
in to
r e c o g n ize d ,
h y ste ria
if
but
she
"D o r is
P r o p h e c y ",
about
the
structure
A c co rd in g
early
the
m ise ry ,
onus o f
and
V lasto s
attack
as
w h ic h
in
dev astation "
of
lo v e
in
s u r v iv e
who
in to
can
the
create
darkness
p ercep tive,
goddesses
The
a
and
u n d iv id e d ,
of
L essin g ’ s
C p .883.
by p r e s e n t in g M artha i n
her
self
fu lly
b irth
to
a
her
d isc o v e re d
M artha s u f f e r e d
a
in
so c ial
shake
The
L essing
re je c ts
it
of
stru ggle
the in d iv id u a l
R. D.
L ain g :
in tro duces
or
V lasto s,
co llap se
the
g iv e
ch ildren
and
who
s in k
and
Lessing’ s
o ld
and
because of
h er
n o n - p o sse ssiv e
and
w orld.
so c ie ty
and
a rtic le
to
Lessing
to
six tie s,
communism
"W it h
w ays
to
H ell"
calm ed,
h elped
M a r io n
of
gods
sees
la ck
those
w ho le,
not h e a l e d " C p .8 8 3 .
p o t e n t ia lly better
In
is
not
r e m a in
the
the
are
and
th e n o n p o sse ssiv e
ch ildren
n o vel
m ig h t
by
v io le n ce
for
dutyful1y
re la tio n sh ip
through M artha,
the
m ig h t
Lessin g ,
of
sen sitiv e
R ig n e y c o n c lu d e s her
age
one
so lu tio n
w h ic h
w o r ld
fo r
is
o n ly
lik e
are
Lain g ’ s
m other- chi I d
presents,
the
the
the
w h ic h
m e n t io n s
"L a in g ,
in
he
p ercep tio n
R ign ey
su b je c t:
so c ie ty ,
C p. 8 7 3 .
and
a
p r o b le m :
the
G o lden
fo r
self
a
in
the
sho u ld
and
d isc u ssio n
we
co n scio u sn ess
the
unv ia b le .
hope
im p o r t a n t
Notebook,
portrays
as
very
refo rm
of
p eople?
p ublish ed
in
d isillu sio n m e n t
V lasto s
p o litical
v ia b le
existen ce
and i t s
c ap ac ities
understands
answer
beco m es
fo r
the
to
the
w ith
that:
human
a g a in
the
c r e a t i v i t y and
22
moral
d e v e l o p m e n t " Cp. 2 4 5 3 .
Human
re la tio n sh ip s
are
Notebook.
L ac k
of
b a rrie rs
too
tro ubleso m e
p ro tago nist,
w ith
in to
m adn ess
in
h erself.
The
id e a
of
fo r
Vlastos
the
th e w orld i s
a
even
woman
and
A nn a i s
her
M other
Sugar
C M rs.
c o n so la tio n .
w ith
such
re latio n sh ip
developed
in
fo r e ru n n e r
of
Another
d e n ia l
of
"A n n a
The
C ity ,
one
s id e
w h ic h
co n seq uen tly
id e a
of
that
vase,
of
fact
others
the
W u lf
and
cure
is
in
but
descent
and
Saul
in tro d u c e d
T h e F o u r - G a te d C i t y
sees
that
the
sp litting
th is
h er
the e v o lu tio n
e x p e rie n c e
and
can
Anna w ants
w ants
to
one o f
pure
can stand l i f e
to
such
be
person
of
Not
betw een
through
id e a ,
sp lit
ro les
a sp ira tio n s.
is
is
because
d iffe re n t
a n d A n n a as
the
Laing
sic k
re la tio n sh ip
it
and
situ a tio n
is
No p a t i e n t
But
the
and
of
in d iv id u a l
sugar.
betw een
dev elo ps
th is
Anna
p ro fe ssio n a l
in tr o d u c e s
the
the
by
because of
energy.
b e in g exp lo red .
a peasant
The
and
offers
a new s t a t e i n
sim ilar
sees
the t h e r a p is t ,
of
that
w h ic h i s
of
Sugar
am ount
other
v isio n
life .
V lasto s
M ark s},
in
creates
W ulf.
and
o n ly
p r o b le m
and
d iv id e d
h elp s.
M other
an
the
p o litical
p sy ch o an aly sis
shared
G o lden
H ell.
s o c ie ty
in d iv id u a l
sic k .
hope
a nd d e e p l y e x p l o r e d
in
A nna
not o n ly w ith
re v e la tio n
stresses
c o m p artm ental i z a t l o n
in
is
a Descent in t o
also
to
The
needs
block
in r e la tio n
as
other’ s
w riter’ s
p oints
m a dn e ss
the
in
transpose.
sig n ifica n c e
T h e G o l d e n N o teb o o k
reflected
a
V lasto s
w hose
and B r ie f in g
as
fr o m
d iffic u lt
of
to
the d i f f i c u l t i e s
also
Green.
suffers
illu strates
very
a
strongly
may
be
the
m an" C p .2 4 7 3 .
Lessing
produce
is
harm
to deny e v il
possess
t h e madman S i l v a ,
of
that
her.
in
to
the
the
h erself
From
the dw arf
the
- the
23
p rin c ip le
the
of
e v il
ev il
in
the
in
h erself
forces
sen sitiv e
of
"J o in
sin c e
self
self
sp ite"
and
"F o r
in
-,
Sau l.
part
t h e w h o l e " Cp. 2 4 8 5 .
of
the
A nd f o r
moves
It
L essin g
fr o m t h e h o r r o r
fo r m
A nn a
is
there
of
to
a
rec o g n itio n
necessary
can
be
to
no
face
of
these
se p a ra tio n
of
t h e w o r ld b e c a u s e t h e a t t i t u d e s
m alevo len t
fo rces
that
issu e
fr o m
L ain g :
I t has a lw a y s b een r e c o g n is e d t h a t i f you s p l i t
B e i n g dow n t h e m i d d l e , i f yo u i n s i s t on g r a b b i n g
th is
w ith o u t
that,
if
you
c lin g
to
the
good
w it h o u t t h e b a d , d e n y i n g t h e o n e f o r t h e o t h e r ,
w hat h a p p e n s i s t h a t t h e d i s s o c i a t e d e v i l i m p u l s e ,
now e v i l i n a d o u b l e s e n s e , r e t u r n s t o p e r m e a t e
and p o s s e s s th e good and
turn i t
in to
itself.
C T P E , p. 7 5 5
V lastos
co n clu des
self- resp ect
not
fu lly
w orld
and
that
balan ce.
exp lo re
and
that
the
the
more
is
in
to
is
true
d rift
areas
better
C p .2 4 9 5 .
a p p lie d
of
m a n 's
peo p le
house
d iffe re n t
p eo p le
w hen
m in d
is
they
is
on
who
separate
"T h e m "
liv e
and
p erc eiv e
behave
th is
the
one
C o ld ridge
all
a w ho le,
by f i t t i n g
of
so lu tio n
o n ly
fa ilu re
comments
e x a m p le
novel
does
for
that
the
fu lly
at.
is
the
best
the s e lf- a n n ih ila tio n :
also
an
the
Anna
L e s s i n g s h o w s a w o r ld much
m in d c o n c e r n i n g
in te n tio n s
a
allow s
o n ly h in ted
Mark
and
that
is
the
p o ssib ility is
d e str u c tio n
says
m adness
a b le to s e e th e w orld as
C old ridge
seen
of
V lastos
by
she
self- d estru c tio n .
exam p le o f a c o n s c io u s
Mark
that
e xp erien c e
T h e F o u r - G a te d G i t y t h a t
d irec ted
d o c u m e n t in g
id e a
T h is
p sy c h ic
However,
p sy c h o tic
apprehends r e a l i t y .
It
the
one
the
o v er
the
"B y
earth,
to d e te rm in e th e
fact
w ith
another"
compar t m e n t a l i z a t i on
fr o m
d iv isio n
separately .
separateness
"U s ".
in to
But
and
Even
lay ers
how
are
m a n ifest
the
w here
p eo p le
it
to
24
others?
The
trem endous
iro n y
d escrib ed
by
L essin g
and
L a i n g a n d o t h e r c o n t e m p o r a r y w r i t e r s on m a d n e s s i s
that,
w h ile
so c ial
b e h a v io r
is
based
on
the
p rin c ip le
of
co m p a r tm e n ta lizin g ,
splittin g ,
c e r t a i n p e o p l e a r e f o r c i b l y s e i z e d a n d l o c k e d up
in
iso latio n
fr o m
s o c ie ty
for
ad m ittin g
the
c o n d itio n in
t h e m s e l v e s . Cp. 2 4 9 3
- T h is
s u b je c t
doctor
is
b eco m es
p ow erful
v e r y - se rio u s -in
w h^le
who w a n t s t o b e f r a n k
sho ck
r e lie v e
truth
and u l t i m a t e l y ,
stro ngly
both
and
exp e rie n c e
re la tio n
The
in
Notebook,
e x p e rie n c e ,
resem blance
M artha
to
in c o n c lu s iv e
descents.
as
But
to
as
is
they
of
have
faces
her
is
can
pattern:
the
depths
e v il,
and
of
the
-
both
human
the
Sugar’s
in
and
Lynda’ s
bears
the
in
a sp iritu al
and
p rin c ip le s
or
also
a
m e th o d s.
w orld
and
the
t h e basem ent.
d ifficu lt,
at
M a r t h a 's
the
for
exp e rie n c e ,
M artha’ s
v iew of
stay
the
and
presents
M other
Saul’ s,
p o ssib le :
"D r u g s
m e a n in g f u l
"o n ly r e s u lt
L y n d a 's
p atien t
p sych o an alytic
p sy c h ic
th e r a p e u tic
tem porary
a
one.
and
a
su rv iv a l
VI a s t o s
the
id ea l
M artha’ s trip s
a
fo r
typ ical
Cp. 2 5 1 3 .
Anna’ s
For
The C it y and B r i e f i n g
to
d u rin g
s h a rin g
the
of
C p .2 5 0 3 .
hand,
basic
liv e
co n sid ers
Ma.rtha
self- hater,
Saul
C i t y . -T h e —
resp o n sib ility
"T h e
L a i n g 's
w ith
L a i n g 's
of
in im ic al
deadlo ck"
along
h elp less.
re sp o n sib ility
cure"
and
F o u r - G a te d
a r e even w orse:
doctor
Cp. 2 5 0 3 .
sp a c e where t h i s
V Ia sto s
nephew.
the
on t h e o t h e r
d e c id e s
p h y sica l
and
its e lf
Anna
in te lle c tu a l
is
the c o n clu sio n s
p o ssib le
betw een
Anna’ s debate,
and
of
is
and
G o lden
as
g e n e ric "
re latio n sh ip
p a tie n t
the consequences
p a tie n t
suggest,
personal
the
The
c o m p le x a n d
Pau l’ s
p sy c h ic
te rrify in g
depths
house,
of
a ll
also
M a r k 's
ascents
forces
of
h u m a n it y .
and
the
At
25
the
t im e
of
her
descent,
m a in tain in g
Lynda
Lynda
and
hears
talk in g
about
"s h e
was
by
s o c ie ty
a
these
w ants
"It
to
to
children
the
new
the
have
of
w o u ld
w orld
to
is
not
at
be
w o rk ed
w orld r e s t s
C p .2 5 3 3 .
in
V lastos
the
M artha l i v e s
sweetness"
part
of
th is
of
does
C p .2 5 2 3 .
new
new
the
t im e
w orld.
and
p sy c h ic
She
clo ud s.
e x p e rie n c e
of
h u m a n it y
and
not
fo rget
that
M artha,
h elp
to
g iv e
p sy c h ic
The
C ity
not
is
"D e s p it e
the
B r ie fin g
to start
fo r
a
to
M artha
M any
of
the
Descent
and
th is
and
But
th in g s
of
the
hum an r a c e "
p erfect
t h e work
of
e v o lu tio n
th e s u rv iv a l
the present
about
Lynda
en e m ie s.
p ac ifie d .
im p lic a tio n s
nature of
has
the
The
elem en t
e x p e rie n c e ,
the q u e stio n of
dream s
an
sustenance
fig h t
beauty
race.
has
of
g e n e ratio n
d iv in e
that
to
still
natural
isla n d
strength
the n o v el,
The
who em body
an
the
co n sid ers
At
breed
B ut
carefully
w ith c h ild r e n
had
C old ridge
sile n c e :
C p .2 5 2 3 .
trees
new
is
treatm ents
b e in g
a
- sky,
the
upon.
that t h is
feels
W it h o u t
end
Itse lf"
M artha’ s
in
sho ck
she
-
the o l d " C p .2523.
on t h e v e r y d u b i o u s
Mark
r e c o g n ize s
have
the
and of d i v i n i t y
hope
in
respected.
she
in
g e n e ra tio n
p eo p le.
b e in g
beauty
ascent
V lasto s
th eir
of
sin c e
kept
of
of
c o n fin e m e n t
and,
and
about
n e c e ssity
in
be
o p p o rtu n ity
basem ent,
in h a b ita n ts
it.
truth
an
fo r
a d m ir e s
of
to
natural
of
and
in
p eo p le
Lynda
w ith
source
the
she
h o sp ita ls,
a lso
the
beauty
are
breed
the
the catastrophe,
d iv in e
many
of
fro m t h e a s h e s o f
M artha
cannot
has
the
and
peo p le
doctors,
and
fro m
a
c o n d itio n
many
have
movement
"u n e a r t h y
that
w ith
u nited
th is
understands
p o ten tia lité s,
M a r th a
up
be
A fter
an
w hat
v o ic e s
by
reveals
risin g
drugged
te rrifie d
comes
is
that
her
p u n ish e d
liste n e d
a
sees
frie n d ly
M artha
in
M artha
c ity
but
now.
in to
H ell
"a n
£6
e xp a n sio n
form .
A
name o f
of
the
s trik in g
n o vels"
aspect
Jesse
W a tk in s,
of E x p e r ie n c e .
V lasto s,
about
e x p e rie n c e ,
the
tow ards
But
u ltim a te
r e m a in s
of
it.
the
it
the su rv iv a l
B rie fin g .
of
For
o rd in a ry
reality
h u m a n it y ,
by the fa c t
im p o rtan t
fo r
the
for
a
the
b e in g s.
the
the
The
w ith
t im e
gods
she
w ith
w h ile
"in
B ut
are
and
as
not
Lain g
be h in d
that
B rie fin g
- the
q u e stio n
in
her
to
fic tio n
goddesses
lig h t
seen
ju d g e
of
and
by the
it
h u m a n it y
in
is
by
done
B r ie fin g
p ersp ec tiv e .
g o d Merk
Ury as
p ro v id e
The
sin
caused
that:
W atk in s
the
trip s,
d iffe re n tly
CHum ans ]
have
not
yet
evol ved
u n d e rsta n d in g o f t h e ir in d iv id u a l s e lv e s
p a r t s o f a w h o l e , f i r s t o f a l l h u m a n it y ,
s p e c ie s , l e t a lo n e a c h ie v in g a co n sciou s
o f h u m a n it y a s p a r t o f N a t u r e , p l a n t s ,
b ird s,
in sec ts,
re p tile s,
all
these
m a k in g
a
s m a ll
chord
in
the
C o sm ic
Cp. 1 2 05
Jesse
the
P o litic s
r e c o g n ize s
n o vels
strategy
and
is
The
react
q u e stio n
L essing
a d iffe re n t
in stan c e ,
that
last
h u m a n i t y " Cp. 2 5 3 D .
d iffe re n t
first
in
L essin g
W a t k in s
note
other
both
its
the
c o in c id e n c e s
of
in
t h e nam e o f
records
the
tw o
to
w ith
of
undergo p sy c h o tic
u ltim a te
the w orld o f
uses
nonhum an
of
as
that
d iffe re n t
c o in c id en c e
L aing
agreem ent
sin c e
also
W atk in s,
and J e s s e
sees
but
the
C harles
the
im p u lse ,
sam e
Lessing
of
is
of
w hose c a s e
how ever,
e v id e n c e
Cp. 2 5 3 3
that
Both C h a r le s
su ffic ie n t
"T h e
is
t h e m a in c h a r a c t e r ,
sculp to r
w ell.
tw o
gods.
and
Jesse’s
C h a r l e s 's
the
C harles
v isio n
e ssen tia l
W atk in s
a lso
id e n tifica tio n
it
appears
q u e stio n
have
is
an
i nto
an
as m erely
t h e i r own
kno w ledge
a n im als,
together
Harm ony.
id e n tifica tio n
"v ic a r io u s "
C p .254}
t o be l i t e r a l " C p .2 5 4 D .
that
arises
is
that
w h ic h
27
concerns
G o lden
the
d iv in ity
N o tebo o k
co n clu des
flig h t
In
by
slau gh tering
V lasto s,
is
but
th is
the
courage,
he
on
the
ch ildren
or
is
the
The
B riefin g
and
p oint
human
of
of
e v il,
three
p sy c h ic
itself'
the
women
and a c c e p ts
of
th is
d iv isiv e
b rie fe d
fo r
task.
agony
the
F all,
and
the
the e v il
s id e
to
sim u ltan eo u s
is
a
very
p lan et,
and
of
attends
Jesse,
be
w rites
h im
in flu e n c e s
that
o p inio n
a
on
B aines
fu lly
conseq uently,
C harles*
in h ab its,
of
Jesse
so c ia l
and
self,
returns
in to
not
in
both
hand,
"la c k s
the
h is
is
return
and
c lin g s
the
to
a
reader
goddess
e d u c a tio n
of
im p r e s s iv e
and
C harles
T h is
to
T h e w ay C h a r l e s
B aines,
about
true to h is
human
w orlds
letters
the id e a l
J e s s e 's
is
h ell- earth
C harles
m oments.
But
he
s c h izo p h re n ic ,
Rosem ary
reco g n izes.
is
the
Jesse,
rec o g n izin g
p eo p le.
that C harles
norm al
Through
lectures
letter
of
on t h e o t h e r
C lassic s.
h is
order
existen ce
c o n tra d ic to ry .
p ro fesso r
d iv in e
descent
U n like
im a g in a tio n ,
m e a n in g " C p .2 5 6 3 .
also
acceptance
"t h e
co n fro n ts
part
d iffic u lt
"H a v in g been t r u e t o h i s
it
w ith
com pares
w i t h n ew k n o w l e d g e o f
ritu a ls
the
is
strange
And,
n o vels
i d e n t i t y a t t h e most t e r r i f y i n g
p o sitiv e
V lasto s*
a
he
fr o m
C harles
h is
explore it s
k now s
tw o
V lastos
C ity
He ack n o w led ges
S in c e
proves
re c o g n ize
is
first
blo o d y
freed
C p .2 5 53 .
liv e s
F o u r - G a ted
C harles
the
substances.
real
life .
and
its
terrors
but
h is
m ista k e,
a cc o rd in g
to
0
t h e d e s i r e t o r e m a in i n t e g r a t e d t o t h e C r y s t a l w a ll
"t e m p o r a r ily
h is
the
of c a t t le .
h u m a n it y
ego"
The
B rie fin g
sy m b o lize d
and
in
C harles*
t h e r e t u r n t o a w o r ld l i t
C p .2553.
of
and
that
is
in
d e n ie s
the
the
reason
fo r
g o d on t h e p l a n e t .
is
not
the
sam e:
h u m a n it y a n d t h e e a r t h
fr o m
h is
voyage
co n form ity ,
as
C harles
not
to
does,
a
but
s im p le
to
a
£8
greater
aw areness
p s y c h ic
jo u rn e y s
of
th e in n e r
by J e s s o ,
sense
that
these
they
come
back.
reality
the w o rld " C p .2 5 7 3 .
The
A n n a a n d M a r t h a c a n bo co m p ared i n
tho
in d iv id u a ls
To
expand
C harles
of
the
the
a cq u ir e d
w o r ld
kn o w ledge
does
not
w hen
beco m e
a
re v e la tio n .
In
"M a r x i s m
M y t h ";
Jean
and
M adness:
P ic k e r in g
p o ints
L e s s i n g ’ s v iew o f s a lv a t io n
M arxism .
fo u r
of
The s h i f t s
fr o m
n o vels
of
the
m adness"
in
the la s t
The
to
i deal
both
"t h e
C h ild re n
of
persecutes
in
c o lle c tiv e ,
is,
represents
together
in
it
im p lie s
counterpart
and
M artha’ s
exp e rie n c e s
proceed
order
to
reality
sho w s
through
the
left“
se rie s
F o u r —G a t e d
fact,
is
in
that
to
to
in
the
"t h e
C ity ,
first
p olitics
are
b u ilt
up
the u n d erly in g
im a g e t h a t
Jerusalem ,
archetypal
her,
personal
an i d e a l
the
and
the
way:
state
the
w ith
an
M a r t h a 's
the
dark
CFGC,
the
M artha
the lev el
the
of
the
ages and r aces
lev el
self,
the
in
the
outer
has
sid e,
p .1513.
voyage
in to
of
the
life ,
as
arriv e d .
the
goal
shadow
new room s t o
of
path.
of
is
c ity
the
The
of
com pares
the
chaos
t h e human b e i n g
The
w ell.
It
"a
P ic k e r in g
that
d irec tio n
e v o lu tio n ary
A rm agedd on
on
of
o f A rm ag ed d o n a n d c o n c l u d e s
fo llo w
"o n
that
But J e r u s a le m canno t be u n d ersto o d w ith o u t
b ea stlin ess"
in e v ita b ly
goal
w here a l l
beauty;
w ho leness
- Arm ageddon,
poverty
and c o n f l i c t
and
harm o n y
i n d iv id u a t io n " C p .2 1 3 .
to
m a d n ess a n d s a l v a t i o n
series
a cc o rd in g
a p o litical
it
in d iv id u a l,
its
the
In
L e s s i n g 's
betw een
of
of
D o r is
c o n flic t
V io len c e
The
of
absence
p o litics
no vel.
in
Faces
ci ty.
Jerusalem
liv e
v ie w s
the
through
p r o g r e s s iv e l y and o r g a n ic a l l y .
structures
Two
shadow
has
c ity
in
shadow s
becom e
nuclear
h olo caust
o n ly
after
a
c o n flic t.
29
death
an d e s t r u c t i o n
on t h e i s l a n d
The
in
of
w h ic h
the
w h ic h
d iv is io n s
of
the
self;
C p .2 5 D .
w h ic h
"e n la rg e
in te g r a tio n
strange
"I"
fu rth er
in to
she
the
m a tu r e
ch ildren
ness,
the
her,
the
opens
of
born
c ity ,
also
room s
expresses
spaces
w ith
of
h er
too,
of
u n ity
own
m ind
also
v isio n
not
fo r
m ind
to
of
jo u rn ey
enough,
of
in teg ratio n "
and
the
in to
m erely
as
own b e i n g ,
states
the
-
"H e r
The
p lace
her
P ic k e rin g ’ s
ness
a
in to
C p. 2 6 }
M a r x is m :
of
freq u en t
is
p a ra d o x ic a lly
recesses
very
c ity .
life ,
d iffic u lty
clearly
"w e "
is
the
in te g ra tio n .
new
and
to
for
h erself"
but to g reater
contact
and
in to
and
m a dn ess
h id d e n
m akes
house
connected
to the search
understand
leads
also
"d iv id e d
house
betw een
greater
and
in te rio r
jo u rn ey
the
we
rooms
the
co m p lex ity ,
M artha’ s
Here
both
fo r
im a g e
its
But
h u m a n it y .
that
its
is
and p o in t s
stands
and
house
relates
L e s s i n g ’ s n o vels
house,
Jerusa lem
becom e a p o s s i b i l i t y .
im a g e
Q u a te rn ity ,
that
to
she pushes
she
d isc o v e rs
common
to
all
h u m a n i t y " Cp. 2 6 5 .
By a s s o c ia t i n g
an
e v o lu tio n a ry
A
c ity
of
path
harm ony
e x p e rie n c e
keep
sh a d o w .
is
b u ilt
the
It
in
d e stru c tio n
in
open
to
ashes
and
three
in d iv id u a l’ s
the
su rv iv a l
the
the
of
c ity ,
v isio n
of
P ic k e rin g
m adn ess
p o ssib ility
to P i c k e r in g ,
as
of
that
A rm ageddon"
when
w e ll
and
the
the
as
room s
can
and
and
of
of
the
o n ly
that
p o litics
to
M a r x is m .
nature
"J e r u s a l e m
Cp. 28D
p o in ts;
be
both
m a d n ess
c o n n e c tio n .
a rtic le s
co n fro n tation
of
a
tran sfo rm atio n ,
are p arts o f an o r g a n ic
The
w ith
Lessing ’ s
becom es
ev id e n t,
the
house
h u m a n it y .
p oint
w ith
We
to
the
can
the
self
also
im p o r t a n c e
and
w it h
n o tic e
the
that
of
the
quest
the
of
three
30
c r itic s
the
stress
the
in d iv id u a l
and
horror
the
at
c o n n e c tio n
the
the sig h t
streets,
that
Lessing
c o lle c tiv e .
R ig n ey
of h id e o u s
and
her
change
in
voyage
the p o s s i b i l i t y
and
n o n - p o ssessiv e
m a dn e ss
as
s u b je c t
is
"p r o p h e t s "
story
of
r e v e la tio n
lin k e d
are
the
P ic k e rin g ,
o n ly
the
p lan et
P ic k e rin g
studies.
these
stress
w o r ld .
isla n d
and
H.
of
She
the
to
Anna’ s
Lynda’ s
voyage
B rie fin g ,
h is
and
of
change
the
im a g e
self,
of
own
that
th is
respect
im p o r t a n c e
that
fr o m
of
the
the
m a d n e s s.
"o n e ’ s
th is
and
in .
in
proves
r o o m s ",
the
voyage
city
She
of
Lessin g’ s
re latio n sh ip s
uses
and
the
on
her
on
h u m a n it y .
return
in
common,
aspects
who
re c o g n ize s
a
that
en ables
The
w h ic h
to
have
the
that
the
of
th eir
presence
destroys
know
su rv iv a l
supranorm al
of
m e e t in g
equal
W a t k in s *
and
and
for
my
lo v e
them selv es
ch ildren- adu lts
of
usefu l
n o n p o s se ss iv e
c h ild re n ’ s
the co n scio u sn ess
successful
to
V lastos
been
M artha’ s
learned
The r e l a t io n
Sau l’s
R ign ey ,
have
how ever,
to
based
n eg lec tin g
they
p o ints
those
in .
analy zes
w ith o u t
R ign ey p o in ts
and c h i l d r e n .
M a r t h a 's
a c i t y o f h arm o n y a n d p e a c e .
o n ly p o s s ib le because of
adults
argues
M a r x is m
d iffe re n t
Barbara
critic
as
the
e m p h a size s
c o n fro n tin g
s u rv iv a l
soon
of
The
of
able
u nite
to en visio n
attitu de
th eir
the
as
to
in .
cure
turn,
kn o w ledge
B e s id e s
an
her
a tt e m p t
in d iv id u a l
as
to
after
V lasto s
and
p o te n tia lly
on
successful
voyage
feelin g s.
betw een
a n d h a l f - c o m p l e t e d human b e i n g s
in c o m p le te n e ss
reveals
the
establish es
on
a b ilitie s
and
the
is
d i g n i t y among
c a n b e co m p ared
to
M artha’ s
p o ssib ility
of
power
and
in
d isc o v e rin g
true id e n tity .
In
V lasto s’
a rtic le ,
the
relevan t
p oint
for
my
stud ies
is
31
the
a n a ly sis
e m p h a s iz e s
G o lden
of
the
a w o r ld
N o te bo o k
p o te n tia lity
d u r in g
the
return
fu ll
and
w ith
of
the
the
voyage
in
most
a relevant
im p o r t a n t
c a m e llia
shock
and
in n e r
treatm ent.
because
not
t im e
m e n tio n
fact,
th is
C h arles’
to
w orld
of
has
is
over
in
is
be
In
a n n ih ila tio n
let
in .
a
There
sh o w s
F o u r- G a ted
p a in fu l
p o ssib ility
is
C ity .
no
aspects
fa ilu re :
the
h is
it
not
h im
is
of
case,
reach
lik e
t im e
no
but
fa il
V lasto s
does
In
of
In
h is
sleepy
the
w in d
about
w hen t h e p r o t a g o n i s t s
e x p e rie n c e
to
the
of
separate
e xp e rie n c e
w ith
state
holo caust
both
strong
p erp e tra tin g
the truth.
the
self
face
ideal
and
the
happens
and
their
The
exp e rie n c e s
c o n tra rie s
the
power
The
do n o t
A rm agedd o n .
a t o m ic
effo rts
a c h ie v e m e n t
c am e llia.
know ledge
and
p. 2452).
for
strong
to
the
The outer
the
a
the
the
clear
C BDH ,
id e n tity .
o n ly
of
su b m ittin g
c am e llia
the
of
om m its t h e
becom es
the
to
true
betw een
v isio n
befo re
process"
h elp ful
that
a fter
w ay
The
o n ly
kept
o f t h e im p u ls e at r e a c h in g for
t h e w o r ld c a n b e a c h i e v e d
the
and
V lasto s
w h o le
C harles’
p sy ch o terap ists
P ic k e r in g
th is
a c c o m p lis h m e n t .
im p o rtan ce
not
the total
becom es
very
the
of
"r o o m s " a n d
the
The
contrasts
However,
reach
th is
in
a c c o r d i n g t o my p o i n t
te n d rils
to
em p h a size s
also
does
and
realized
v isio n
t im e s
realizing
in flu e n c e
Jean
th is
allow ed
can
needs.
and
outer
several
Lessing
but
allow ,
V lasto s
the return
co n trastive
C h a r l e s 's
and
"T im in g
v isio n
in
The
after
C ity ,
is
voyages.
e v e r y t h i n g a n d e v e r y o n e gro w .
not
that
personal
takes
try
fa ilu re
fo r
Through
lettin g
rem em ber,
that
two n o v e l s
in n er
p sy c h ic
F o u r - G a te d
B rie fin g .
reason
te n d rils
The
a nd w o r t h y a n a l y s i s .
the
im p o r t a n c e o f
the
d iv in ity
B r i e f i n g and t h e other
v ie w ,
fro m
city
voyage
in
in
The
The
32
G o l d e n N o te bo o k
of
th is
a
in te n tio n
is
C ity
e x a m in e
of
the
in
the
C i t y , ’ and
in t o
earn
H ell,
a s human b e i n g s
the
their
characters
no vels.
the
of
M artha
selves
a
n ew
of
the
fa ce t
of
d e v e lo p m e n t o f
W atk in s’
and
in
of
Lynda
in
a c o s m ic
to
is
to
in
in
The
Descent
T h e work
each
of
co nseq uently,
a
presented
Crystal
W ulf,
one
through
u n d e rsta n d in g w ill
the
a
I
p o ssib ilitie s
harm o n y .
b rin g
my
in .
Anna
fo r
and
u n d ersta n d in g ;
th eir
w ay s
B rie fin g
in
voyage
C o ld ridge,
lim its
voyage
H ell,
dev elo p th e ir
the
the
Notebook,
in to
p ro ta g o nists
th eir
e x p e rie n c e
a sc e n sio n
t h e pow er
G o lden
Descent
and
W a tk in s,
and
of
a
The
chapters
Quest
know ledge
of
d iv isio n
fo llo w in g
C harles
o rg a n iza tio n
T h is
C harles
fo r
and as p a r t i c i p a n t s
d iv id e d
d iffe re n t
e x a m in a tio n
m e a n in g
The G o ld en N o tebo o k,
d e m o n stra tin g
w orks.
B rie fin g
three
F o u r- G a ted
on
and
w ell,
t o show th e way L e s s i n g 's
u nd ersta n d in g
in
as
L e s s i n g 's
ch ro n o lo g ic a l
Foui— G a t e d
w ill
B rie fin g *
e xp e rie n c e in
Through
The
and i n
the
cu lm in a te in
the
last
n o vel.
B rie fin g .
The
presence
extrem ely
im p o r t a n t
n e c e ssitie s
and
of
h elp
to
th e voyage in
squares
and
sin c e
r e —g e n e r a t i n g
r e - s h a p in g
c ir c le s
of
the
are o rg a n ize d .
thoughts
about
the
to other
human b e i n g s
in
the
L essing
dev elo ps
the
of
structure
illu stra te
circ le s
the
id e a
of
w ay
w hat
of
no vels
w ith
them
b e in g
r e la tio n sh ip s.
e xp e rie n c e s
As a c o n s e q u e n c e ,
im p o r t a n c e
three
leav in g
our
and to th e u n iv e r s e but
human
Squares
d u rin g
and
is
the
m eans
and
after
t h e y s t i m u l a t e our
m in d s
also
open
not
o n ly
to o u r s e lv e s .
N o te s
*D o r is L e s s i n g ,
19863.
A ll
The
fu rth er
2D o r i s L e s s i n g ,
19863.
A ll
further
A ll
fu rth er
4E l a i n e S h o w a l t e r ,
19833,
^ R o n a ld D.
C lty
C Lo n d o n :
to t h is
in
in to H el1
references
to th is
the text.
G rafton
work a p p e a r
a Descent
Books,
in
Books,
the te x t.
CLondon:
work
G rafton
appear
in
the
Pantheon
Books,
York:
Random
House,
appear
in
p. 2 2 3 .
L aing ,
The
A ll
further
7R o n a ld
D.
L aing ,
B all a n t in e
a pp ear
in
R o n a ld D.
D iv id e d
referen ces
The
Books, 1 9 6 8 3 .
the text.
Laing ,
Self
to t h is
P o litic s
A ll
CNew
work
of
E x p e r ie n c e
furth er
CNew
referen ces
So b re Loucos e Sãos
CSSo
the text.
to
P au lo :
York:
th is
work
B rasilie n se ,
p. 1 0 7 .
PS h o w a l t e r ,
p .228.
Pratt
C M a d is o n :
a n d L. S .
R ign ey ,
CLondon:
references
Dem bo,
U n iv e rsity of
14B a r b a r a H i l l
Novel
work a p p e a r
T h e F e m a le M a la d y CNew Y o rk:
19693.
*°A n n is
G rafto n
p. 7 .
5Showal te r ,
19823,
referen ces
fo r
CLondon:
to t h is
F o u r - G a ted
B rie fin g
19863.
N o teb o o k
referen ces
The
D o r is L e s s i n g ,
Books,
text.
G olden
to
L essing :
W isc o n sin P r e s s ,
M adness and S e xu al
U n iv e rsity of
th is
D o ris
work
W is c o n s in
appear
in
C ritic a l
19743,
pp. 7- 8.
P o litic s
Press,
in th e F em in ist
19803.
M a r io n V I a s t o s , " D o r i s L e s s i n g a n d
R. D.
and P r o p h e c y " , P M LA , No. 2 C M a r c h , 1 9 7 6 3 .
Two
26,
19803.
appear
referen ces
fu rth er
L ain g :
A ll f u r t h e r r e f e r e n c e s
t o t h i s work a p p e a r i n t h e t e x t .
3
J e a n P i c k e r i n g , "M a r x i s m a n d M
adness: The
Mac
L e s s i n g 's M y t h , "M o d e r n F i c t i o n S t u d i e s ,
fu rth er
A ll
the text.
12
A ll
Studies
to th is
work
Faces
of
D o ris
No.
1
C S p rin g
in
the te xt.
CHAPTER 2
THE G OLDEN NOTEBOOK
bl ack
d a r k , i t i s s o dark
i t i s dark
th e re i s a k in d o f
L essing ,
Th e f i r s t
w o rds o f
above
illu s tra te
w h ile
se a rc h in g
w ritten
truth
the
for
w ord h a s
of
facts.
force
that
W ulf’ s
answ ers a ls o
Sugar
in
dream s,
false,
prevents
w rite.
Anna,
The
to l i g h t /i n n e r
of
Anna’ s
fr o m
and
r u n n in g ,
T h e G o l d e n N o te b o o k
and
in
h er
Saul
and
t h e co m pany o f
words.
She
- the
th eir
a th e ra p ist,
stim u late s
the
h er
change
hope,
som eone,
corresponds
fr o m
to
d a r k /c h a o s
a n d F r e e Women i s
towards
w orld.
M rs.
a
A nn a
better
lo o k s
M arks,
or
for
M other
c re a tiv ity ,
the
a g ain .
consequence,
A nna s t a r t s
facing
th e a w a re n e ss o f fr a g m e n ta tio n and d i s s o l u t i o n
of
s u rv iv a l,
of
h erself
le a rn in g
w ith o u t
and o f
n e g le c tin g
a
on
the
o u tsid e
As
work
m a in ly
and
to fe e l
neglected
a nd
in sid e
openness
the
callin g
to lig h t
faces
through
w h ic h i s
fr o m
movement
of
w riter,
has
g o l d e n n o te b o o k
Green’ s
them selv es
a
the epigrap h
e xp ressio n
o b lite ra tin g ,
T h e c h a n g e fr o m d a r k n e s s
and fo rm lessn ess
to
that
quoted in
A nn a o p p o s e s d a r k n e s s t o l i g h t
movement o f
Anna
w ay
here
T h e G o l d e n N o te b o o k
n o te b o o k
d iffic u ltie s
a
been
from d e s p a i r i n g .
the
the
th e b lack
darkness
the
d ev elo p in g i n s i d e
p o s s ib ilitie s
the w h irlp o o l.
33
L ik e L a i n g ’ s The D iv id e d S e l f ,
N o te b o o k
presents
e g o tism
and
e m p h a s is
of
v io le n c e
to
the
p eo p le
i n v a d e her
"t h e
human
self
and
w orld.
the
the
-
in te g r ity
The
- concepts
the
and
g iv e s
stru ggles
out
the
w ith p e r s o n a l it i e s
what i s
p re c io u s
start,
has
then,
and
that
se e n by
e le m e n t
that
w ith
self
w ith
concepts
d is c u ss e d
novel
points
human b e i n g
revising
are
She
The G o lden
separateness,
su ffe rin g s
most
a
six tie s
that
of
the in t e g r it y of
the
of
1961,
Lessin g ’ s
d e a lin g
that
n e c e ssitie s
in
reality
b ein g s.
to
threaten
core"
and
sho w
p ain fu l
"s c h iz o p h r e n ic ".
own a n d t h a t
the
m adn ess
among
as
ch a ra c te rize s
that
a
a human b e i n g h a s i n
as
w ith
1962
d iv id e d
seen
d iffic u ltie s
Lessing
in
p ublish ed
the
p u b lica tio n s
lik e
san ity
and
develo ped
d u rin g
the
decade.
A nna
W u lf
ex p e r ie n c e s
p a rtic ip a tio n
in
daughter,
been
trie d
the
has
A nn a
has
d iv id ed
co lo ur
of
a
of
two
dedicated
woman.
the
w ay
her
h er
w riting
c re a tiv ity
se c tio n s.
relevan t
at
fo u r
life
a
in
th is
w ith
hotel
in
is
area
related
F ro n tie rs.
and
group
M o n ey ,
A frica
of
fiv e
War,
that
a
is
each
o f her
the
The
a ctiv e
has
best- seller.
w e ll
a
But
W ulf
has
d iffe re n t
Anna
notebook
first
and
for
in to
se c tio n
e lu c id ate s
id e a s
w h ic h
as th e so u rces
the
frie n d s,
the
and
guaranteed by
in sid e
the
Source
about
years
h av in g
part
o n ly
c o m m u n ist
b rin g s
an
life .
in v o lv e d as
but
has
c u rio u s.
She su b d iv id e s
a n a ly sis.
a
fo r
se c u rity is
of
to
She
c o n s t a n t l y b u s y w i t h her
notebooks,
- the b u sin e ss
Source
to
r e latio n sh ip
s t a y at
n o teb o o k
is
lo v er
F ro n tie rs
lo o k in g
in to
to
a nd c o n c e r n i n g a s p e c i f i c
w ith
m any w ays.
Her f i n a n c i a l
n o vel
of
e x p e rie n c e
The b lack
deals
in
t h e Com munist P a r t y ,
to be a f r e e
p ro fits
life
Anna’ s
how
the
is
their
p lot
of
her
n o vel.
C y n ic ism ,
d e s c r ip tio n
of
p re o c u p a tio n
and
the
of
life
critic
th eir
w ith
the
in tu itio n
b eh av io r.
T h is
in
of
of
Ann
and
its
that
after
sterile
reflect
bar,
are
present
Anna’ s
com m unism ,
correspondence
and
who
betw een
stud ied
Anna’ s
nature
have at roots
tow ards
and,
in
hum an
e xp erien c e
F ro n tie r s .
A frican
its
reason
a
fo r
but
also
cruelty
n o vel,
As
Notebook,
th e novel
she has w ritten
sham e her
and block
c r e a tiv ity :
Anna
realizes
e lic its
in
several
a
s ta rtin g
an in c a p a c it y to a v o id n i h i l i s m
life .
in
p h y s ic a l
u nity
w ritin g
For
v eld
human t e r m s ,
fo r
the
th is
g r o u p 's
and
their
the
w ith
in c ap a citie s
and
the
"t h e u n c o n s c io u s,
m a n k in d
re p e titio n
F ro n tie rs
cy n ic ism
has
in
human r e l a t i o n s h i p s
A nn a’ s re rea d in g o f
n o u rish e s
own m i n d l e s s
psy ch o an aly sis,
a
a
id e a lism
th e v e ld s ta n d s for
i n d i f f e r e n c e s " 1.
report
co lo ur
S in g le to n ,
nature
in flic ts
and
and d is t u r b s
L essin g ’ s fic t io n ,
w orld
liv e s
and
c o r r e s p o n d e n c e beco m es e v i d e n t i n
A frica
M ary
n o sta lg ia
The
and
G o lden
fe e lin g s
that
T h e n o v e l i s 'a b o u t * a c o l o u r b ar p ro b le m . I s a i d
n o t h i n g i n i t t h a t w a s n ’ t t r u e . B ut t h e e m o t io n i t
cam e
out
of
was
s o m e t h in g
frig h te n in g ,
the
u nh ealth y ,
fev erish ,
illic it
excitem en t
of
w a rtim e , a l y i n g n o s t a l g i a , a lo n g in g fo r l i c e n c e ,
f o r f r e e d o m , f o r t h e J u n g l e , fo r f o r m l e s s n e s s . I t
i s s o c l e a r t o me t h a t I c a n ’ t r e a d t h a t n o v e l now
w i t h o u t f e e l i n g a s h a m e d , a s i f I w er e i n a s t r e e t
n a k e d . C p. 8 2 3
The
red
div isio n s
in sid e
p artic ip ate d
secretary.
of
the
notebook,
the
may t h i n g s
as
we'll
its
turn,
B ritish
in te n siv e ly
But
C. P.
on
as
not
Com m unist
o n ly
in te n s ify
among
presents
its
as
the
a
reality
Party.
member
sp lits
mem bers.
the
but
in
the
Anna
also
of
has
as
a
structure
In co heren ces,
the
37
d isc o v e ry
of
g e n e ra tio n s
cr im e s ,
c o n trib u te
the consequent
The
The
M ichael.
s u ic id e
c olour
in
is
are
itse lf"
n o te b o o k
a
v ital
bar
A n n a 's
a
w riter
im p o rtan t
and
w ith
fo r m
who,
fo r
lik e
her
"t h e
reveals
a
The p ro ta g o n ist
in
on t h e
surface
one
of
d e sp a ir.
"T h e
growth
of
th is
In
Anna
w rites
realizes
re q u ir e s
is
lin k e d
life .
m adness.
who
E lla
m an’ s
th is
w ay ,
to
life
the
is
about
in s id e
re - d e fin itio n
of
notebook
the
the
of
an
a m an,
commit
a
future
of
order
not
in
of
the
w riter
^who
b e in g
-
d iv isio n
concepts
of
order,
the
o n ly
the
a
is
to
in tim a tio n
reveals
war
surfaces
also
human
but
w ith
undercurrent
in te n tio n
but
and
who i s
fa n ta sie s
s a n ity
deep
death
w ith
the apparent
h erself
the
the
the
and
w ith
p ulse
w o rrie d
of
Anna
deals
E l l a ’ s n o vel,
that
y ello w
for
E lla ’ s case,
u nkno w n
not
Shadow
frig h te n in g
im p o ssible
suggests
fic tio n
d iv isio n
the
and
M i c h a e l 's
in v o lv e d
w hereas
the
The
is
w riter
life
of
younger
Party
and
F ro n tie rs
u gly
o rg an ized
C p .1 8 1 )
In
W h ile
an
surface
in
the
stand
Anna,
life .
secret
novel
Paul,
has
b ea u tifu l
w ith
Anna’ s
- the
and
th e m es.
Shadow
and u n d e rc u rre n ts.
and
m is t a k e s
d isillu sio n
E lla
q u e stio n s
Cp. 1 6 2 ) ,
su ic id e"
of
presents
fic tio n al
p ro tag o nists,
Ella
fe e lin g s,
to
r e p e titio n
leave.
y ello w
re la tio n sh ip
T h ird .
the
w h ic h
sa n ity
and
m a d n e s s.
The
w o r ld
blu e
around
r e c o g n ize s
n o te b o o k
Anna
that
th eir
e m o t io n
about
d a ily
events
language
is
not
a nd
many
lim it
is
d ia ry
that
w ay
she
the
p eo p le
and
but
good
a
liv e
do
not
based
s o m e tim e s
enough
to
on
the
reacts
w ant
th is
show
shows
to
reality
tow ard
feel,
proves
reality ,
it.
but
p a in - g iv in g .
in
She
she
She
in ste a d
w rites
in e ffic ie n t.
a nd
the
fin d s
Her
an
38
elem ent
of
s te rility
u ntruthfulness
in
newspaper
life .
cu ttin g s.
o r g a n iza tio n .
total
In
lo ts
But
The fo u r
frag ility
In
of
to
h er
w o rd s
p laces
the
w riting
notebook
d ia ry
is
is
at
least,
a s we s e e
in
lin k e d
taken
corresponds
are,
and fo r m le s s n e s s
w h ic h
an
a
o v er
by
elem en t
of
defence
th is
to
a g a in st
im a g e :
S h e u s e d a n o l d - f a s h i o n e d m u s ic s t o o l
fo r
th is
o c c u p a t i o n , a n d s h e now s p u n i t h i g h ,
alm o st as
h i g h a s t h e t a b l e i t s e l f , a n d s a t l o o k i n g dow n a t
t h e f o u r n o t e b o o k s a s i f s h e w er e a g e n e r a l o n t h e
t o p o f a m o u n t a i n , w a t c h i n g h e r a r m ie s d e p l o y i n
t h e v a l l e y b e lo w . Cp. 7 2 3
B ut
in
A nna
is
q u e stio n e d
com partm ents,
In
the
novel
presented
each
of
w riter
W ulf
in
the
but
is
to d e fe n d h e r s e l f
Free
fiv e
fo u r
also
h er
Women,
se c tio n s
co lo ured
the
q u estio n ed
c o nfro nts
because
Tommy,
d e te rm in a tio n
the b a rrier
a fter
the
su b d iv id e
notebooks,
the
h er
w ith
w ritten
w h ic h
nam e o f
by
of
Anna
the
W ulf
p ro tago n ist.
son
of
her
In
of
to
liv e
notebooks.
notebooks
and
p re se n ta tio n
is
not
Free
frie n d
o n ly
of
the
Women,
Anna
M o lly,
who
w ith t h e te n d e n c y t o c o m p artm e n talize :
A nd yo u a r e n ’ t e v e n h o n e s t e n o u g h t o l e t y o u r s e l f
b e w hat y o u a r e - e v e r y t h i n g ’ s d i v i d e d o f f a n d
s p l i t up.
. . . Y o u t a k e c a r e t o d i v i d e y o u r s e l f up
i n t o c o m p a r tm e n ts .
If
th in gs are a chao s,
then
t h a t ’ s w hat t h e y a r e .
I
d o n ’ t thin k
there’s
a
p a t t e r n a n y w h e r e . You a r e j u s t m a k in g p a t t e r n s o u t
o f c o w a r d i c e . C p. 2 7 3 3
Tommy
Women
the
trie s
to
co w a rd ic e
is
m e n t io n e d
w riter
commit
is
too
leads
by
Anna
h im
su ic id e
p ain fu l
to
after
to
in
a
notebooks
d iffic u lt
th is
h im
the
d ia lo g u e
and
he
but
in
so l f - q u e sti o n
w ith
can’t
Anna.
Free
-
he
Anna’ s
understand
the
39
reasons
fo r
not f a c in g
A lo n g
w ith
notebooks,
she
Anna’ s
is
them selv es
v isio n s
and
em ergence
of
- has
not
is
- the
w ell.
to
p ain ,
The
fo llo w s
A n n a h as i n
"t h e
and
separated
the
the
fr o m
im p o rtan ce
a nd
and
d e ta ile d
study
the
the
th is
and
the d ir e c t io n
the
p oint,
of fa c in g
the v io le n c e
the
in
of
th is
process.
fe e lin g
are,
u n d e rsta n d in g o f
and
real
can
of
notebooks
as
o f th e attem pt
and
in
life
that
of
shadows
d iffic u ltie s
e xp e rie n c e s
in v o lv e d
on
w orld
n ig h t m a r e s
s h o w in g
lies
a n n ih ila tio n
d iffe re n t
lim itatio n
of
of
the
her
c o n flic ts
c o n flic t
dream s,
the
- Laing ’ s
of
a
slo w
chaos
Anna’ s
w riting
o v er c o m e
of
in te n tio n
in te g r a tin g
at
to
a
p e rso n a litie s
chaos.
the
is
of
etc.
w ith
self"
a lie n
in sid e
dream s,
- and
n ig h tm are s,
p re c io u s
They
there
h erself
co n fro n tation
that
e x p e rie n c e
v io le n ce
has
n e c e ssitie s,
that
be
dream s,
Anna’ s
that
preserved
the
not
e x p e r ie n c e .
her
in
h erself.
dream s
of
But
d iffe re n t
n ig h tm are s,
these
"c o r e "
fo u r
B o th d ream s a n d n o t e b o o k s a r e m a n i f e s t a t i o n s
fa ce
that
k now s
be
of
in
in sid e
fo r m s :
p erso n alities.
stim u la tin g
She
to
can
she
d iv isio n s
a n n ih ila te
dream s
in
what
for
d iv isio n s
d iffe re n t
many
of
fo rm lessn ess.
w ith
In
a lie n
the c a p a c ity
self
in
fra g m e n ta tio n
shadows.
of
m a n ife sta tio n
exterio r
in v o lv ed
express
d isru p tio n
chaos.
that
and
the
surrounds
She has
to
learn
n ecessarily ,
steps
what a n i n d i v i d u a l
is.
/~
"A n en o rm o us
w eb o f
b e a u tifu l
T h e s c e n e o f A n n a ’ s d ream i n
A nna
keeps
m a n k in d
U n io n .
and
d ista n c e
w h o se
B lack
flo w ing
most
is
in to
fr o m
the
each
But,
other
stretched
t h e r e d notebook
em bro id e re d
im p r e s siv e
A frica.
fabric
co lo ur
is
sud d en ly ,
and
w h ile
out"
C p .2 9 7 3 .
e m p h a s iz e s
t h e map.
p ic tu res
red.
the
th is
Red
co lo urs
and
is
the
start
process
m yths
of
S o v iet
m e ltin g
takes
p lace
"t h e
w orld
C p .2 9 83 .
But
occurs.
An
w orld i s
a
b eco m es
elated"
seen
It
in
my
sorrow .
is
the
house
and
has
room s
to
its
the
by
the
the
and,
turn
B efo re
h a p p in e ss
that
also
the
the
not one o f
b e in g "
house
a cc o rd in g
fo rm er
in
the
the
her
aspect.
appears
style
but
her
in
and
the
red
I
that
of
u n ific a tio n
are
have
not
of
Anna
n ev e r
becom es
a
reason
sa tisfa c tio n .
y ello w
is
notebook.
much m ore
E lla
has
The
of
im a g e
trie s
in
th is
d r e am f o r
the
is
co n flic t,
the
the
she
P au l’ s
trap
th is
it
the
first
looked
lik e
of
down
th is,
all
a w hole l i f e ,
then,
d o in g
in
than
c h a rac te ristic
reflectin g
She
Anna’ s
p ain fu l
been
"a n d
dream ,
after
A recurrent
in
co lo ur
presents:
them a w h o l e ,
In
Her
jo y fu l
"a
p ro bable
fr o m d i s i n t e g r a t i n g .
to
up,
p ro b a b ly th e y were a ll
C p .2 2 6 3 .
C p. 2 9 8 3 .
m e ltin g
jo y ,
the
the d iv is io n s
c h a ra c te ristic s
co m m u n ity
and
has d is s o lv e d .
how ever,
the
of
chaos
m eans
sle e p in g ,
o n ly
but
in to
exp lo sio n
"S o m e b o d y p u l l e d
presented
start
co lo ur"
exists
w oke
aw areness
chaos
The scenery ,
not
"I
b e in g
co lo urs
occurs
else
an
d isso lv e d "
consequently,
contrary,
d ream
been
human
th is
all
that
v o ic e :
im p o r t a n t :
co lo urs
and tho u gh t t h a t
d isso lv in g ,
fo r
the
dream .
fragm ents,
prevent
is
when
C p .2 9 8 3 ,
realizes
the street
w ho le
As
E l l a ’ s.
fr a g m e n ta tio n
in
o n ly
second
first
house
a sm a ll
it
g litte rin g
in te n se
N o th in g
have ended and th e f a b r i c
Anna’ s
v o ic e
and
dream ,
exp lo sio n
On
so
Anna’ s p o litical
life "
The
d iv isio n s
in
is
b e a u tifu ll
h a p p in e ss.
d ream
T h is
h a p p in e s s.
im m ense.
for
the
reflects
c o u n trie s.
becom e
fa b ric
C p .2 9 8 3 .
notebook,
of
one
T h e n A nn a h e a r s
the
towards
all
p ulses
e x p lo sio n
of
r e ac tio n
feels
the
a chaos.
thread
w hole,
E lla
to
the
o rg a n ize
to
the
room r e t u r n s
n o vel,
t im e .
absence
trie s
a
of
the
The
w alls
reason
order
and
41
o b e d ie n c e
she
to
a
prevent
d ire c tio n s
the
knows
is
w ith
The
a
is
is
the
Anna
d e liv e r e d
They
order
g iv in g
to fo r c e
it
o v er
w orld.
the
through
is
b its
to
im a g e
was
w ith
of
a
the
A nna
is
large
sum s
shuts
it
they
the
large
d ia m o n d s"
"I
is
of
the
casket
happens
I
central
surp rised
out
by
in
the
cro co dile.
is
c o n su ltin g
also
roo m ,
up"
the
attem pt
v isio n
The
of
place
"a
sh rin e
fr o m
thought
down
Anna
feels,
saw
how
T h is
to
I
fr a g m e n t s
the
they
green
w as
I
saw
the
it
cheeks
and
then,
is
had
the
cheated
of
the
dream .
and
by
the
d e liv e ry
of
the
co m p ared
a r t ",
it
c h e a tin g
in te r p r e t
the
sm all
w hen
its
all
represented
when
a
In
t o h er
and
W hen
to
and,
sorrow
where
sig n ifica n t.
box.
n o tic e
w as
be
cries.
flesh
em eralds,
the
the
not
I
C p. 2 5 3 3 .
w ill
open
A nna
of
"It
I
statues.
w h ic h
and
d r e am
do
ro lled
w hen
the
notebook.
and
su ffe rin g
W hat
alou d
w oke
of
snout.
tears
all
that
blu e
not
p ie c e s
or
in
A n n a 's
up t h e c a s k e t
w ith
jad e,
C p .2 S 3 3 .
la u g h e d
and
of
do
b u sin e ssm e n
sard o n ic
in
casket
d e lig h te d :
co uld
C p .2 2 9 3 .
and
p ictu res
money
and
box
off
room s"
first
they
of
the
are
w in k in g
a
c o m p o site
But
s id e
dead
Anna o pen s
a
p iec es.
the
But
fragm en ts
is
in
of
w ill
h a p p in e ss.
by
c a rrie s
peo p le.
fro zen
v isio n
Sugar’s
of
fo r
sid e
it
fu ll
for
b u s in e s s m e n
b u s in e s s m e n
about
and
of
It
a
a reason
come
made
in to
su p e rio rity :
sm a ll
cro co dile,
a liv e,
turned
is
h er
A nn a
open
cro co dile
strength
gallery,
fu ll
and
frag m e n ta tio n .
d e c id e
her
too
of
fly in g
the
them t o l o o k ,
surp rise,
and
betw een
w rites
group
effort
c o n flic t
p ro ta g o nist
a
by an
the
h a p p in e ss
art
"o n ly
d isin te g ra tin g ,
a w h ile ,
She
an
to
start
for
and
casket.
scene
of
that
not,
S u ffe rin g
command:
house
because
A n n a - E lla
c o n flic t
central
th is
to
art
M other
g allery
g iv e s
the
same
im p ressio n
p erfe c tio n ,
because of
t h e b u s i n e s s m e n ’ s C p s y c h o t h e r a p i s t s * 73
k n o w in g
w as
see
in
more:
"a
a w ry lo o k
snout
of
casket
are
h er
that
im a g e
sm all,
on
rather
my f a c e
m a lic io u s
of
d e liv e re d
h er
and
app ro p riate.
self.
the
The
on
the
the
fragm ents
to
be
understand
v io len ce
that
and
to
both v is io n s
to
of
A ltho u gh
is
hand,
w ho le.
d e stru c tio n
w o r ld .
sho u ld
art"
But
are
as
be m atched
they
are
the
in
still
and
th is
the
Anna’ s
in
the
on
the
crystal
are
be
not
too
dead.
It
lacks
tim e ,
c a n 't
The r e a l i t y
p re c io u sn ess
e x p e r ie n c e
there
sho u ld
in co m p lete.
at
of
"c r o c o d ile "
them
parts of h e r s e lf.
as
the
they
c o m p le t e
O n ly
and
g rin
a n d her
w here
Anna,
w e ll
in
as
the
pleasure
woman,
understand
too
is
b lin d n e ss.
cro co dile
p lace
of
a cc o m p lish ed
the
sp iky
fragm ents
the
sacred,
not
w in d o w
dry,
green
who
is
re c o g n ize d
A n n a 's
other
d ia m o n d s h a v e
I
However,
self
shop
p ale,
little
"s h r in e
cro co dile,
a
w h ic h
p eo p le
The
A n n a 's
in
o f my d r e a m " C p . 2 5 4 3 .
parts
the
of
the
So,
can
com m erce
of
untouched.
Anna
the
of
of
of
the
of
the
self
sam e c a s k e t ,
she
is
and
still
u n a b l e t o s e e them t o g e t h e r .
Anna’ s
w ith
of
n ig h ts
are
dream s i n v o l v i n g
terror
in v a d e
"n ig h t m a r e
frig h te n in g
C p. 4 6 3 3 .
about
of
w o o de n
In
vase
d e stru c tiv e
co n flic t,
in tim a c y .
d e stru c tio n "
all
A fter
n ig h m a r e a b o u t
C p. 4632).
her
p o p u lated
the
d r e a m in g
the
one of
fr o m
and
about
of
dream s,
R u s s ia .
a n a rc h ic .
p a in
The
The
n ig h tm are s
and
Anna
it
types
of
tw ice,
m a lic e
vase
other
has
a
t im e
for
of
- jo y
the
p erso n a lity
the
that
"t h e
nam es
takes
A lon g
p rin c ip le s
Sugar
cy cles
Anna
p rin c ip le
w ell.
c e rta in
name
or
as
M other
the
sp ite,
the
jo y ,
tells
is
d iffe re n t
p rin c ip le
the
by
the
most
dream s"
it
in
"t h e
sp ite"
fo r m
of
w h ic h
p rin c ip le
a
is
takes
shape
in
an
te rrifie d
and
o ld
because
s n ig g e r e d ,
represented
p rin c ip le
that
I
When
o n ly
mean
my s e l f
or
realizes
"I
m y th ,
is
it
is
in
in sid e
in
me
her
sm ile d
to
and
in
the
under
of
a g ain ,
self
were
a
frie n d
or
of
th in
to
too
or
w hen
in
the
itse lf
the
horror
th e elem en t
human b e i n g ,
can
when
h old
hers,
because i f
house
c o n flic t,
happens
a n y th in g
case,
the
in
a
the
alw ay s
or
he
in
th is
fo r t ",
e xp erien c e
have
w hat
w hen
In
more
g ig g le d
a fra id
stress,
my
and
jo y
the
d re am
even
m a lic e ,
is
"h o l d
is
a g ain ,
" r o o m s ".
another
also ,
man
jo y
was f r i g h t e n e d
and
loose
not
Anna
Anna
w alls
does
and
p ow erful,
T h e most t e r r i f y i n g
d estru ctio n
it
has
d ream ed
the
old
m a lice,
Anna
I
that
of
and
"w a lls ",
"A n d
becom es more i n t e n s e :
now o u t s i d e
v ital
h er
fe el
A nna
"T h is
Cpp. 463-42).
of
of
d w a rf- lik e
human:
c o n flic t,
C p .4 6 4 ).
is
sp ite,
tire d ,
co uld
p rin c ip le
to .
pure
h erself.
danger"
is
ugly,
in v o lv es
p artic u la rly
when
He
im p u lse"
facing
is
he
w as
was
d e s tr u c tiv e
b e sid e s
man.
then
easily
it
be
is
can
evoked"
C p. 4 6 5 ) .
Another
w orld
in
betw een th e s t o r y o f
to
better
o n ly
parts
reflectio ns
and
there
w orld
of
fin d
of
of
w hat
the
shadows
The Shadow o f
She i s
w orld
we
her
self
she
is.
reason
for
She
the
- P a u l /M ic h e l .
w riter
of
are.
itse lf
E lla
portrays
and th e f i c t i o n
w hat
T h ird .
a
life
the
expresses
the
also
life
it:
of
s t o r y w ith E l l a /A n n a
man.
her
understand
c o n tin u a tio n ,
Anna’ s
has
o c c u p ie d
but
Anna,
also
to
b asically
a ffair
w ith
the
of
in
Anna g iv e s
an
shadows
sources
up
in
Shadows
subm erge
b u ild in g
sim ila ritie s
she w rites
shadows.
For
has
the
are
are
fo r
th is
her
Anna’ s
th is
w ith
in
order
a
not
the
w orld
self.
The
fic tio n a l
s t o r y a nam e:
P au l,
them e o f
a
m arried
su ic id e
and
44
w ith
the
grow th
b u ild in g
the
is
up o f
c h a n g in g
of
P au l’ s
the
of
w ife
is
own
She
th is
w hat
she
w o u ld
shadow,
im a g e s o
be
Slo w ly
to
to
a
and she cannot
c lin g in g ,
so
the
C p .2133.
je a lo u sy
casu al,
these
th is
is
shadow,
m eans
is,
and
tem p o r a r ily
C p .2 133.
in
the
now
of
shadow
part
of
on
stands
of
a
is
in
w a itin g
has a n e g a t iv e a sp e c t.
h im self
the
w in g s
return"
When E l l a
is
life,
him . . .
of
The
is
the
h is
analy zes
the
th is
w oven
other
herself"
P au l’ s
rake,
free,
existen ce
of
p ercep tio n
of
in
“So
a
b a n ish ed ,
C p .2 1 3 3 .
her
E lla’s
at
fo r
the
E lla,
been
"t h is
A nd s h e i s
of
re aliza tio n :
has
not
o w n? O n e o f
self- h a tin g
w ith
that
understands
m in d .
the
h erself*'
h erself
of
the
does
w hy
im a g e
E lla
a
fo r m s
woman i s
p ro tectio n
co n sciou s
to
in
re aliza tio n
together
But
E l l a 's
th is
shadows,
illu strates
in
im a g in e d
the
u n e n v io u s,
understand
w ith o u t
safety
w h ic h
Ella
d e sc rip tio n
fib re
to
shadow
F in ally ,
in sid e
fr o m h er
him .
the
u njealo u s,
th is
"E v e r y
The
c o m in g
rake
unused,
to
and
realize,
sort
by E l l a ,
that
re la tio n sh ip ,
then,
h is
h eartless"
shadow s
a
w orld
through
P au l’ s
aside,
as
ego.
h a p p in e s s
im a g in e l i v i n g
to
first,
C p .2 1 23 .
w ife
sh a d o w :
com es
th ird ,
In
P au l’ s
w ith
that:
P au l’s
not"
correspondence
in to E l l a ’ s fa n ta sie s
lik e
b eg ins
is
The
At
calm ,
be h e r s e l f ,
p ro tago nist.
alter
is
that
dependence
w i t h h im ,
woman,
E lla’s
E lla
its
changes
serene,
she
h er
she
"a
fr o m
corresponds
of
how ever,
ev e ry th in g
co uld
it
the
life .
of resources of
lik e
d iffe re n t
answ ers
p o in t,
fu ll
p ic tu re .
Then,
of
has
E lla’s
The p rocess
as
knows,
death
story
in
k in d
h erself.
u n d e m a n d in g woman,
m atch
shadow
a
the
E lla’s
the th ird .
P au l’ s
C p .2123.
u n til
in
w ife ,
s h a d o w b ecom es
im a g e
it
death
P a u l’ s w ife ,
about
of
w hat
it
ser io u s
pushed
p erso n ality ,
P au l’ s
shadow,
h er own s h e know s
45
it
is
p o sitiv e
seren ity .
hand,
is
the
to
However,
w h ic h ,
acc o m p lish
aspects
self
the
and
is
to
Laing ’ s
the p o la r it y
better
of
calm ness,
n eg ativ e.
w orld
a c c o rd in g
of
a
the
So,
Lessing ’ s
tw o s i d e s
to
her
p o sitiv e .
p o la rity
come
due
of
is
id e a
that
and
is
alw ay s
it
r e a l/g o o d
in teg ratio n
P au l’ s,
shadows
E lla,
u njea lo u sy
on
the
c o m p le x
is
to
A gain
necessary
- fa ls e /e v il
other
due
present.
and
in
of
to
a
we
fa ce
order
to
the
human
the
study
self.
T h is
of
aspect
E lla’s
w riting
fic tio n
is
of
starts.
The
in
but she gets
gets
more i n t e r e s t i n g
a n a ly sis
the
im a g e
i
w riting .
s id e
in
h er
to
fo rm ,
there
th is
room ,
is
h er
So,
fo r
a
of
see
E lla’s
the
the
story
to
w a itin g ,
there
is
a
of
is
E lla’s
a
v ital
search
need
l o o k s i n t o her
book
that
I
of
"d r y
o n ly dry sentences.
t h e im a g e s s h a p i n g t h e m s e l v e s
another
to
shadows
e xe m p lifie d
in to h e rse lf
fo r
of
fo r
for
in sid e
c la rity ,
w e ll".
fo r
for
and
lig h t:
lo o k s
w ater,
be
She
w ritten .
change
in
im a g e s
"E lla ,
w a it in g for
her,
for
in
E l l a ’ s develo pm ent
C p. 4 5 2 3 .
p o ssib ility
She
The need fo r
itse lf"
to
d iffic u ltie s
o u tlines
p riv a te p oo l,
shape
w hen
alone
th e shadows
knows
It
the
as
is
that
clear
w riting
of
story:
I ’ ve got to accep t th e p a t t e r n s o f se lf- k n o w le d g e
w h ic h mean u n h a p p i n e s s or a t l e a s t a d r y n e s s . B u t
I c a n t w i s t i t i n t o v i c t o r y . A man a n d a woman yes.
B o th
at
the
end
of
their
tether.
Both
c r a c k i n g up b e c a u s e o f a d e l i b e r a t e a t t e m p t t o
t r a n s c e n d t h e i r own l i m i t s .
A nd o u t o f c h a o s ,
a
new k i n d o f s t r e n g t h . Cp. 4 5 4 3
B e sid e s
im a g e o f
the
f o c u s i n g on E l l a ’ s / A n n a ’ s d i f f i c u l t i e s
dry w ell,
of
"a
cracked
o p e n in g
in to
to w rite ,
the
earth
the
that
was a l l
d u s t " Cp. 3 9 8 3
illu strates
The process o f
d isso lv in g ,
her
Anna’ s
own,
parts
shows
of
a
process
approaches:
good
and
second
a
fu rth er
bad,
yellow
e xp e rie n c in g .
fr o m
abundant,
be.
she
w ill
have
w ith
him :
her;
and
flesh .
Ella
w atch in g
and
apart:
W e ll ,
sex:
"C A t
th is
p o in t
them
th in kin g
was
all
flesh,
mar vel 1 i n g. 3 "
even
Ella
one. 3 "
The
in s id e
becam e
Cp. 3 2 0 3 .
the
Ella
and
d isin te g ra te s,
w ho le,
h ealth y
"g o o d ,
w ise
and
held.
and
person:
room ,
th in kin g,
Anna.
But
that
happy"
serene
Anna
is
"I
able
see
moment
of
w ritin g
becom e
separated:
the
about
“Ella
to
E lla,
I
h old s
C p .4373.
w om an"
w aitin g .
is
she
p oint,
E lla,
A nna
flo ats
away
to
and sto od to
sex
that
E lla
as
slo w ly
Ella.
th in kin g
to
is
detaches
fr o m
me
of
id e a
"A s
Ella
of
Ella
m a in ta in
"t h e
a
a
is,
the
fo rtress"
detached
b ig
of
and
em p ty
course,
C p .4 4 7 3 .
h erself.
and
after
e xp erien c e
about
not"
g iv e
of
to
Who
Ella
both
the
so
she
w o u ld
h elp
an
h er
see
it
person,
tries
w a lk in g
w hat
co n tin ue
She
p erc e iv e
for
has
the
warm ,
be c o m es h e r s e l f :
fast
in sid e
Anna,
and
the
across
sid e ,
one
also
is
D u ring
one
h erself,
Ella
of
fr o m E l l a ,
text
the
body
parentheses
w hen t h e s h a d o w o f t h e t h i r d
cracks
a
that’s
to
in
understands
C p. 3 2 0 3 .
stan d in g
forces,
stan d in g
then,
detached h e r s e lf
the
of
Ella
are
m a d n e ss
sp lit
"H e
w ell
Cp. 3 2 0 3 .
d ista n c e
separate
Very
w e ll!3 "
of
be
as
was
sense
as
him
the
up
in to
E sp e c ia lly
M a itla n d ,
"C E lla
th is
d isru p tio n
saw
p oint,
ir o n ic a lly :
can
sh o w s
Cy
she
self,
u niv erse.
A nna
s u b s t a n c e fr o m
voyage
the
e n du ring .
and c r a c k in g
the
of
the
w ith
sid e ,
co n tin ues
co m p ose
Jar
as
notebook,
exuberant
The
in te n sifie s
sex
CAt t h i s
one
state.
B efo re
e x p e rie n c e
room
that
A nn a i s
o f b e c o m in g a d i f f e r e n t
fragile
that
the d iv is io n s
At
Or:
be c o m es
the
both
so m eo n e
47
else"
A nna
C p .4473.
beco m es
c e rta in
th in g
stay
way
to
all
How
w eig h in g
the
is
in
" I ’m
can
is
the
g o in g
n e u ro tic
develo ped.
the
act
is
m in e "
A nna
d isso lv in g ,
because
proves
th is
h old s
so lu tio n
and
in
of
that
th is
of
the
m ec h a n is m :
in c r e a s in g ly
w hat
p re c io u s
is
"I
co ld,
In
to
a
a
o n ly
C p .3 0 83 .
th is
a
better
fr a g m e n t e d
c o o rd in ato r
process
w ritin g ?
fo r
en c o u ra g in g
of
Is
s im ilar
and
of
by
facts
M other
that
unanswered
of
the
Sugar,
by
h ealth,
can
the
estab lish
is
"s a v e "
q u estio n s,
B efore
Sugar
Sugar’ s
w orld?
n o d d in g s.
d isso lv in g ,
M o th er
t r u t h o f m ental
A nn a a n d M other
mom ent,
a
Lessing
d e fin e s
she
of
of
h elp
ch a rac terized
them e
th e ra p ist,
that
r e m a in
and
the
Anna.
iro n ic al
voyage
in to
a r e la tio n sh ip
to prevent A nna’ s d is in t e g r a t io n .
th is
hew o r d e r
A nn a
the
sile n c e s,
helped,
because
self,
in
m a d n e ss w i t h S a u l ,
about
away
a n n ih ila tio n
the in s t it u t io n a l iz e d
The treatm ent
At
total
psychotherapy
b alan ce,
tries
"I
C p .4 6 3 3 ,
brain
in d iv id u a l
represen tin g
flo ating
says
little
h elp fu l
fragm ented
she
chaos,
real
fa ith
a
of
life .
does
treatm ent
that
h er
th is
h er
lo sin g
sm ile s,
When
b a lan c in g
in
process
in te llig e n c e "
Laing ’ s
central
of
of
prevents
above
c ritic al,
th is
a fra id .
k in d
that
In
it
of
true
w ord
The
the
The
the
in
a
of
L a i n g 's
in d iv id u a l,
by
re la tio n sh ip
the broken p ie c e s
v ie w i n
w ay
o b v io u s
c o n d itio n
essence
of
co n sider
C o n sid erin g L a i n g ’ s id e a s i t
a s im ilar
n e u ro tic
make
to
in t e r e x p e r im e n t !a l
tr y the u n ific a t io n
presents
m eans
im p o rtan t
frag m en ta tio n .
establish ed.
to
is
of
n e u ro sis
p oint
b e in g
is
b e in g
w ith
a
so that
a
is
e v id e n t
The G o ld en Notebook.
w h ic h
is
that
sim ilar
to
perhaps
h ig h ly
co n flic t.
Anna
L a i n g ’ s:
the
c o n scio u s
But
id e a s
the
w ord
and
essence
of
liv in g
now,
c o n flic t"
p recio u s
in
fu lly ,
Cp. 4 5 6 3 .
belo ngs
co n flic t
relevan ce
reached
of
the
or
not
them selv es"
w here
A nna i s
h erself
in
her
Mother
are
long,
statues.
ro o m "
in
is
th is
room
at
and
p eo p le
th is
W it h
lo o k
Anna
at
a lm o s t
Yet
lik e
A nn a
"n o t h in g
art
is
alw ays
in te rp re t
them
n a m in g o f A n n a ’ s dream s
m yths a r e s a f e r
d ream s
in
her
that
than r e a lit y :
in
w ith
own
p lace
she,
at
th is
m e a n in g
w here
of
tw o
of
It
and
is
corresponds
crude,
It
p lace.
is
The w a lls
there
a
are
d ed ica ted
fr o m
w ith
th is
a n y th in g
room
raw ,
that
a
The th e r a p is t
m yths
and
is
bored
w ay.
But
it
is
h er
in .
u n fin ish ed ,
Sugar’ s
takes
opposed
d iffe re n t
sittin g
d iffe re n t
M other
d im in ish e s
or
lim itin g
everyw here.
g allery .
o f what Anna s h o u ld be l i k e
to
a lso
I ’ ve
t o r e m a in s a n e .
m a sterp iec es
d is c u ss io n
Anna’ s
is
the
been
by
the
p sy c h o lo g ic al
try in g
flo w ers
my l i f e
b e in g
p e r s o n w hen s h e l i m i t s
ba sically
in
off
real
co n sciou s
C p p .2 3 9 3 .
tries
It
of
- he
o ff,
room we a r e
has
an
has
is
the
It
is
of
fact
t o b lo c k
the
norm al
room
"In
Anna’ s
of
is
ex p lo rin g
say
b lo c k in g
them s h e i s
c o n su ltin g
"I
by
r e - d e fin itio n
— my l i f e
relates
co n tin u es
on,
so m ething
m e a n in g
that:
te n ta tiv e "
usu ally
real
through
rep ro du ctio ns
p lace:
the
goes
Lessin g ,
realising
L essing ,
a
w hat
and
Anna
sane
q u ie te n e d .
w ith
Cp. 2 3 9 3 .
p leasurable
stay
them selv es.
dark,
It
lo o k
to
because t h e y ’ ve chosen
notebooks.
there.
covered
by
t h e e x a m p le o f
co n fro n t
of
sp lit.
I
P eo p le
Sugar’ s
"s u b s ta n c e s "
tall,
all
proposes
s an ity .
fo rces
b e in g
o ff
Laing
d isc u ssio n
C p .4 5 6 3 .
treatm ent,
both
lim itin g
stage
that.
fo r
the
of
t h e y a r e w h o le a t
stage
b lo c k in g
So,
to
and
not
w hen
A nn a
exactly
th is
s u ffe rin g .
D ream s a n d
49
But when I t r y t o u s e an e x p e r i e n c e , t h e w o lv e s
coma down o u t o f t h e f o r e s t , or when t h e c a s t l e
g a t e s o p e n . . . When I ’ m f l y i n g l i k e I c a r u s - d u r i n g
t h e s e d r e a m s , n o m a tter w hat f r i g h t e n i n g m a t e r i a l
t h e y i n c o r p o r a t e , I c o u l d c r y w i t h h a p p i n e s s . And
I
know why - i t ’ s
because
all
p ain ,
and
the
k i l l i n g and th e v io le n c e i s s a f e l y h e ld in the
s t o r y a n d i t c a n ’ t h u r t me. C p . 4 3 7 3
What
Anna
needs
is
and
leav e
the
nam e,
" ’ The next
A nn a
W ulf
w alk s
of
p riests.
can
I
them selves.
the
new,
w ho le
and
the
it
m eans
they
the
e x p e rie n c e
m e a n in g
elem ental
a nd
sho u ld
fear
I
the
of
w ith
fe e lin g s
T h is
w ith
Anna
c re ativ e
so
terrib ly ?’ "
re q u ire d
you’ ll
proves
fo r
feel
to
by
the
be
the
myth a nd
reaffirm s:
fo rests
and
present
m yself,
Anna
her
life
and
" ’ so m e tim e s
cracked
has i t s
Anna,
T h is
and
go o d
t h e y ’ re
another
so m eth ing ’ ”
w e ll
as
good
of
aw areness
of
Anna’ s
e m o t io n s
fig u re
e v il,
is
an
then
why
Sugar
answ ers
" ’ Perhaps
as
to
aspects
exp lo re
M other
s itu atio n :
trie s
sid e
th is
Anna’ s
across,
h o rrify in g
" ’ If
as
peo p le,
Sugar
to
C p .4 643.
her
value.
w ants
as
up
m eet
for
M other
is
Sugar
open
valu es
opens
I
the
to
that
v itality
true.
she
they choose
to
are
Anna’ s
on
of
su rp risin g
q u e stio n s:
force,
room:
by
frig h te n in g
- M other
sacred
safety
and
them selv es
jo y - in - s p i t e .
truly .
it
they
fa m ily
off,
t h e d r y w ell
the
the
h er
w alk
fo r
d im e n s io n :
dream s
of
not
Sugar’ s
Later
w ant
ba sic
k eeping
that
leav e
a n y fo r m
I
Freem an,
M other
castles
is
fact
therapy
w isd o m
deeper
C p .4643.
are
a n a ly sin g
p rin c ip le s
d r e am
the
H e r e we s e e
capture
as
th is
me
the
it
Anna
Cp. 4 5 7 3 .
you,
So,
n o n - cy clic
fo r
I
them i n
to ld
C p .4583.
to
W h ile
w ith
w ith
I ’ ve
seem s
Cp. 4 6 0 3 .
and
But
existen ce
sp lit,
the
cope
a nd
be
in
that
alo n e’ "
w o lv e s
to
b e h in d ;
surely,
fo rw a rd
the
Freem an"
fr e e d o m
W u lf
stage i s ,
" I ’ m tire d
A nna
the
as
w e ll
as
is
much
you
bad’ "
more
so
d e v elo p ed a fte r
the c o n fro n ta tio n w ith
her
d iv id e d
self:
It
is
p o ssib le
that
in
order
to
keep
love,
f e e l i n g , ten d ern ess a l i v e , i t w ill be n e c e s s a r y to
f e e l t h e s e e m o t io n s a m b i g u o u s l y , e v e n f o r w h a t i s
f a l s e a n d d e b a s e d , or f o r w hat i s s t i l l a n i d e a , a
shadow i n the w i l l e d im a g in a t io n o n l y . ..
or
if
w hat
we f e e l
is
p ain ,
then
we
m ust
feel
it,
a ck n o w led g in g
that
the
a ltern ative
is
death.
B etter a n y th in g th an th e sh re w d , th e c a l c u l a t e d ,
t h e n o n - c o m m ita l, t h e r e f u s a l o f g i v i n g f o r f e a r
o f t h e c o n s e q u e n c e s . . . C p. 5 2 9 5
The voyage in t o
c o m p r e h e n s io n
fact
of
m a tu re
chaos,
and
terror
the
shell,
the
in
sp a tial
L e s s i n g 's
have
"D o r is
and d ir e c t s
aspects
the
last
h is
not
of
of
settin g
studied
and
M elan cho ly " negates
v estiges
necessary step
of
the
self
and
fo r
Only
are v ita l
w ith
the
the
life .
v o y a g e m eans t h a t
the search
w orld.
the f l a t
the
the
M irces
in
but
"fo u r s "
d ire c tio n s,
en clo sed
o p inio n
negate
quest.
it
is
the
the
in
The
p ain ,
fo r
their
e x p lo ratio n
fo u r
no
im p o s s ib le
and
also
som e
of
Karl
in
A n a to m y
of
R.
New
space as b e in g
it
"T h e
baffle
in
sig n ifies
e m p h a size s
w o rk :
m a g ic
to
of
reflected
in
F red erick
The
agree.
is
fo u l;
the
fin a l
neg ative
’ fours’
in d ic a te
C p. 292).
The
sacred
the
exp a n sio n ,
fo ur"
of
u n ific a tio n .
t h e room "w h o s e a i r
Lessing ’ s
is
of
w alls,
S ix ties:
g e o m etric ,
Karl
of en clo su re,
q u a te rn ity ,
vary.
of
co m p letion ,
There
of
E lia d e ’ s id e a
t h e p r o f a n e c i t y " 2.
the
of
aspect
e xp erien c e
aspect
to a v isio n
in fin ite ,
the
c o n clu sio n s
Lessing
id e a s
w ith i t s
fo r
c o n fig u ra tio n
w orks
a rtic le
is
the
a
nature
do not a v o id
of
uses
p erfect
c ritic s
all
frag m e n ta ry
v isio n
Lessing
Several
space
therefo re,
and b e a u ty can a c r e a t i v e f o r c e be born.
as
the
is,
and c o n s e q u e n t ly ,
total
D o r is
h is
self
that the c h a rac ters
d iv isio n ,
of
the
fact
in te n sify
W ith
th is
that
the
e x p lo r a tio n
does
not
fact,
of
of
d im in ish
J u n g 's
is
or
g
h im se lf" .
in n er
In
represents
of
the
is
q u a te rn ity
w h o len ess
darkness
w h ic h ,
house
as
w ell:
" 'T h i s
v e rsio n
by
of
the
the
the
c irc le ,
is
at
in
the
one
h er
"L e s s in g
w ith
a rticle
out
frequently
w h ic h ,
they
an
m in im al
M yth" p o in t s
house,
c ity :
the
yet
L e s s i n g 's
of
upon
represents
not
q u a te rn ity :
touches
as
P ic k e rin g
of
m a tt e r
are
as
Jung
related
archetype
of
by
the
Cp. 2 5 3 .
the f l a t
d a rk
shape
is
and
is
a
w alls
the D ic tio n a r y
"J u n g
square,
who
by fo u r
As
s it u a t io n !),
Jean
life
lik e
Sau l’ s,
the
T h e Two F a c e s
so
w ere t h e
the
way,
in te rio r
is
d iscu ssio n :
that
of
sam e
the s e l f "
"It
th is
man
the
w h ic h ,
w ith
e x p e rie n c e .
state
another
of
to
The atm osphere o f
darkness:
the
a
the
im p o rtan ce
im p lie s,
a space lim ite d
Cs y m b o lizin g
"M a r x i s m a n d M a d n e s s :
the
of
co m m en tin g
number
p lu ralist
valu e
relevant
q u e s tio n ,
c o m p o site
the
p lace in
comment on q u a t e r n i t y a s p r e s e n t e d i n
S y m b o ls
th is
chaos takes
in
of
h elp
is
c h a r a c t e r !z e d
th is
c o ld “ C p .5 893.
to
ch a rac te rize
an e x t r a o r d i n a r y
w orld’ "
C p .5 8 93 .
The need
becom e
clearer
w hen
flat,
of
A nn a
r o o m ',
darkness
trie s
to
and
so
dark,
These
the
by i t s
it
are
sense
he s a id ,
the
aspect
in tro d u c e
aspect of
is
as
A n n a 's
of
lig h t
w o rds
hugeness,
’ i t 's
of
if
lik e
a
vastness
in
the
e n v ir onm ent:
B u t w hen I t u r n e d on t h e l i g h t i n my b i g ro o m , I
k n e w t h i s w as w r o n g , l i g h t was f o r e i g n t o i t , s o I
let
th e dark
come b a c k ,
co n tro lled
by the
tw o
p a r a f f i n h e a t e r s a n d t h e g l o w fr o m t h e g a s f i r e . I
l a y dow n, a n d t h o u g h t o f t h e l i t t l e e a r t h , h a l f o f
it in c o ld d a rk ,
s w i n g i n g i n im m ense s p a c e s o f
d a r k n e s s C p. 5 8 9 3 .
52
A nn a n e e d s d a r k n e s s
natural
not
course.
o n ly
lo st
She
w ith
obscure s id e
that
vastness
o b ject
dark
lo ng
in
a
w ith
in sid e
a
its e lf
once
a
dark
v ib ra te
Cp. 5 5 7 3 .
change
the
of
and
h e a v in g .
w alls
I
b e d ...
space.
stood
of
flo o r
but
a
Here
a
to
an
its
e xp erien c e
also
new
life :
w ith
the
a
to
I
and
other
in
that
then
and
of
lo v in g
the
tw o
w alls
a nim als"
to
the
struggles
and
was
b u lg in g
flo at
the
kn ew
w alls
W e’ re
a cc o rd in g
new
I
but
tran sfo rm
even
space,
I
life ,
mad.
can
lik e
sh ip
s m a ll
o a s is
bed
in w ard s,
stood
S a u l ’ s and A n n a ’ s s u b sta n c e s .
of
the
b u ild in g s,
we o b s e r v e
an
a
fr o m
both
them selv es
me
lik e
very
flat
is
each
bulge
moment
The
p ercep tio n
betw een
be
battleg ro und,
around
s o m e t im e s a
is
" W e 'r e
flat
is
iso late d
also
C p. 5 6 2 3 .
the
It
flat
flo at,
can
it ’s
ruined
"T h e
flat
the
seem ed
For
in teresting .
transfo rm
and
flo o r
above
C p .5 7 8 3 .
The
we c i r c l e
"T h e
if
seem s
sud den tly
d isc o v e rie s:
in to
to fo llo w
in c lu d e
planet
n ig h t:
m adness"
atm osphere
The
o b lig ed
steps
the
also
"S o m e t im e s
hate,
W alls
it
energy
then
of
sea.
m ore:
w ith
and
C p. 5 6 3 3 .
cocoon
a ffection ,
is
of it .
is
on
that
her
of
the f l a t
v ib ra n t
lik e
know s
the
s e lf- c o n ta in e d "
as
the p lanet
The shape o f
flo ating
away
lik e
floors
out
w alls
had
to
and
gone,
get
to
to
be
se e m
Th ey m o d ify a c c o r d in g
and
to th eir
e x p e rie n c e .
The p resen ce
is
v ital
T h e ir
other,
for
the
the
in terexp eriential
o n l y w ay f o r
tw o human b e i n g s ,
successful
exp e rie n c e s
for
of
are
voyage
p o ssib le
freedom
of
re la tio n sh ip ,
a successful
in to
because
b e in g
voyage,
A nn a
W u lf
and
Saul
m adn ess
a nd
out
of
in v a d e d
the
by
c h a ra c te rize d
is
openness
each
by
Green,
of
for
other.
L ain g
as
it.
each
T h is
the
w hat W u l f a n d G r e e n a c h i e v e .
Lessing
of
w orks
w ith
The G o lden
notebook
the
voyage
Notebook.
It
in to
appears
a n d b eco m es s t r o n g e r
d iffe re n t
aspects
stresses,
in
of
each
of
the
the
in
in
the
the
in
three
y ello w
by
such
a
"fr a g m e n t s "
and i n
the g o ld e n one.
voyage
th e m ,
self
the
Lessing
portrays
d iv isio n
im p o rtan ce o f
the
blu e
and
total
also
fu sio n
of
tw o human b e i n g s .
The
fo urth
y e l 1 ow
when
com pared
structure
in to
short
a ste risk
n o vels
on
are
v e rsio n s
of
STORY"
its
left
be
herself
"A
b e c o m in g
She
ill,
slo w ly
understands
the
of
reality *
deeper
sense
of
reality
c o n clu de,
A
SH O R T
another
S T O R Y ":
p sy c h o lo g ic a l
sid e
"S h e
ch am eleo n ,
a dozen d i f f e r e n t
or
h arm o n y
a ste risk s
in
w ith
yello w
T h is
notebook
e xp la in e d
in
in
the
a
It
d iffe re n t
is
that
the
A nna
has
q uo tatio n s
w ith
she
has
a
In
"*
and
"*
10"
4
because
p eo p le"
A
SHORT
She
fin d s
had
in
her
hers,
she
is
man
not
there
of
so
that
in
to
it,
Cp. 5 2 0 3 .
one
"A
has
A nd
in
man
to
**18
who
is
a
course
of
a
she
can
p erso n alitie s,
eith e r
in
o p p o sitio n
to,
reproduce
the
C p .5 2 3 3 .
s in c e
blu e
A nn a
y e llo w and b lu e
b ack
n o te b o o k
notebook:
w ill
to
the
has
"T h e
a
day
a
the
r e fe rrin g
go lden
response
and
e x a m p le s
man.
n ev e r
is
and an
n in eteen
are
In
illn ess
’ n o rm al*
in
d iv id e d
sto ries
A n n a ’ s and S a u l ’ s r e l a t i o n s h i p
h im "
the
that
lo v e
th is
gone;
than
the b lu e notebook
sim u lta n e o u sly .
in
C p. 5 1 7 3 .
changes
be h a l f
in
that
ones.
exp e rie n c e .
symptom s
has
of
and
fo llo w in g
wom an,
ill"
’ sense
cu rio u s
Sau l’ s
w ith
w h o se
is
The
and
is
yello w
by
E a c h o n e h a s a num ber
co up le
understands
man
c h a r a c te r ize d
other
It
h ealth y
is
n o vels.
a
story.
Anna’ s
we f i n d :
the
s id e .
about
th eir
w ill
to
and sh o rt
alw ays
fo r
what
life .
sto ries
notebook
were w r it t e n
a ste risk s
m e a n in g
fact
is,
of
the
w h ic h
the
is
real
54
exp e rie n c e
c a n 't
a sterisk s,
lik e
symbol
all,
of
but
reader
most
in
at
moments
another
th is
able
is
to
the
steps
of
the
of
as i n
that
h er
does
body
of
and
the
th is
too
of
not
dense
opens
The
note
about
up
a
at
w h ile
a
n ew
Saul
and
its
g iv e
up:
Anna
is
p rin c ip le
the
and
of
b e in g
w ith
has
other
war
of
A nn a
is
d iso rg a n ize d
to
th e voyage.
of
terror
feelin g .
"S o m e t h i n g
still
and
and c o n f l i c t
has
to
be
C p .5 6 3 3 .
In
fig h t
However,
in n er
A nn a i s
p e o p l e 's
m in d s .
She
liv es
fu lly.
So,
w ill
it
be part
of
the next
in .
com es
to
fe e lin g s
liv e
creature
creature
own
the
sp lit
peo p le
w hen
fearfu l
frig h te n in g
strange
b e in g s
for
of
the
en tering
e x p e rie n c e
m a k in g l o v e w i t h S a u l :
in
of
Or
A n y th in g
among hum an
co n fro n tation
terror
p ain
provoke
W hen
The
ro w
better.
square.
is
a
moments h a p p e n when i n t e g r a t i o n
the p re p a r a tio n fo r
a ll
liv e s.
gro w s
of
most
d is c o v e ry ,
h er
of
hostess
starts
be
Anna
dream s
fa ils
the
the voyage fu rth er
n atu rally.
a
that
som e p a t t e r n h a s t o b e w o r k e d t h r o u g h . . . "
D iv isio n s
Saul’ s
b e in g
she
co n sciou s
the liv in g
Anna
moments
danger
but
leav e
also
at
that
notebook.
w hen
be c o m es
process
d iv isio n s,
or
d isc o rd an c e s
T h e most p a i n f u l
d isin te g ra tio n
p lay ed o u t,
m ig h t
e xp erien c e
and
blu e
and
hum an
im p l y
perhaps,
exp e rie n c e s
fo u rth
e n t e r e d b y them .
fo rces
b itte rly ,
n o vel,
The
c ra c k in g s
p a in fu l
of
th in k,
too th in .
jo y - in - d e s tru c tio n
co n sciou s
c irc le
Cp. 6 0 9 3 .
the
in te n sifie d
w ith
a
w ords"
The j a r r i n g s ,
the
I
o ld - fa sh io n e d
k in d ,
the lang uage i s
are
d e sc rib e d .
an
som e
not
be
law s,
is
who
born
"o f
its
in
in
both
h er
flat,
com es
to
Anna
e m o t io n a l
own
in
at
she
the
a nd
becom es
in h ab it
and sexual
lo g ic "
Anna’ s
moment
her,
she
responses,
C p. 5 4 3 3 .
But
the
creature
week
has
he
re a c tio n s
d id n ’ t
come
a c c o rd in g
near
creature
sh rin k ,
d iffe re n t
creatures in s id e
When
is
sex
w hereas
the
a n ta g o n ist,
"S h a d o w
T h is
C p. 5 6 7 3 .
fo r
A nna
to:
"a
is
to
can
be
see
th is
response
abrupt
ch ild "
to
fin a lly ,
Saul
reacts
fr a g m e n ta tio n .
refuses
d ic ta te d
**’ I
be
am
I,
Saul
Cp. 5 6 5 3 .
Anna
represent
Saul’ s
is
in
dark
sa rd o n ic
The
o b e d ie n t
selves:
fre e d o m ,
C p .5 6 5 3 .
The
is
once
w ise,
and
A fter
and
the
siste r"
th in kin g
place
b e in g
in
an
an u n i m p o r t a n t
th e snubbed
A n n a ",
ch ild ,
then,
she
London around h e r . . .
Anna’ s ,
first,
more
k in d ,
the u g ly o ld f l a t
detached
of
happens
"I"s :
Anna,
of
the
"t h is
woman.
lo ck ed i n
s in g u lar
self- aw aren ess
to
The
she is
how ever,
she
has
to
woman
a lso
the
com es
face
t h e man who p l e a d s
in
the
and,
b r o th e r ly and a ff e c t io n a t e .
in
One
fem ale
w ith
p lay m ate
B e sid e s
h is
t h e man who i s
a
shudders
e n jo y in g ,
req u ires
C p .5 6 7 3 .
d iv id e d
man who d e f e n d s
the
lo v es
notebook,
m y t h ic a l
b e in g
C p .5 4 4 3 .
Sau l’ s
"F o r
Cp. 5 4 5 3 .
fig h tin g "
sexual
she,
who
of
not
who
the w astes
"c u r io u s
w atched
Anna
t in y u nim po rtant f i g u r e
lo v e and th e
treated:
jealo u s"
y ello w
a lso
who
anim al’ s t e r r o r s "
"o b e d ie n t
grow
lim p ,
the
is
w ith
is
I
cap ab le
Saul
w as d e s p e r a t e l y a s h a m e d ,
little
in
was
t im e
u g ly d eca y in g h o u se,
I
sex,
who
week
the
been
fr o m
A nna
a
she
Anna t r a n s fo r m th e m se lv e s c o n t i n u a l l y .
had
it
how
angry,
T h ir d ",
longs
For
in stan c e,
"w h o
fig u re ,
her,
belo n gs
other
the
a ll- m o th e r
about
co ld,
grow
c o m b a t iv e
of
repeated.
then
me.
to
h is
w hen
c o m p ar es
d e sire
h is
of
to
the
m ost
im p o rtan t
Anna
suggests
an
in c re d ib le
w ith
Green,
w ays
I
am
"I "s
w hat
to
in te g r a tio n
I
a
am
e x p e rie n c e
moments
w h itc h - d o c to r.
am ount
what
of
I
of
of
He
repeated
am.
I . . . ’"
shots
of
g u n fire .
They
w h ile
h is
scattered
b its
56
just
fly .
He
is
self- c o n ta in ed
w onders,
present
of
her,
w ho le
fr a m e
can I
put i t ? "
s p a tia l
feels
as
in
Anna’ s
of
b a rrie rs
are
the f l a t
and t h e ir
the
h er
ap p reh en sio n
fo u r
in
of
the
co n sciou sn ess
of
the
te rrify in g
She
cruelty
were
and
part
lin k e d
the
of
a
to
the
man i s
S u ffe rin g
else:
gear,
be
e ith e r
be
Anna
fr o m
d iffe re n t
I
as
is
"...h i s
how
else
in
the
the
lo g ic
exp e rie n c e s
in sid e
the w orld o u t s id e .
that
happens
In
of
her
the
p artic les
w ar:
w as
the
but
of
I,
w ar;
are
the
h e ig h te n s
and
thus
fin d
the
full
part
by
fear
a ss u m e s
her
w it h o u t
of
in te lle c tu a l
the t e r r i f i c
the
to
in v a d e d
k n o w in g ,
she
she
around
w orld
w h ic h
"I
when
a tt e m p t
lo sin g
the
of
it,
she
terror,
the
war
as
b a la n c in g
w ith
my
"A n d
1 , 1 ,
of
I,
and
I
knew
I
Saul
how
and
of
war
v ie w of
the
knew t h a t
the
fr o m h er
fo rce:
one
of
nerves
A n n a knows t h e f o r c e
becom es i n e x t r i c a b l e
and
these
fragm en ted
was
lim itin g
seen,
B e in g
of
the
have
w orld.
not
to
in
we
about
of w ar" C p .5 6 8 3 .
sp ite
the
But
or
occurs
sm all
fear
fo u nd
w orld
p o ssib ilitie s,
th e fear
is
return
the
vastness
and th e kn o w ledge of i t
w orld.
w ith
and raw .
n ig h tm a re s,
p ro b a b ilitie s,
im a g in a tio n
trie s
jud g es.
w alls
thin k
w it h
the
n ig h tm ares,
in
w ill
"s o m e t h in g "
o n ly
four
e v ery th in g
of
does
we
re la tio n
present
can
notebooks.
more s e n s i t i z e d
of
I
so m u ltip le th at
and
in to
the
when
co n sciou sn ess
terror
the
som e moments t h e r e a l
b e c o m in g
flat,
in teg ratio n
terror
the
at
is
who
th in ks
w en t
of
frag ile
the
beco m es
who
he
Saul
person
that
he i s
shouts,
Cp. 5 7 1 D.
p o sitio n
fin d s
man
A n n a 's
the
how ever,
q u iv e r e d
U n ity ,
he
loses i t s e l f .
the
when A n n a
bullets
about
She knows,
fro nt
the
but i t
s o m e t im e s ,
streets.
in
lik e
and
of
strong
A nna
these
57
e m o t io n s
part
is
w ere,
of
how
alw ay s
I
is
her.
n ew s
of
W hat
to
to
hers,
and
h im ,
kno w s
the
says:
"I
h er
fille d
fear,
w ith
h id e o u s,
Cp. 5 7 3 3 .
In
of
In
her.
a lso
She
torture
Cuba.
self
their
tw o
Cp. 5 7 4 D .
in
under
bed,
But
enters
a
has
of
a
the
an
a
se rie s
he
"W h en
m ost
to
he
lin e s
in sid e
in te g ratio n
an
in
relevan t
a
a n x ie ty is
ro o m ,
of
stretch
th is
above
fe e lin g s
and
the
't o
out
flat
and
fo llo w
c o m m u n ic a t i o n ,
in
a
dwarf
was
and
dream :.
She
fig u re,
my
we
Anna
the
counterpart,
w er e
dan cing
in
b u ild in g s,
w h ic h
were
black
m a c h in e ry
w h ic h
held
n o sta lg ic
of
truth.
T h e ir
c e le b ratin g
an
A lg e ria n
they
e x p e rie n c e
lie s
k iss
is
m elts
stretched
ja il
and
for
A nn a
afterw ards,
lo n g
the
"t h e
d e stru c tio n "
A frican ,
so ld ie r
com m unist
and,
and
in c o m p le te n e s s
T h em b a ,
so ld ier
h is
w ith
w h ite
creatures
C h arlie
of
leav es
Saul
t h e k n o w le d g e o f
A lg e ria n
in
d estru c tio n
c h a rac te riza tio n
co m m u n ist
natural
e x p e rie n c e s
c o m m u n ic a t io n
The atsm o sp here i s
of
the
state
m akes
siste r,
m en acin g,
v isio n s
beco m e
d e stru c tio n
m utual
of
t h a t h er
and
en o rm o us
n ig h tm a r e
of
So,
a
m a le - fe m a le
my
h a lf- h u m a n
w o u ld
p rinted
start
seem
w ith
and
power
the
B e sid e s
m a lic io u s
the d e s t r u c t io n ,
caress
a
my n e r v e s
brother
p lace,
death.
start
e x p e rie n c e
the
my
d e stru c tio n "
fo r
is
jo y - in - d estru c tio n ;
m ale- fem ale,
open
life
e xp e rie n c e d :
w alk’
me,
fo rces.
m ovem ents
and
T h is
of
she understands
The
leav e
new spapers.
"c r e a t u r e s "
t o h i m " C p .5 5 6 D .
w as
never
Cp. 5 6 8 D .
d a ily
A n n a 's
befo re
jo y fu l
of
w o u ld
e xp e rie n c e
A n n a 's
w orld
tie d
p rin c ip le
som e
the
in
little
as i f
the
and d e s t r u c t iv e
never
a
that
w orld"
in
illn e ss.
enter
for
the
W it h S a u l
h is
e m o t io n s
w ay
feel
beg in s
in v a sio n s.
go
saw
te rrify in g
due
a
present
re a c tio n
The
in
of
in to
on
a
a so ld ie r
is
w hen
a
h er
C h in e se
peasant.
M ixed
in v a d in g
other
d isso lu tio n .
A nn a
w it h
p eo p le’ s
h er
p erso n alitie s:
lik e
p u ttin g
lik e
the
on
assum es
need
to
such
a lo n g
The
the
person
When
buys
the
start
for
w orld
The
in n er
both
Saul
and
Anna s t i l l
one
in
b u llets
are
p ro je c tio n
in v isib le
for
and
a
Anna
the
is
concerns
h is
film s
in
in
w ay t o f a c e
The p r o je c t io n is t
of
of
the
A n n a 's
T h is
Anna’ s
her
The
the
b e in g
e m o t io n s .
When
r e a ffirm in g
her
for
a
a
is
an
all
act
so ile d
to
of
dress.
open
person
up
a
in v o lv e d
fee lin g s:
exp ression
e m p h a size d
But
is
of
is
" I ’ ll
one bo o k" C p .5 8 5 3 .
the
illn e s s .
present.
of
n e c e ssity
fu sio n
and o f
as
dress
w eight
d e c id e s
w riter,
m yself i n
b e in g
so ile d
the
been
of
Anna,
on c o n t i n u o u s l y
n ew
that
b ec a m e
notebooks
she
sense
duty I
she
fo u r
the
terror:
other
T h is
has
of
of
w ith
of
Saul
in
d r e am
h erself
p lace,
she
Some a s p e c t s
the
order
a
- the
to
also
of
n o te b o o k
p ro je c tio n ist.
new
d iffe re n t
and
the
all
go lden
to
notebook
as
w ith
co n tin ue
of
one
who p u t s
herself
p o ints
w hat
to
e m o t io n s
g o lden
falsity .
notebook
fuses
C p .5 8 0 3 .
the
aspect
w o rth w h ile
and
block
h id in g
a n ew n o t e b o o k ,
untruth
blu e
the
for
an
weary se n se
stuck
exact
t im e .
of
is
dress"
w riter’ s
the
co w a rd ic e
w ith
b e in g
a
has
dream ,
the sh a rin g of e x p e rie n c e s
h er
share
w ith
s o ile d
of
Jo yful
b o d ie s
however,
was
a
o n ly one w ith o u t
Anna
and
in d iv id u a lity
"It
w eight
p o ssib ility
fly in g
The dream ,
leav es
she
a
of
in
I ’s
b u ild in g
the
n e c e ssity
up
of
go lden
Saul’ s
that
Saul
d istin c tiv e
and
the
in v isib le
creature
life
show s,
and
a
voyage p o rtray ed
and
m in d
of
in
of
the
notebook.
selves
in to
shouts
lik e
aspect
presence
is
out
is
of
the
an
resp o n sible
co n seq uen tly ,
a
w riting .
helps
Anna to
lo o k
carefu lly
at
scenes
of
h er
life
and
a d m o n is h e s
b lo c k in g
n a m in g
d isc o v e r
h er
and
is
in v o lv e d
put
in
h er
order
had
and
gone,
d istin g u ish
is
sid e .
and
to
She asks
film
new
of
co n sciou s
g ra sp in g
her
a tte n tio n
of
the
w hat
d id
I
th is
the
h im ,
her,
The
A n n a 's
As
to
you s e e t h i s
is
in
next
the
has
the c h a r a c te r is tic
the
by
of
the
burden
beco m e.
I
w as
w hat
I
situ atio n
of
T im e
unable
had
to
known"
that
strength
fo r
not
e m p h a s is s h e
a cycle,
Saul
Anna
on
h is
we g o a r o u n d
corresponds
a n ew p a t t e r n ,
p ro je c tio n ist
of
of
consequence,
lo o k in g
The
life
t im e
im p o s e d
the
It
process
co n scio u s
a
th eir
a n d we know t h a t A n n a i s
shaping .
and
due
cy cle
new
had
and
b ecom es
e x p e rie n c e .
" 'C a n 't
C p .5983.
my l i f e
in v e n te d
r e latio n sh ip
A
w ith
exist,
them .
n ec essities
v isio n
faced
she
of
to the correct
that
not
had
awakens
fo r
was
chaos
many
m e a n in g s .
retro sp ective
“I
in
of^ t h e
the
memory
break
around?’ ”
a
out
Saul
to re p e titio n
fo r
her
sto ries:
my
resp o n sible
d e c id e s
in
betw een
When
u n tru thfu l ness
of
He c a l l s
r e c re a tin g
C p. 5 9 7 3 .
m akes
u n d ersta n d in g ,
p ro je c tio n ist.
has
the
appears,
a u n iv ersal
the
fe e lin g
and u n d e rsta n d in g :
...t h e r e
was
a
fu sio n .
and
in stead
of
se e in g
separate
scenes,
p eo p le,
faces,
m o v e m en ts,
g l a n c e s , t h e y w er e a l l t o g e t h e r , t h e f i l m becam e
im m e n s e ly
slo w
a g ain ,
it
b ec a m e
a
se rie s
of
moments w h e re a p e a s a n t ’ s h a n d b e n t t o d r o p s e e d
i n t o e a r t h , or a man s t o o d on a d r y h i l l s i d e i n
t h e m o o n l i g h t , s t o o d e t e r n a l l y , h i s r i f l e r e a d y on
h i s arm. Or a woman l a y a w a k e i n d a r k n e s s s a y i n g ,
No, I won’ t k ill m y self, I won’ t , I w on’ t. C p .6113
A fter
start
these
w riting
be t r u t h fu l.
im p o r t a n t moments t o g e t h e r ,
a g ain ,
Saul
to
g iv e s
face
h er
d iv isio n
the f i r s t
and
Saul
a dvises
su ffe rin g
sentence of
in
Anna to
order
t h e book
to
she is
60
g o in g
to
w rite:
down:
The
Anna,
then,
h illsid e
on
h is
w rites
women.
in
above,
and h is
co n tin ue
A nn a w i l l
tw o
reality .
they
is
in
towards
and
"T h e r e a r e a fe w o f
by
the
a ll
the
g iv e n
in ,
who’ ll
self,
then,
sho w s
c o m p a n io n sh ip ,
of
lin k
If
p eop le.
m a lic io u s
on
the
the
la stin g
d e stru c tio n
ja rrin g s,
each other
openness i t
and
for
is
c ra c k in g s
greater
of
of
Anna
on
is
both
and
quoted
that
Saul
w hereas
their
But
the
The
but
fo rces
u n ity
are
it
not
is
d isc o rd an t
"in t e r e x p e r ie n c e s "
i m p o s s i b l e t o b e your
we r e l y
who
voyage
also
still
and
for
fe e lin g s
w ith
the
w orld
of
that
ex c lu siv e ly
the
them .
haven’ t
h arm o n y
alw ays
and
on e a c h
in to
the
due to other
d iv isio n s
e xp e rie n c e s
he
frie n d sh ip :
ones
co n flic ts
of
u n ity
we r e l y on e a c h o t h e r
C p. 6 1 7 3 .
A nn a
The
and
the
the
fo rce
we’ re
human b e i n g s
u n a v o id a b le
that
the w orld,
team ,
in v isib le
cap acities.
are
a
both
a fter
make c l e a r
expresses
fig h tin g "
w o r ld
Saul
a nd s p i t e f u l
co n stru ctive
the
go
W e’ re
of
p ro je c tio n ist,
for
dry
a n d F reem an .
us around i n
t im e .
a
g lin tin g
fo c u s in g
of
e v e n t h o u g h we d o n ’ t know e a c h o t h e r ’ s nam es.
other
" ’ On
p o in t,
start
W rite
C p .6 1 5 3 .
p o sitio n
a d m it s
process
search
Saul
the
to
flat’ "
m o o n l ig h t
the
tw o s e n t e n c e s
ev e rla stin g
A nna
a
the
Saul
Anna.
book:
sta rtin g
liv e s.
scene
These
h is
by
suggests
the
separate,
a
are,
London
of
in fe r
is
Sau l’ s
Saul
the
you
watched
can
and
women
sentence
h av e to b a la n c e W ulf
B efo re
feels
in
We
betw een
h is
alone
so ld ier
and
that
p arallel
two
m e a n in g
Anna’ s
in to
the
first
the
their
A nna kno w s
a
the
Cp. 6 1 5 3 .
that
in ,
are
were
A lg eria,
d iv id e d
m akes
women
rifle ’ "
voyage
w ill
tw o
in
sentences
s till
"T h e r e
jo y fu l
and
pow er
of
O nly
can
through
they
th e w orld.
own a n d i n t e g r a t e d
leav e
W ith
self.
no
The
result
A nn a d i s p l a y s
of
Free
of
h er
Women
skeleto n
of
se c tio n s,
the
w ith
the
fiv e
after
the
voyage
m arriag e
p oint,
a rm ie s ,
t h e fo u r
no vel.
in to
a
w elfare
centre.
that
is
the
Anna
women
w ere
so c ial
in
w ork.
another
relevant
another
the
the
that
are,
h er
Anna.
flat"
the
a n a ly sis
sentence,
W rite
Cp. 6 1 5 D .
M o l l y a n d h er
M o lly
is
Anna
b o t h women w i l l
separated"
paragraph
to
start
sentence
C p .6 3 S D .
h elp
to
of
for
not
m arried
d iffe re n t
the
These
ellu c id a te
starts
and
work
w riting .
FW
and
her
tw o
A nn a
ways a s
three
the
selves
Anna,
tw o
I
is
not
There
"T h e
two
the
A nn a
work
w ith
Notebook
are
novel
starts
Cp. 2 5 D .
B efo re
tw o women
yo u
in
the
London
but
her
frie n d
start
w o rk in g .
the w r ite r ,
women
sentences
some p o i n t s
th is
When F r e e Women e n d s
w ill
“The
a
to w r ite but
The
alon e
the n o vel.
no vel:
to
G o lden
are
w ere
in
not to.
d iv isio n .
"T h e r e
Labour
At
w ith
d e c id e s
The
p lans
F r e e Women.
the London f l a t "
and
Free
the
Cp. 2 5 3
in ,
clo se
use
fo u r
jo in
l ib e r a t e d /f r e e
women
to s t a r t
in
or
has
the notebooks
who d e c i d e s
says:
tw o
to
k id s
p lan s
A n n a 's
Saul
does
get
g o in g
voyage
and
of
The
own p e r s o n
g o in g
last
down:
is
A nn a who i s
start
n o te b o o k
Anna’ s
flat"
p ro ta g o nist,
fr a m e
presents
and
London
after
there is
sentences
to
the
w rite
the
s e c tio n s
one
the p ro ta g o n ist
to
the
notebook,
no
" T h e tw o women w er e a l o n e i n
g iv in g
the
in
FW w ho ,
So,
Anna,
The
d e c id e s
a lon e
pro tago nist
w it h
who
are
Notebook.
go lden
t h e A nna who w r i t e s
e x a c t l y t h e sam e A nn a who i s
among
each
d e lin q u e n t
has
G o lden
u niqu e
She
for
She
w h ile
last
the s e l f .
The
Lessing ,
the
The
school
we c a n i n f e r
to
of
is
notebooks,
So,
e x c e p tio n
d iv isio n s.
in
exp e rie n c e s
a c c o rd in g
w h o le
has
teach
many
w h ic h ,
Women
Party,
so
still
says
k isse d ,
quoted
have
So,
in
to
in
and
th is
make
in
62
order
to co nclude the chap ter.
When
tw o
Saul
women
d iv isio n
says
yo u
are,
w ith in
Notebook
in
and
her.
ch ief
the
say ing :
“ W r i t e down.
expose
the
novel
context
w h ic h
of
w ith in
w ith
it
the
its
has
and
a c irc le
se c tio n
last
the
of
the
fo u r
in n er
s e c tio n s
F r e e Women t h a t
part
we
fin d
the
separated"
C p .6 3 8 3 .
circ le
put
are
Anna le a v e s
the
At
aside
and
m andala,
the
transcend,
them s i d e
by s id e
the
is
the
G o lden
d u a lity of
the
o p p o site s
by
th e London f l a t "
w h ic h
the
fo u r
n e g le c tin g
form s.
tw o
fo r m
w ay
fo r
th is
squares
w ay ,
w ith in
called
Free
notebooks
o n ly
the
the c ir c le .
as
fifth
In
th is
women
k isse d
and
squares
w ith in
the
becom es
those
fic tio n .
the
The
b eg in n in g
In
novel
a
The
raw .
the
w rites
and
at
tw o
the
start
rather
is
in
"T h e
part,
a
to
co lo ured
There
sp a tial
t o b a l a n c e t h e tw o women s h e i s :
and
fin ish e d
a rtistic
u n fin ish e d
w ith o u t
and
fifth
and
is
encom passes
sentence
opens
g o in g
com p leteness.
not in c lu d e d
the
e x p e rie n c e
betw een
to
The
a rtistic
end
notebook.
th is
and
balance
of
fin a l
in te r p r e t a t io n
and
and
a rtistic
go lden
is
how ever,
crudeness
clo ses
of
She
the
Lessing
as
the
c o m p l e t e s _ hi s _ s e n t e n c e
at
D o ris
w e ll
in
balance
app ro p riate
sentences
of
d iv id in g
w ay t o
em erged,
aspect
Women
a
are
e m p h a s is
t o sh o w t h e e s s e n t i a l
h erself.
th is
se c tio n s
g iv e s
S in g le to n ,
But- S a u l
in
fo u r
to
fin d
rests
it:
he
“There
s e n t e n c e A nna o p e n s u p F r e e Women b u t d o e s n o t
c o n v e n tio n al
sig n ifica n c e
to
n o te b o o k
T h e tw o women w e r e a l o n e i n
d u ality
fr o m
C p .6153
a im i s
need
o n e s e l f " — C p .8 5 3 .
W it h t h i s
go lden
A cco rd in g
w ith in
C p . 61 S 3 .
in n er
Anna“
" L e s s i n g 's
p erso n ality
the
m ea n in g fu l.
that
who
lead s
to
w an t
to
She
has
fo u nd
com pleted,
she
can
any e xp e rie n c e .
W u l f a n d F reem an .
Anna i s
a
put
able
N o te s
*M ary Ann S i n g l e t o n ,
L essl ng
CL o n d o n :
fu rth er
referen ces
T h e C l t y a n d t h e Vel d:
A sso c ia te d
to
th is
work
U n iv e rsity
appear
in
The F ic t io n
Presses,
the t e x t ,
of
P o ris
19773.
A ll
p. 1 0 .
zF r e d e r i c k R. K a r l ,
"D o r is
Lessing
in
the
S ixties:
The
New
Anatom y o f M e l a n c h o l y , C o n t em p o ra r y Li t e r a t u r e 1 3 C l 9 7 2 3 , p . 2 2 .
3
Juan- Eduardo C i r l o t ,
A D ic tio n ary of
R o u tle d g e e & Kegan P a u l ,
19713,
S y m b o ls
p. 2 9 2 .
CLondon
and
H enley:
CHAPTER 3
THE FOUR-GATED C I T Y
Over t h e y e a r s t h e m an grov es b r i d g e t h e w ater
betw een th e i s l a n d s ; th ey exte n d th e m a in la n d ;
c r e a t e new i s l a n d s .
R a c h el
The
w orld,
F o u r - G a te d
C ity
p oints
to
to eyes
th a t s e e and e a r s
the
F o ur- G a ted
com pose
w ith
in ,
a house,
As
in
Th e
a
v isio n a ry
sin g u lar
hear.
F irst
of
the
that
explore
of
shadows,
se rie s
learns
govern
"t h e
we
fin d
th e trapdoor
a
four- gated
of
Quest
but
the
about
of
the
in
th is
n o vel
of
t h e s u b m a r in e .
e m erg e s
as
w h ic h
last
m in d "
the
a
The
Hesse
is
n o v el
self
and
In
the
better.
the
human
books
M a r th a
in
the
1969,
the horrors of
city
of
p ercep tio n :
fiv e
w o r ld
w alls
of
p ublish ed in
more
the
the u n iv e r s e ,
Notebook,
organs
se rie s
V io le n c e.
C o ld rid g e,
women
d iffe re n c e :
hum ane
a
d im e n sio n
t o more s e n s i t i v e
more
of
throughout
the fo r c e s
w a l l s ,t h e
that
last
fo rces
G o lden
of
C h ild re n
Lynda
the
both
in
the
se rie s
understands
fo ur
is
character
alon g
voyage
C ity
the
m ain
she,
to
Edge of the Sea.
t o a new a n d r e v o l u t i o n a r y f u t u r e ,
b e in g s,
the
Carson,
gaps
they
and
the
face,
t im e s .
sh ip ,
the
But w ith a
sym bol
of
h arm o n y a n d o r d e r .
The
story
C old ridge,
M artha’ s
a
of
w riter
n e c e ssitie s
the
four- gated
who
of
tries
b e in g
to
w h o le .
c ity
is
e xe m p lify
In
M ark’ s
w ritten
by
through
in n er
Mark
fic tio n
and
outer
65
M a r t h a 's
c itie s,
is
n ec essities
tw o s i d e s
the
w here
in n er
so ld ie rs
fr o m
outer
not
o n ly
a
preserve
w ords,
w hat
stand
the
of
space
c ity ,
betw een
calls
on
The
the
in n er
s h o w u p.
th e outer
and
other
and
c ity
that
hand,
d e c id e
of
betw een
the
d im e n sio n
M artha’ s
stru ggles
opposed
fo rces
best
part
but
of
the
m e"
is
The
for
the
c ity .
of
in n e r
to
the
or,
the
it.
in n er
a lso
c ity
in h ab it
cu ltiv a te
d e stru c tio n
then,
outer
The in n er
gardeners
h arm o n y
the
"t h e
and
d iv id e d
the
p o in t,
in
n e c e ssitie s
condem n or
in
d iffe re n c e s
p o la ritie s
and
their
are
d iffe re n t
of
fin d
w ay
in
house.
the
On
allo w
p lace of
The
sh o w s
and
the
to
L ain g ’ s
But
London
they
p ersp ec tiv e.
door
the
in n er
that
rooms
and
she
has
The
am p litu d e
and outer
d e lim its
and
that
the
house
m any d i s c o v e r i e s .
M artha’ s
spaces
to
The
street,
w a lk in g .
streets
b rin g
in te g ratin g
w h ile
m eetin g s
and e n t e r i n g
But
events
entrance
also
Lynda’ s
can e a s i l y
e ith e r
p ercep tio n s.
m a in tain s,
of
of
structure.
territo ry
free
fr o m
a
a w a k e n in g
M ark’ s
le a v in g
a n a ly sis
realities.
th e c o n v e r g in g
th is
house
n ec essities
real
of
The C it y
outer
in n e r
a
M ark’ s
self
v a rie ty
b a se m e n t
exit
a nd
aw areness
the central
an
of
establish ed
in n e r
so lid ity ,
moments
and
secret
tw o c i t i e s ,
M artha’ s
fin d in g
and
the
fo r
of
reflects
the
gro w .
e xe m p lifie s,
she
M ark’ s
the true s e l f .
context
is
is
balance
B e sid e s
also
the
forces
h arm o n y t h r o u g h
spaces
In
J o y a n d h arm o n y w h e r e a s
outer
w h ic h
w h o le .
t h e human e x p e r i e n c e
know
the
of
The c o n f lic t
a nd
b e in g
d e stru c tiv e
c ity
co n q u erin g
of
of
the sanctuary of
p lace
of
as
in
The
G o lden
the
fragm ented
novel
p ublish ed
in tro d u c e d .
The
and
in
Notebook,
p o la rize d
1Q62
co n flic ts,
concern
now,
a
d isc u ssio n
w orld.
the
in v o lv e
w ay
The
the
b a rrie rs
66
im p o s e d b y d o o r s
fr o m
room
c itie s,
and
life
city
on i t s
c o n flic ts:
-
and g a te s
a
fr o m
turn,
c ity .
The
illu s tra te s
d iv isio n
gardeners
w h ic h s e p a r a t e
betw een
and
h o u s e fr o m s t r e e t ,
story
of
M artha’ s
d iffe re n t
so ld ie rs
-
the
in n e r
w ay o f
seein g
p ro fessio n s
shows
and
the
room
outer
personal
and
w ays
of
d iffic u lties
of
b a l a n c in g grow th and d e s t r u c t io n .
A
new
sen sitivity
Characters
lik e
because
of
an
have
be
understood
to
universe.
fr o m
My
The
m ain
seeks
g iv e s
to
fo r
the
L a i ng
Them es
the
lik e
study
N o te b o o k
to
The
a balance
self
1967,
the
the
p sy ch o th erap eutic
to
of
other’ s
and o u t e r ,
b e lie f
to
and
in
the
w h ic h
liv in g
but,
the
order
place
of
tim e,
she
because
in
The
of
children
k eeping
and
im p o r t a n t
a lon g
that
C i t y .'
r e stra in in g
im p o rtan ce o f
part
v iew
E xp erien ce,
w it h o u t
tendency,
"b e s t "
the
L essing
good and bad f o r c e s t h a t
h er
in
of
-
th is
present
c o n stitu te
powers
to it .
fully
the
a tten tio n
p o int
P o litic s
are
no vel.
change
th is
d ig n ifie d
uncorrupted
in d ic a te
enhance
in
The
w orld,
sp e c ia l
d iffe re n t
concerns
and
the
supranorm al
c o n tra rie s
in
id e a s
re latio n sh ip s
C ity
"c e le b r a te ",
some
the
a
by
a
powers a s s o c i a t e d
n e c e ssitie s
of
and
The
s p e c ia l
of
C ity
betw een
a tte n tio n
to
b a la n c e betw een in n e r
Lessing ’ s
a
g iv en
enhances:
in d ic a to rs
and p r o p h e tic
exp e rie n c e
co n flic t,
as
Lessing
of
d ed ica tes
in
that
in tro d u c e d
are
o b jec t
true
the v isio n a ry
also
C o ld ridge
aspect
G o lden
still
p u b lish ed
Lynda
is
a
provoke
in
sound
to p ics
w ith
r e m a in s
in
L aing ,
in
the
self
and
true s e lf.
The u n d e r s t a n d in g o f t h e p o t e n t i a l i t i e s
its
re latio n
w ith
p ro g re ssiv e ly in
the
gardener
The C ity .
and
the
Because of
of
in n er
th is
the real
c ity
are
p ro g re ssio n ,
b u ilt
up
the study
67
of
the
novel
w ill
be
them es m e n t io n e d i n
and
app endix
The
understood
outer
in n e r
The
as i f
and
a ch ie v e d .
the
act
scenery
t im b e r
is
C p .8 6 3 .
w alk s
fo r
she
had
w ith
study
not
o nly
of
a
in
center,
a
love,
Cp. 2 0 3 .
e x p a n s io n
of
and
in
the
city :
a
m in u t e
salty,
coronet
of
A nd
is
In
w ay:
the
fact,
"In
yello w
green
Iris
is
"W it h
de lic a te
the
to o b se rv e ,
to
of
they
usu ally
see.
concern
The
everyw here.
But
the
less
flo w er
h u lk
than
had
and
of
tw o
em erged
the
a
person
and
one
total
g iv es
So,
flo w er"
w h ile
of
M artha
w ho
p eo p le
the
moved
knows
in
h er
rain b o w .
here, ^ in
a c k n o w le d g e m e n t
the
atm osphere,
p e o p l e who d e s p i t e d e s t r u c t i o n
w hat
ju st
London.
happens
Iris,
n o v el
is
en o rm o us
goddess
but
It
in
leaves
sto ries
Greek
the
m o r e - s to n e —than - w o o d
e x p e rie n c e
the
an
sour,
houses.
lik e
of
s e e in g .
o b ject
crevices
and
in
r e aliza tio n
streets
areas
about
of
the
in n e r
be
the p la n e t.
of
the
and
can
p o in t"
to s e e ,
my m ain
case
land lady .
lo v e
is
the
d iffe re n t
the b e g in n in g ,
the
o b je c ts
extrao rd in ary
if
on
Notebook
of
act
remember
happens
it,
"n o d a l
an
in
a
h er
th in g
w h ic h
c o n tra rie s,
a
dem ands
p o in t
E xp e rie n c e
the s u rv iv a l
chapter,
great
out
of
the
parts
G o lden
of
of
the four
The
The
as
seen
London.
of
is"
grow th
d e ta il
in
fr o m
and
the
that
That
Iris,
sees
w hat
of
destroyed
h ad
put
every
d istric t
s in c e
P o litic s
re tain
separates
Another
a lm o s t
of
The
T h e .C i t y
part
seein g
crevice.
monument
state
of
no vel.
and
also
each of
C ity
r e s p o n s ib le fo r
allow s
w h ic h
a
Iris
th is
one of
sin c e
fr o m
but
part
of
d e stru c tio n
days
the
afterw ards
In
the
The
Self
w h ic h i s
first
to
th©
t h e o n l y a n d most i m p o r t a n t
analyze
is
D iv id e d
through
c ity
structure
L essin g ’ s
d iv isio n s
a c c o rd in g
the paragraph above in
w h ic h
d iffe re n tia te s
Laing ’ s
done
the
still
novel
seek
starts
68
r e v e a lin g
that
a
growth em erges.
lo n g
w alk s
in
about
h er
w hat
is
true
and
an
id e n tity
reality
is
reality
e xe m p lifie d
out
d u rin g
three
in s ta n c e s .
w h ile
exam ining
p re c io u s
F irst,
her
She
w hat
of
rarely
b ir d s
com es
w ith o u t
w a lk in g s
p a id .
h e ig h t,
an
a nd
is
Cbut
constant
T h is
is
b e in g
back
to
c e rta in
co n tin ue.
out
of
great
lift
her
fr o m
th is
to
be
A nd
fa v o r
a
the t h ir d
M artha i s
are
betw een
by
rev iew
h er
as
sittin g
a
if
under
of
g rasp in g
life
in stan ce
on:
was
knows
it
other
They
her.
was
be
M artha’ s
"D e b t s .
w h e re s h e
that
w ill
in
befo re
that
had
Then
now,
a
on a
p ersp ec tiv e s"
t h e moments o f r e v e l a t i o n
u su ally
co n sciou s
past
id e n tity
becam e,
her
g lim p se
r e m em b ra n ce
b e in g
of
to
that
in
ev alu a tio n
M a r th a
go
down,
could
rem em b e red
M artha,
of
she
a
aspect
London,
and
second
C w h e n ? ),
up
hot la n d s c a p e and a s k y
in
to
b u ild
her
th is
moment
events
down,
of
exp lo re
T h is
through
really
a c h ie v e d
the
to
a y o u ng g i r l
A
n e c e ssity
up a g a in
w here
is
A nd
descent
a ltern ation
life .
new i n
human
T h e p r o b le m w i t h
have
Cp. 4 8 3 .
to
exists.
D u rin g
M artha Q u e s t ,
a
w ish
u nd ersta n d in g
was
d e stru c tio n
begins.
try in g
already
name.
"S h e
clo ud s"
A
and
C p .5 1 3 .
her
to
com es
w ave w o u ld
that
to
g o in g
unnecessary
be
and
fr o m
a
e xc u rsio n s
has
co m es:
reveal
t r e e fr o m w h e r e s h e c o u l d s e e a g r e a t
fu ll
to
self.
of
she
when
a new p e r c e p t i o n
London
surnam es
re v e la tio n
p o ssib le
M artha’ s
n o t h in g had i n t e r v e n e d ? ,
the
is
On t h e s t r e e t ,
M artha’ s
deep ly
n ew
and
fo rgo tten .
and
of
of
There
is
fo r g e tfu l1 ness
it,
what
refuses
le a rn in g
what
a
in
is
m ea n s.
in s ta n c e :
You
sud den tly
understand
s o m e t h in g
y o u ’ ve
u n d e r s t o o d a l l your l i f e , b u t i n a n e w w ay.
But
t h e r e ’ s a p r e s s u r e on u s a l l t h e t im e t o g o o n t o
s o m e t h i n g t h a t seem s n ew b e c a u s e t h e r e a r e n ew
69
w ords a t t a c h e d t o i t . But I w ant t o t a k e w o rd s a s
o r d i n a r y a s b r e a d . Or l i f e .
Or d e a t h . C l i c h e s .
I
want t o h a v e my n o s e r u b b e d i n c l i c h e s . C p. 1 1 2 3 .
From
th is
true
p oint
id e n tity
m e a n in g o f
onwards
w ill
M artha
dem and
knows
the
these three in s ta n c e s
M artha
also
beco m es
in sid e
h erself.
F irst,
w ho se
m a g n ific e n t
is
d isco v ery
effo rt
to
of
h er
keep
the
of re v e la tio n .
d ifferen t
d elig h ted
strength
the
co n sciou s
aw are o f
she
that
sho w s
spaces
w ith
and
a
dark
cap acities
she
creatures
em p ty
space
has
never
i magi n e d :
But who t h e n was s h e b e h i n d t h e b a n a l i t i e s o f t h e
d a y ? A y o u n g woman? N o , n o t h i n g b u t a s o f t d a rk
r e c e p t i v e i n t e l l i g e n c e , t h a t w as a l l .
A nd i f s h e
t r i e d - b u t n o t t o o h a r d . . . S h e c o u l d move b a c k i n
tim e ,
a n n u llin g
tim e ,
for
the
moment
of
the
e f f o r t , and s ta n d i n another c o u n t r y .. . C p .4 8 D .
But another
space
w as
phrases"
p re s e n c e annoys M artha:
a m a n iac
Cp. 4 8 D .
rhym es
and
tunes
liv in g
in
London.
ready
There
show
“ Jack
fell
and b r o k e . . . "
C p .5 0 D
or
m ovem ents
Jack
uses
on
women
M a r t h a t o work
for
a
the
in w ard s
a
M artha
in
was a s
in
Yes,
needs
Jack’ s
to
house,
both
b e h in d
id io tic
w a v e - le n g t h
w ords
w h o se
d e fin e
but
my d a r l i n g
th erefo re,
p ro stitu tio n ,
daughter"
w ays
c laim s
and
Jack
fell
s e c r e t a r y w i t h Mark C o l d r i d g e ,
The
d efin itio n .
M a rjo rie
w ants
a w riter.
her.
She
her
then,
w ill
down
"M o t h e r ,
in d ic a te
attacks
fo r
w a v e - le n g t h
C p .B 2 D .
M artha,
and
d iffe re n t
the
the
crown.
the so ft
M a r j o r i e ’ s w o r k in g t e r r i t o r y :
r e s p o n s ib ly and c o n s c io u s ly .
house that
if
w ith
dow n a n d b r o k e h i s
street,
for
a lso
that
E ith e r
g o on d a n c i n g ?
dance
is
c o m m u n ic a t e s :
must I
to
"It
next
W h ile
frie n d
d e c id e s
work
as
a
The
house
d iffe re n t
weeks,
forces
M artha
memory fr o m
the
sam e
w h ic h
who
M ark’ s
of
deal
the
She
of
to
house.
w it h
so lid ity
v isit
is
strength of
the
m e e tin g
about th e
know
w hat
Lynda
of
are
c o n fro n tin g
the
a d iffe re n t
powers
"s e t
w h ic h
in
w ill
Pretend
story
have
the
of
me d i d n ’ t
in n e r
M a rth a ’ s need fo r
The
is
in n e r
carefully
q ua n tity
"Y e s .
is
of
and
c ity
gardens
is
o n ly
c ity .
In
fact,
a
o u te r
-
to
to
realities
and
fo rces
of
in
in
Mark,
w h ic h
t h e m ind
to
of
the
and
a ch ie v e
t h e m ".
t o t a l it y of
I ’ ve b e e n o f f e r e d
m yself in t o c o ld
order
fig h ts
M artha
order
w ith
of l if e
C p .1 4 9 D .
c itie s
d em an ds.
d isp o sitio n
t o work
w it h
a n d v i s i o n a r y p o w e r.
opposed
fu se
book
cope
it
a
Lynda
her
fo r
do
is
threatens
in
can
At
then,
storage.
w rites
to b e tte r
the
in te rp re t
in teg ratio n .
represents
p lanned
There
exist"
stand
d e ta il
There
presence
M artha
life
Any s o rt
- I ’ d have had to put h a l f
part
of
M a rk :
lo n g .
C h rist
first
so lid .
im p o r t a n c e o f l e t t i n g
o f rooms a n d a d i f f e r e n t
She t e lls
London
of
o rd in a ry
M a r t h a ’ s most s i n c e r e d e s i r e
h erself.
Lynda
unable
each
s o m e tim e s
w hose
w h ere
the
house i s
too
a p ro p h etic
d y n a m ic ize th e q u e s tio n s
and
the
frag ility .
Lynda
provokes
a ssim ila te
to Carol
and
scenery
D u rin g
them
w ife ,
M artha
and
whereas
to
stay in g
A c c o r d in g
S u r fa c in g 1,
the
m eet.
realizes
a fra id
and
house
trie s
"s c h izo p h re n ic **
reality
the
that
comes
alon g w ith th e in n er
So,
is
b eco m es
sta b ility
corners.
person
Deep
o rd in ary
a cat
M artha
so lid ity
D iv in g
its
Street
im p l y
lik e
tim e,
C o ld rid g e,
the
R adley
that
is
and
strange
in
and
and
its
the
su sp ic io n
peo p le
make
the
m ost
p lace
of
harm o n y
d istin g u ish e d
n o n - e x iste n c e
that
a
nodal
a
k in d
of
of
a
p o in t
centre
and
featu re
central
exists
and
jo y .
It
is
the
b u ild in g .
under
am ong
the
them
a
c e rta in
group
becom es
they fe ed
and p ro te c t
fig h t
m oney,
a
for
shadow
But
the
"t h e
or
and
w ants
But
what
the
conquer
their
to
k ill
they
fin d
octogonal
sp iritu al
of
grow th o f
th is
they
the
w h ic h
of
to
the
need
"it
No
co uld
o n ly
of
the
h arm o ny.
understood:
secret
the
C irlo t,
sy m b o lizes
not
care
about
houses,
and
can
the
streets
by
of
or
take
the c it y ,
an
and
a lie n
m a tu r ity
conquer
earned,
p lace.
can
destroyed
one
city ,
lib ra ry :
and p r o t e c t in g
growth
be
in n e r
room u nd er
is
peo p le
fr o m t h e o u t e r
gardeners
room
that
c o u ld o n ly be e a rn e d ,
p ro te c tin g
the
city
not
s o ld ie rs
By fe e d in g
of
is
to
the
said
c i t y grows l i k e
the
d is c o v e r
w h ite
O nly
d e v e lo p m e n t .
a g a in
is
in
sp iritu al
accepted
as
a
Cp. 1 5 2 D .
So,
of
w hen
The
we
C ity
ab ilitie s
fu n d a m e n t a l
the
about
the
in n er
fig u re
to
n o tic e
s e e in g
it
review
of
feeds
th is
the
w hat
m ain
aspects
the
r e m e m b e r in g ,
of
the
such
o rg an ic
M a r k 's
c ap acities.
the
who,
in
the
of
g iv en
is
the
Mark
work
first
to
also
use
of
talks
on i t
and
h e n c e the im p o rtan ce
o p p o sitio n
most im p o r t a n t :
the
story
When
gradual
dev elo p m en t,
of
im p o r t a n c e
consequences
he c o n s id e r s
gardener
is
the
b esid es
illu strates
h a rm o n y ,
of
that
and
d estru c tio n
the n e c e ss it ie s
and
we
sin c e
fo r
the
stop
of
fo rce
keeps
know
it
The s o ld ie r s
O b v io u sly ,
need
of
requests
a cc o rd in g
e le m e n t .
the
not
secret
an o c t o g o n a l
w h ic h ,
The outer
taken:
and
d isc o v e ry .
v ital
does
re g e n e ra tio n :
part
is
U n fo rtun ately ,
process
g ift"
everybody
th is
in d iv id u a ls.
or
C p .1 5 2 D .
fo r m
sy n th e tize
force
the
p ersiste n t
re g e n e ra tio n .
advantage
of
to
It
B ut o u t s i d e t h e i n n e r
c o u ld not be s o l d ,
come
gardeners.
and r e c o g n it io n .
accep ted as a g i f t "
then,
the
to
- the
the c ity .
power
answer
secret
r e le v a n t.
self
to the
that
so ld ie r,
expands
in
the d ir e c t io n
of
the u n d ersta n d in g
a n d harm ony.
life
the
the second p art o f
of
the
house.
M ark’ s
among t h e
its
cap acities
of
w h o len ess
M artha a pp roaches
th e in n er
’
In
w ay
of
T h is
house
p eo p le
rooms a n d w a l l s
the n o vel,
movement i s
claim s
who l i v e
h er
in
s ig n ific a n t
presence.
th is
house
have to be v i s i t e d ,
and
The
is
in n er
a lso
d isc o v e re d
dem onstrates
d iv isio n s
a sig n
that
many
and th e e x p e r ie n c e
apprehended.
The
part,
b a se m e n t
as
the
in
of
th is
m ess"
in
the
second
exp ressio n .
of
Lynda’ s
C o ld ridge
groundbass
p o ssib ilitie s
stagnant
the
-
it
dev elo pm en t,
C p .1 263.
part
Lynda
fr o m
of
the
was
of
seen,
the
sh o w s
M a r k 's
w ife ,
h o sp ita l,
the
them e
"a
gro w ing
them e
a
in
one
m ovem ent:
novel ,
m ental
is
the
In d e e d ,
C o ld rid g e,
the
house
of
that
the
fan tastic
a nd
there
charts
its
h ad
p o in t
r h y th m
fo r
in
basem ent,
Dorothy,
liv e
first
a
a
and
frie n d
c e rta in
t
t im e .
the
T h is
strict
regu lated
doctors.
as
"d e fe n s iv e
a
lim it
of
by p i l l s
So,
the
cocoon
fra g ility .
the
Cp. 1 8 8D
basem ent
w hose a b s e n c e
b a se m e n t
in
Two
u n ity "
its
is
or
la ck
T h e ir
of
c h a ra c te rize d
aspects
human
door.
b e in g s
of
as
a
each
space
w ith
are
a lso
liv e s
effect
growth,
protect
own
lead s
fo rtress
them
to
as
w e ll
d e fe n siv e n e ss
and
other
a g a in st
the
e n e m ie s fr o m o u t s i d e .
The
rooms
in
t h e y becom e t h e
events
and
settin g
of
exc a v atin g
recovery
of
a c tiv ity
that
real
M ark’ s
h er
id e n tity :
house
lin k s
house
an
are
activ e
p a in fu l
in
the
A frica
past
esp ec ia lly
w ith
process
m e m o r ie s .
of
when
revisio ning
past
M artha’ s
c h a ra c te rize s
the
sig n ifica n t
p ain fu l
the
process
nature
q u e s tio n in g
of
of
of
an
the
73
S o o n s h e moved i n t o t h e h o u s e .
Room b y room s h e
c r e a t e d i t , or r a t h e r , h o l d i n g on t o a d e t a i l , a
c u s h i o n , t h e g r a i n o f a c u r t a i n l i g h t on a s t r a n d
o r t h a t c h , s h e a l l o w e d t h e r e s t t o come b a c k . . . I t
w as v e r y p a i n f u l .
It
was c o m p l e t e l y e x h a u s t i n g .
Her s to m a c h c l e n c h e d a n d h u r t .
She fo u gh t.
Who
fo u g h t ? C p .2423
It
is
fo r
a lso
the
in sid e
read in g
v o ic e s,
m om ents,
adulth o o d.
in
opened,
as
h er
u nb earab le.
C p .2 4 0 D .
From
doubts
an
can
d e c id e s
be
cause
said
better
make yo u
danger
occur
of
at
a
s o m e tim e s
w atched.
On
and
the
trapped
t im e
Lynda
"S o m e t im e s
that
But
one
of
a
the
But
t h e y lo o k
slu ice
up
gates
strong,
- anywhere”
that
she
the
can’t
in
work
work
on
alone.
In
the
m ore
out fo r
w ith
the
“ ’ That’ s
th is
that
w hat
h er
p sy c h ia try
treatm ent
and
that,
a tm o s p h e r e
doctor.
symptom s
o ff
of
so
they
does
w ant’ ,
’ T h a t ’ s w hat t h e y a im f o r :
M artha
are
far
in v o l v e m e n t
contrary
by
treatm ent
s itu a tio n
Cp. 2 3 5 D .
a dv ises
gets
"...s t a r t e d
O n e w as p i t y ,
that
of
a d o le s c e n c e and
need to run
p sy c h o lo g ic a l
o b se rv in g
you
e xc a v atio n
or
know s
peace
her.
The ov erall
n o th in g - b u t’ "
b e in g
pressed,
M artha
betw een c le n c h e d te e th .
p atien t.
p eo p le:
onwards
the
letters
w as a w i l d
d is c u ss e d .
en ric h m e n t.
Lynda,
been
necessary
childho o d,
Q u e s t 's
im p e ra tiv e
fo r
very c o n f l ic t in g .
not
the
The other
p o in t
is
of
the
and
b u t o p p o s i n g e m o t io n s .
so m e o n e t o h e l p
M artha
is
th is
had
fin d s
letters
and a sp e c t s
buttons
tw o v i o l e n t ,
She needs
M artha
o f o p e n i n g M rs.
if
p o la ritie s
that
m other’ s
scenes
s e arin g ,
these
room
of
The act
M artha,
a
not
the
yo u
and
to
one
are
yo u s e e ,
And
th is
general
talk
that
more
there
is
aspect
rem arks
about
the
w atches,
the
one
to
who
a
can
of
tw o
and
is
a n d w hen yo u m ake a
74
m ista k e and s a y i t ,
So,
M artha
in
tem p o r a r ily
h er
peo p le
the
I
is
of
than
tr a n se xp e rie n ce .
acts
and
b e in g .
my
of
re la tio n sh ip
the
to
e x p lo sio n
occurs.
lin k e d
happen.
to
So,
e xp e rie n c e
in
th em ”
T h is
b e in g
w ith
the
up
of
the
treatm ent,
p re c io u s
M artha
p a tie n t.
So,
her,
of
h er
o neself
to
Dr.
in
p erc e iv e s
of
that
the
does
towards
the
fear,
of
the
fo llo w
she
the
the
part
to
sees
that
annul
th is
the
t im e
Lam b
the
other,
the
to
she
fear
w ith o u t
" ’ The
best
it
m ee tin g
of
the
w ith
of
the
to
a
the
su b m ittin g
work
about
part
to
bland,
done
process,
an
o b je ct.
b eg in n in g
W hen M a r t h a t a l k s
says
an
b e in g
w a t c h e r " C p. 2473).
Lam b,
for
r e m a in e d
is
of
fe e lin g s
refuses
as
He
the
case
m eans
"A n d
attem pt
u ntil
M artha’ s
tire so m e
that
the
t h e t im e i s
terror
M artha
general
human
on
the
M ost o f
rig h t
shouted.
dam age
not
p ity ,
th is
other
human t h r o u g h
is
Dr.
the
d e t e r m i n e my
o b stin a te
of b e in g
th is
a llo w
rests
an
betw een
e m p h a size s
not
w ill
by the s il e n t
Dr.
w alk
im p o r t a n t
persons
"e x p lo d in g "
He
to tality :
Lamb s eem ed
w ill
most
then,
But
of
scream ed,
part
of
co n tro ller,
w ept,
Cp. 2 4 8 3 .
the
C p .2 3 7 D .
r e la tio n s h ip
r e m a in
her
control
him :
unm oved"
any
Lam b t o M a r t h a .
and e m o tio n le s s n e s s
she
must
C p. 5 3 D .
E x h a u stio n
"s h e
self
psychotherapy
process
Lam b’ s
by
one
th e w ho leness
b u ild in g
Dr.
fo r
exp e rie n c e
"P s y c h o t h e r a p y
the
w here
the o ther,
p ro p o sed by Dr.
d ed ica ted
is
and
to recover
treatm ent
When
see
b e lie f
betw een
her
we, ^the ^ d is e q u ilib r iu m
b eh av io r
two p e o p l e
w ith
room
c o n d itio n
T h e w ay I
tr a n se xp e rie n ce :
work
You’ re a s c h iz "
e xp e rie n c e are la c k in g .
eq u a lity .
the
Laing ’ s
to
c o n su ltin g
favo u rable
that
rather
a
a successful
most
proves i t .
a tt e m p t
towards
co m p o n e n ts f o r
The
then that
p ro m p te d
th is
of
me.
part
The
73
o n ly part
that
Through
p o ssib le
to
is
the
real
- t h a t ’ s perm anent,
d e sc rip tio n
ev alu ate
the
of
the
a n y w a y '" Cp. 2 4 9 3 .
c o n su ltin g
d isco n n ectio n
betw een
room
one
it
is
b e in g
also
and
the
other:
T h e r e w as n o o b j e c t i n t h i s room t h a t c o n n e c t e d
w ith Dr.
Lam b a s a p e r s o n , e x c e p t ,
perhaps,
the
rug.
For t h e k i n d o f room t h a t D r .
Lam b w o u l d
c h o o s e , a s a p e r s o n , was n o t t h i s room.
When h e
p u t on t h a t s u i t i n t h e m o r n i n g s , h e p u t on h i s
p ro fe ssio n ;
w hen
he
cam e
in to
th is
room ,
he
e n t e r e d th e im p erso n a l. Y e t , i f one co uld o n ly s e e
th e m ,
th is
r o o m 's a i r
m ust b e s a t u r e d ,
cram m ed
w ith
p ain fu l
and
v io le n t
e m o t io n s :
years,
p r o b a b ly , o f a n g u is h and te rro r were c o n c e n tr a te d
in it .
T h e w a l l s must b e s o d d e n ,
v ib r a t in g w ith
them . E m o t io n s . B u t n o t D r . L a m b ’ s . Cp. 2 4 4 - 5 }
In te re x p e rie n c e ,
the
im p e r s o n a l
is
not
then,
room.
able
p sy c h ia trist
to
is
an
attitu de
A c c o rd in g
to
L aing
a
real
estab lish
and p a t i e n t .
It
is
that
clear
m ust
and
be
fo u n d
Lessin g ,
o u tsid e
p sy c h ia try
that
so m eo n e e l s e
betw een
has
to do
th is.
S in c e
of
liv in g
to
be
the
in sid e
h elped
dangerous
by
any
person is
Mark
The C it y
in
p erso n a lity ,
o rig in a l:
w atching
over
another"
novel
"p r o fe s s io n a l",
of
a
the
of
Cp. 1 9 4 D .
M artha
has
s t o r y w ith
In
deals
m em o ries
can’ t
that,
w ith
w ith
fo r
another
tw o
a
p erc e iv e s
th is
and
help
Through th e r e w r it in g
’ D efender’ ,
betw een
I
b e in g
s h a rin g
Desert,
th is
e xc a v atin g
human
C old ridge.
battle
the
a
k in d
the
of
"c o c o o n ",
"R e a d in g
a
part
a
p o sitio n
n eglected
of
second
a ttem p tin g
m e n tio n in g
a
tim e ,
in d iv id u a l.
T h is
of
that
th e m a n u sc rip t
one s id e
a d d in g
m any
its
recent
a d d itio n s,
sim ilar
way
to
one
the
the
c e rtain
been
p erso n a litie s,
process
th in gs
h is
to
the
w as l i k e
try in g
in n er
of
to
and
take
outer
c ities
and
of
h is
try in g
these
h is
story.
to
Mark
is
understand
in se rtio n s
m a n u sc rip ts
c o n fro n tin g
h is
are
sim ilar
w h ile
they
self.
to
come fr o m t h e sam e w a v e l e n g t h :
gone
down
ki nd oi
th is
the
in
in to
a
descent,
descent
d a rk
m a dn ess
that
so ft
reality :
o p e n in g
is
had
to
that
in
third
started
M artha
now
in sid e
to
of
self
the
the
g ro w s a l o n g
w h ic h s t a n d s
all
lead s
us
to
also
sho w s
on
in
and
lim its
It
w it h
fo r
is
in
of
a
and
o v er
the
d isc o v e rie s
the
b a se m e n t
w orld.
So,
the
weapons can e a s i l y a n n i h i l a t e
on
w ith
new,
an
co n flic ts.
of
exp e rie n c e s
v eld
of
the
is
in
w ith in
a
she
It
dem onstrated
the
fin d s
a
room ,
to
the
fa m in e ,
the ric h n e ss
and
how ever,
that
of
voyage
rio ts
sp a tial
co ncretely,
a n n ih ila tio n
part
the
kn o w ledge
center
portrays
th ird
From
sm aller
another
A frica
t h e no vel
Street.
expands
that
m ind a n d
w ar,
of
the
R adlett
There i s
power
chaos,
the
V io le n c e s e r ie s ,
and w arn in g .
the
a tro c itie s,
of
of
w a tc h e r
the co n fro n ta tio n
M a r th a
exp e rie n c e
of
sile n t
e x p e rie n c e s
the
m a p s,
exact 1y
the
and
on
house,
d e stru c tio n
that
the
Lynda C o ld rid g e .
1s
one
and
a c o n tin u a tio n
London
house
it
w as
Cp. 1 9 5 D .
the C h ild ren of
C o ld rid g e’ s
Thom as h a d
th is
that
in
they
e xp e rie n c e s
befo re
re g io n
is
of
W ell,
that
her
needs
once
w rote
knows
place,
that
L ik e
street,
a
C ity
th is
kn o w ledge
Thom as
She
M ark?
M artha.
the
through
The
lo ver
of
realizes
in "- Cp. 1 9 5 3 .— B u t
understood
streets
in te rio r
charts
m a in ta in
to
also
A frica.
death.
en tering
T h e d e v e lo p m e n t
c o n fig u ra tio n .
through
the
Mark
street
of
v o lu m e o f
Quest.
to
w ay o f d o i n g i t "
part
on
the f ir s t
be
her
"F r o m h e r e ,
v alu ab le
had
T h e r e was no o t h e r
Th e
in
s h e know s t h a t Mark
"S h e
up,
an
em pty s p a c e ,
M ark’ s house,
h is
of
and
new a r e a
M artha
those
liv e d
a
p eo p le
the
in .
and
n o v el
But
it
nuclear
of the tran sexp erien ce
in sid e
th e basem ent.
P e rp e c tiv e s
and
p o ssib ilitie s
result
fr o m
up a n o b s t r u c t e d a n d so m etim es o b s c u r e w ay.
of
d isc o v e ry
u nlo cked
com es
doors.
frig h te n in g
is
room s
a
to w ards
doors
the
w ith
the
she
dark
herself
th is
her
past.
had not
she
had
to
a nd
act
w ell
as
to
Lynda’ s
m e m o r ie s ,
It
is
not
"t h e
an a r e a o f
W hen
also
She
had
w restled
and
had
and
su rv iv al:
"S h e
u nkno w n
called
"w o r k in g "
unlo ck ed
fo u nd
out
of
p laces
in
process
of
and
door"
is
movement
herself
The
It
had
entered
C p. 3 1 2 D .
an
h er
d elic a te
there"
of
to v o ic e s
in t e n s e p a in .
of
p r o m is e
through
re v e la tio n .
act
is
process
access
liste n in g
but
open
and
an
were
v o ic e s
of
and s t a r t s
to,
to
fan tastic
in ten se
had
known
o t h e r 's
Lynda
had
to
fu ll
territo ry
known e x i s t e d .
she
lead
an
an
also
effo rt
The d i f f i c u l t
try in g
houses
d im e n sio n
o n ly
of
w ill
M artha e x p e r ie n c e s
because
liste n in g
M artha
not
F irst,
work
as
th is
doors
another
en tering
country.
of
These
M artha p e r c e iv e s
she
out
an
it
a llow s
Cp. 3 8 6 D .
In
new w o r k i n g .
They used t h e ir
dream s,
th eir
slip s
of tongue,
t h e i r f a n t a s i e s , n o t a t a l l a s a D r . Lam b m ig h t
h a v e wi s h e d them t o d o , b u t a s maps or s i g n p o s t s
f o r a c o u n t r y w h ic h l a y j u s t b e y o n d or a l o n g s i d e ,
or w i t h i n t h e l a n d s c a p e t h e y c o u l d s e e a n d t o u c h .
Cp. 3862)
The
new
te rrito rie s
t r y to s h a r e w ith
and
refuse
Lynda
and
has
they
other
to r e s p e c t.
been
M artha’ s
im p o r t a n c e o f
fo r
and
p eo p le a re a re a s
Because
c o n fin ed
thoughts
search
to
about
of
m ental
the
w hose
that
they
many p e o p l e d e s p i s e
d isre g a rd
h o sp ita ls
e xp e rie n c e s
fo r
m any
s o c i e t y 's
p re ju d ic e s
m a dn ess a s a p r o c e s s o f
re v e la tio n :
p ercep tio n s,
t im e s .
reveal
L y n d a 's
the
real
78
P e r h a p s i t was b e c a u s e i f s o c i e t y i s s o o r g a n i z e d ,
or r a t h e r , h a s s o g r o w n , t h a t i t w i l l n o t a d m it
w hat o n e know s t o b e t r u e , w i l l n o t a d m it i t t h a t
is,
except
as
it
com es
out
perverted,
through
m adness,
then
it
is
through
m adn ess
and
its
v a r i a n t s i t m ust b e s o u g h t a f t e r . C p .3 8 9 D
But
m a d n e ss
is
a
concept
p eo p le
who h a v e
room ,
w alls
are
covered
"n o r m a lit y ".
Tw o
eno rm o us
of
the
p lanet.
h a llu c in a tio n s
W it h
w h e r e bombs a r e
in d ic a te
those
the
w h ic h
d elim its
also
a ir,
c all
make
d isp o sa l
of
s p ra y in g
the
other
been
to
R io ts,
Laing ’ s
E xp erien c e:
a nd
"...in
Poverty,
by
h a v e we a r c h i e v e d our
a c iv iliza tio n
The
door
m a in ta in e d
im p o r t a n t
n ew
to
by
the
those
to keep
te rrito rie s.
in
by
fo r
call
m in d
that
brain .
sold.
were
outrageous
U n fo rtun ately ,
to
up
in
the
w ay
them selv es
the
doors
used
d e n o tin g
The
m ig h t
have
n o r m a l.
of
o urselves
a d ju s t e m e n t
a
On
W ar,
P o litic s
of
of
the
C p .3 0 Q D .
w alls
for
to
flags
"a r e a s
d e stru c tio n "
and M artha
also
c h e m ic als
re lativ e
own
Lynda
Mark
and
fall- out,
v io la tio n
its
flags
w arfare
sh ip s"
These
p laces
Y ello w
m arkers
comment
in
of
fr o m
Cp. 3 0 9 D .
a
opens
who
the
b o m b - b la s t s ,
colours
most
germ
are
reality
B lack
to d e s t r u c t io n :
c ap ac ity to liv e
room
of
human
the
fo r
to
study
of
the
w h ere t h e y a r e s o l d .
co n centration
a p p are n tly d riv e n
th is
d elim its
P riso n s"
in s p ira tio n
"O n ly
Mark
d isch arged
v a ry in g
p ic tu r e
flags,
m a terials
ap p ly
M ark’ s
portray
d ed ica tio n
o il
In
w o r ld
co n ta m in a te d
crops,
p erfect
products
w aste,
a lw a y s
v o ic e s.
control
the
the
hear
not
the
m ake
the
where
w a te r
w a ll
of
red
for
rad io ac tiv e
fo r
F am in e,
drugs
p laces
and
maps
that
does
the
m an ufactured and
a tte n tio n
so il
and
w ith
little
fa c to rie s
the
that
sad
A gain
to
C p .7 63.
reality
it
is
are
a lso
fin d in g
them
are
usu ally
79
p ro h ib ite d
The
b y t h o s e who o n l y h a v e e y e s
fo u rth
part
of
the
novel
for
a n n ih ila tio n .
estab lish es
tw o fo rm s o f e x p e r i e n c e :
m a dn ess a s s o c i a t e d
to
Lynda’ s
com m union.
Through
m adness,
re g io n s
of
w ith
terrors
perpetrated
by
ch a rac te rize s
a
the
p eo p le,
w orld
L essin g
of
fic tio n
c itie s
that
are
c o n flic t
w rote
present
in
the
the
of
tw o
very
th eir
the s p a tia l
o p e n in g
of
th is
I
have
represents,
and
to
fu se,
r e b ir th .
the
two
areas,
already
The
the
tray
that
t h e m ilk
that
w ith
w ell
on
a
part
the
n o vel,
in n e r
and
of
H is
turns
in to
as
other
and
process
have,
p o ssib le
a
a door.
m any a c t s
Carol
of
the
outer
p lace
of
of
M artha
d isso lu tio n
an
b e in g
as
a
u n ity
m ilk .
the
of
the
cu riou s
a broken p ie c e s t i l l
is
through the
in teg ratio n
the
fa v o r
of
of
order
after
w h e re
to
d isco v ery
betw een
sh a rin g
consequent
c o n ta in s
"t h e
basem ent
b a rrie r
im p u lse
r itu a l
w ill
d istin g u ish e s
reality in
the
a nd
their
and L y n d a ’ s as
occurs
Lynda’ s
and
It
C ity ,
through
in
attitu de
c arrie s
starts
self
geography
C h r is t
her
d istin c tio n
The
of
p assin g
h er
their
in
"o r d in a r y l i f e "
im p lie s
p ie c e s
im p o s e
th e abandonm ent o f
c o n ta in in g
saucer
to
as
groups
lang uage,
of
m en tio n e d ,
break ing
a
that
d isin te g ra te
women
e v ery th in g
and lo v e
v io len ce
w h ic h
h abits,
M artha’ s act
then,
to
door
T h eir
a
and
real.
c o u n trie s
i n t e r e x p e r i e n c i n g.
down
a lm o s t
tw o c o u n t r i e s
unlo cked
n o n - o r d in a r y l i f e " 2.
m erge,
th is
co n fig u ra tio n
M a rth a ’ s co u n try as b e in g
door
In
of
betw een
exp e rie n c e
currents,
in d iv id u a ls
basem ent
sp e c ific
in
As
M artha’ s
w orld
b eco m es
the
to v io le n c e ,
im p e r s o n a l
s h a r in g .
sam e w ay t h a t
borders
occur.
and
b rid g e
lim its
h isto ry ,
and
Mark
and o f
In
by
com m union
sound
and
a
an
at
and
act
of
th ro w in g
break in g
Lynda
of
lap s
and w here M artha do es
80
the
sam e
o n ly
the
sy m b o lic a lly .
b e g in n in g
of
The
a
o t h e r ’ s m in ds b u t a l s o
ritu a l
process
of
of
com m union
k n o w in g
th e hope fo r
and
s tim u late s
of
en terin g
the e x tin c tio n
not
each
of any k in d of
b ar r i e r .
The
shape
of
the
M artha’ s
and
Lynda’ s
"M a r x i s m
and
M a d n e s s ",
the
archetype
w orks.
as
of
C irlo t,
h av in g ,
sta b ility "
do w i t h
its
to
a
the
the
a
Desert
as
use
symbol
the square,
s itu ta tio n D ,
who
not
yet
M artha
a nd
Lynda
the
urgent
room i s
is
as
part
if
tem porary
as
at
the
the
in
fo r m s
m in im al
h o ld in g
up
of
be,
or
A
b a n g in g
p assin g
the
fo r m o f
the
ev o lu tio n
of
w o u ld
or
e v o lu tio n ,
So,
M ark’ s
number
When
fe e lin g ,
has
In
it
is
A C ity
in
regard
to
u s e s J u n g ’ s comment:
in n er
room ,
and
re g u la rity
c irc le .
c o m p o s it e
basem ent
its
room i n
and
presents
An o b j e c t
term s
C irlo t
h im se lf" .
and
in
and
p lu ralist
testin g ,
to
the square
o rg an iza tio n
C irlo t
as
Lessing’ s
firm n e ss
the sq u are,
the
of
w o u ld
a rticle
of
of
o b je c t.
a cc o rd in g
her
q u a te rn ity
some
of
that
the
m e a n in g
d esc rib es
s y m b o ls
sp iritu al
a
in
in
w ith
in
of
im p ressio n
octogonal
in sid e
room ,
self
the
w ith
o f a task
stage
the
square
one
n e c e ssity
a c k n o w led g in g ,
s y m b o lo g y
the
of
represents
is
on
fo r m
of
the e v o lu tio n ary stag e o f
"t h a t
use
ev o lu tio n ,
betw een
u nd erstand able
p ro v id ed
P ic k e rin g ,
the
of
study
An o c t o g o n a l
p o sitio n
to
w hen fo r m e x p l a i n s
moral
ir r e g u la r ity .
Jean
"t h e
"fr e q u e n t
A n o th e r
shape,
also
D i c t i o n a r y o f Sy m bo ls,
p sy c h o lo g ic a lly ,
correspond
in
p oin ts
w ho leness
in h is
w ith
has
e x p e rie n c e .
the
c o n s t r u c t i o n "3.
to
basem ent
we
we
C sy m b o lizin g
state
of
then
th in k
cannot
c h e c k in g ,
a g a in st
the
the
man
about
fo rget
that
c h a lle n g in g ,
w alls
of
the
fr o m o n e s t a g e t o t h e o t h e r .
the
square,
of
these
w o u ld c o r r e s p o n d
tw o
a
fem ale
to
It
a
characters
81
to a n o t h e r
d im e n sio n o f k n o w le d g e ,
Many
o b je c ts
in s id e
r e a lit y that fav o rs
shoes,
fo r
fo rgo tten
the
of
on
ch a ir,
sig n ifica n c e
frie n d s
angle
the
or
to
other"
presence
w it h
"a
take
of
are
a
one
C p .5 0 0 D .
tw o
th an concealm ent.
of
e x a m in e d
shoe
w o u ld
opposed
one
w ith
a d v e rtise m e n t
th em ,
s h o w in g
sig n ifica n c e
w ay o f
v io le n ce
voyage in .
tw o
of
lik e
women
the
that
of
the
By b e i n g
in
the
left
to o k
on
s ig n
to
exact
c u sh io n s
rig h t
p o ints
basem ent:
lo v e"
tw o
other
c o n v e n tio n a lize d
H ell"
p ointers,
have
to
co n fro n t,
as
w e ll
as
the
and
to
the
of
m e a n in g
w ay
an
the
is
who
w orld
of
In d ia n ’ s
at
of
a
A p a ir
m e a n in g
an
in sid e
“ God
a
ap p aren tly
set
p a ir
of
carefully,
or
be
fo rces
of
shoes
g ip sy ’ s
Another
in d ic a to rs
The p r e s e n c e and m a in ly th e d i s p o s i t i o n
m e a n in g o f t h e
the
yo u
and b e in g .
also
presence
p a ir
tra v e llin g
Juxtaposed,
theatre
C p .5 0 15 .
a
tr ib e s m e n :
the
cu sh io n s
of
the
"a
if
are
rather
reveals
o b jects:
a
room
re v e la tio n
In stan ce,
d isp o sitio n
the
these o b je c ts
of
life
and
these o b jec ts
d a ily ,
out
the
and
the
sig n a l
chaos
towards
and
a
new
d im e n s io n .
In
the
process
of a voyage i s
sea.
M artha
sm e ll
salt
lo o k in g
a ir"
exp e rie n c e
represents
"M a r t h a
e m p ty ,
the
rested,
as
if
she
in
sw ing
Cp. 5 0 7 D .
The
fe e lin g
fr o m
another
is
the
of
face
down
rocked
in
basem ent,
of
the
lo ng
the
eyes
a
of
w ater
deeper
share
sp irit
the
vessel
in tr in s ic
another
in sid e
the
- that
under
is
who
carpet,
w aves
of
b e in g
in to
women
fo rce
sway
of
on
and
d im e n sio n
channel
d y n a m ic is m
the
a sy m b o lic
th©
kno w ledge,
then,
in sid e
feel
life
of
d isc o v e ry
very s ig n ific a n t
"c o u ld
at
v essel,
of
and
or
to
of
the
areas.
The
d im e n sio n
and
and
clo sed,
reef
in te g r a te :
her
beyond
m in d
w h ic h
82
crashed
the ro a r in g
In
th is
rev ea lin g .
ro a r in g
M ovem ents
are
im p o r t a n t
and
in te rn a l
e a rth in g
s e a " Cp. 3 1 5 D .
in
land ,
towards
w hat
s in k in g
m ovem ents
o ut
of
concerns
the
co n fro n tation
B asic a lly ,
in
Mark
these
en tering
the
basem ent.
Lynda’ s
and
gestures
are
much
c irc u la r,
around g e s t u r e o f
M ark’ s
m o vem ents.
areas
the
of
th is
of
and t e s t in g
e arth in g
They c h a r a c te r ize
of
o rd in ary
M ark’ s
acts
the
t im e
sen sing
e xp erien c e
liv in g
e xp erien c e
q u e stio n ,
and
near
of
and
the
life
land
of
in se c u rity :
he
nonsense,
as
it
earth
not
prepared
and
of
able,
fo r
the
e x p e r ie n c in g
to
Cp. 4 9 9 D .
let
go
of
M o v e m e n ts ,
m a k in g r e s o l u t i o n s :
ascends
w alls
But
of
both
or
h is
to
go
it
in
d i d n 't
"H e
e ith e r
to
fo llo w
th is
is
acts
and
path
in
sim p le
c e rtain
M artha,
clo ser
h is
to
by
a
new
or
earth.
sin k s
stay
Cor
in
is
act
of
e ith e r
he
the
covered
m ore d a n g e r o u s
in
been
Lynda"
the
it,
w ith in
sin k ?}
He
atm osphere
in to
w ith
in
Lynda’ s
hadn’ t
h im se lf
at
and
p o sitio n
u p stairs
w ant,
s in k
to
than
more s o l i d ,
of
of fo llo w in g
a
to
le a v in g
around
others.
correspondence
p refers
and
more
en tering
Mark e s c a p e s or
Mark
and
a
of
M artha? C p .4 9 9 3 .
a
have
in
d riv e n
of
voyage:
external
correspond
so lid ity
a n a ly sis
re sp o n sib ility
then,
on
of
know s
h im se lf
s t u d y room i n s t e a d
women
of
been
o rd in a rin e ss
descends.
are
therefore,
"h a d
w ith
the w a lls.
lack
the
c o n fin e m e n t
m o v em en ts,
around
sin k in g
and,
starts
M artha’ s
presence
the
of
e xp erien c e
the
the basem ent,
then,
w ere,
and
space
p a r tic u la rly
m ovem ents
C o ld rid g e’ s
and
m ore
the
are
or
realities.
and
p h y sic a l
a
w ays.
room
of
p lace
of
sen sing
of
p o ssib ilitie s.
Lynda,
d isc o v e rie s.
in
o p p o sitio n
Her
m ovem ents
to
M ark,
are
does
not
ch a ra c te rize d
leav e
by
the
the
83
v isib le
and
towards
them .
back
to
them a n d
b ack
to
the
the
in
in v isib le
Lynda
a
of
desperate
fall
outw ards
b ric k "
knows
her
not
p o iso n ed
"a
of
in d e e d ,b e e n
cured
p ain fu l
and
dem an ds
the
the
of
knows
te llin g
c o n fin e d ,
sin c e
any
y o u th .
presence
of
M a r th a
is
woman a n d ,
L y n d a ’ s q u e stio n
aw are
of
to
Th erefo re,
e ith e r
portrays
in
the
change
of
a g a in st
it
cause
o v er
it
rub ble
im p o rtan t.
of
been
the
to
and
Lynda
a
a
of
space
to
of
lia rs
usually
of
numb
powers
by
the
and
and
about
peo p le.
She
has,
treatm ents
in
order
Lynda’ s
who
w o r ld
w orld
o rd in ary
of
preceded
been co n scio u s
v isio n a ry
siste r
w it h h e r ,
h er
r e m e m b e r in g
su b m itte d
th is
w ith
w o u ld
has
She has
h er
person
sta y in g
changes.
sleep"
act
h er
p alm s
is
takes
w ith
room
out
been
about
a
the
she
b e in g
in
h er
th is
w alls
doped and
of
m in d o f a n o t h e r
of
step
s p a c e ".
to
b e lie f
the
them
k in d
in terexp erien ce.
has
lit
g o in g
She
to
im p o r t a n c e
c lear
"n o t
p eo p le.
dangers
be
of
She
w h ile
d o in g
out
in s id e
a
w h ile
pressed
dem and d e e p e r
them .
and
im p ly
if
step
d ire c tio n
w alls
stares
"s h e
as
the
the
and
o n ly
exp e rie n c e
to as
im p o rtan c e
p a in .
let
But
o u ts id e
cowards
w alls:
w ay,
that d is c o v e rie s
referred
to
movements
urgent
C p .S O l D .
another
the
Her
these
by
ag ain st
senses
and
Lynda’ s
and
bangs
and
feels,
room.
structure
w alls
iso latio n
leav in g
or
shares
and
that
d is c o v e r
the agony that
trie s
to
is
of
is
stay in g
liv e s
enter
t h e w ay o u t
constant
very
of
the
the
such
in sid e
the house:
S h e was a s k i n g : why c a n ’ t I g e t o u t ? What i s t h i s
t h i n g t h a t h o l d s me i n ? Why i s i t s o s t r o n g w hen I
can im a g in e ,
and in d e e d ,
h a l f remember
w hat i s
o u t s i d e ? Why i s i t t h a t i n s i d e t h i s room I am h a l f
a s l e e p , doped, p o is o n e d , and l i k e a p erso n in a
n ig h t m a r e s c r e a m in g f o r h e l p b u t n o s o u n d s come
84
out
So,
the
basem ent
transcended
and
external
sees
that
a c h ie v e d
if
in
you
the
as
w e ll
reality
ones.
in sid e :
on
room ?
as
the
of a r e a lit y
In
the
hard
w ill
"w ill
work
sim p ly s t e p
seem
lik e
sen sin g
yo urself
w alls
a
for
have
the
w alls»
be
o u tsid e ,
Lynda
the aw areness
go
to
w eakness,
h o rrib le
to
fr o m b o t h i n t e r n a l
not to fo r g e t
let
the
o u ts id e
d iffe rs
of
is
don’ t
testin g
you
that
th in g
"R e m e m b e r ,
alw ays,
It
free"
little
sleep,
for
a
and
th in
C p .5 0 9 D .
cell
A nd
that
an
f o u l e d " C p. 5 0 Q D .
W h ile
goes
t h r o a t ? Cp. 5 0 9 }
fa v o r
one d a y ,
a n im al
a a stra in in g
t h e m ost im p o r t a n t
go
p lace,
of
on
o u ts id e
w hen
the
w ere
in
in sid e
fo r
of
in
the
them
are
"n o r m a l"
to
c o m p a r is o n
a
stay
as
so
realizes:
alw ay s
w ith
nature
shut
b o d ie s,
b eh in d
a
of
of
their
lo n g
as
the
"b e t t e r
M artha
p o ssib le
life
mad,
of
if
o u tsid e
the
basem ent
moments
are
g lo r io u s
around
h er
but
the
are
needs
else"
p eo p le
o n ly
the
and
p rice
yho
feel
in sid e
their
drugged
eyes,
that
for
not
made
it
C p . 5 2 1 D.
liv e
but
The
o n ly
o u tsid e ,
p ain
basem ent.
o u ts id e
the
te rro rizin g :
aware o f o th e rs
in sid e
occurs
o rd in ary
d r e a m in g
can
in sid e
n um bn e ss
en clo sed
and
not b e in g
w ith
a n y th in g
c h a ra c te ristic
that
of
b e in g s
in ,
w ants
thin k
of
Her
human
and
dealt
dangers
m o r n in g .
iso la te d ,
to
process
has
s e e in g
net
d isco v ery
the
the
h erself
w o rld,
betw een
of
w h ile
of
who
fresh
s le e p - w alk in g ,
them selv es
M artha
it
d e fe c tiv e
of
d e sire
c o n scio u s
moments
all,
c o n d itio n
M artha,
e sse n tia lly
h id e o u sly
im p o ssib le
process
basem ent,
in te g rate s
p r e d o m in a n t
above
the
b eco m es
she
hard
house.
leav in g
"t h e y
a
in sid e
reality ,
w h ile
such
and
the
From
the
c o n fin e m e n t,
b ein g
mad
is
85
to be
a
lum p
of
lethargy
as t o r e m a in a lu m p ,
But
to
the
fast
have
for
to
m ind.
a
“ head
for
concentrate
be c a m e
jerk,
and
Lynda
m illio n
suffer
sets
its e lf
in
fast
songs,
sounds,
becom es s u r e o f b e i n g
atm ospheres
fr o m v i o l e n t
and
a
the
a r e n 't
ocean
probe
of
or
fitte d "
of
a
and
after
a u d itio n
so
of
fu n c tio n s
is
that
of
body
and
so ftly
to
b a rrie rs
and
her
that
or
if
a
is
there
both
is
a
e x p e rie n c e
it
w ith
and
th is
the
the use
c o uld
also
that
the
fo rce
the
is
a
they
th is
en e m y ,
the
their
extrem ely
e x p e rie n c e
the
be
be
uses
transfo rm s
core,
even
to destroy ,
m in d s :
p o la rize s
w ith
d iffe re n t
human b r a i n
creature
a cc u sa tio n s
M artha
peo p le,
co uld
a
phrases,
M artha q u e s t io n s
w o m e n 's
if
p lugged
words,
it
of
M artha
"a s
m ind
d iffe re n t
radar,
m o ve,
provoke,
to c o n ta in
the
lit
e x p e rie n c e
e x p e rie n c e
so
M a r t h a 's
them selves,
many
fr o m
"B u t
e x p e rie n c e
They
of
a
th is
b e in g a b le
p ercep tio n,
because
w ell.
w anted
a n d p e o p l e w o u ld u s e i t
enters
have
p o ssib le .
l im b s
“core"
energy
m oon- walker
But
as
women
and then f a d e d " C p .5 1 3 3 .
T h eir
the
awake
B e s id e s
another,
h ell.
areas:
stratagem
Both
re c e p tiv e ,
M artha’ s
utters
tw o
the
w ho se
p a in
m a c h in e :
d e m a n d in g
stay
self
the
v o ic e
and
m a in
of
T h is
im p o r t a n t
of
t h e movem ents h a v e t o c e a s e s o
body
the
W it h t h i s
C p .5 1 7 3 .
sounds
in to
on
C p. 5 1 2 D .
r e c e iv in g
th is
to
the
a
a rad io ,
a d isin te g ra to r,
self- hater.
liv e s
of
ones.
danger
space
bomb or
and
k in d
h ig h .
sim u lta n e o u sly ,
one
cam e i n t o
is
lig h t,
b a rrie r.
ran
to
of
of
dance"
sound
rad io
any
heavy
and
very
v io le n ce
to
use
have
memory
the
so
and
clear,
to
have
esp ec ia lly
on
b e in g
p ercep tio n
the
even
lig h tn e ss
not
to accu m u late and
very
above
w ill
r e m a in n o n - p e r c e p t iv e a n d h e a v y " Cp. 5 2 5 3 .
p erio d s
d iffe re n t
bubble
and
lo ng
E n e rg y has
that
to
p rice
that
"c le a r
in
lit
88
space"
of
d e stru c tiv e
Jerusalem
w orld
presence.
in
the
in sid e
corresponds
re b irth .
on
a
to
L ik e
bulk
month
There
she
of
h er
to
She
beg ins
M artha
is
a g a in
use
good
and
the
g r o w th
the
to
can
very
the
She
to
by
and
of
the
the
liv in g
u nd erg oing
a b ilitie s
is
and
also
Cross.
fu lly
a
process
of
seein g
of
in
of
In
the
she
the
by
as
is
in ,
D e v il
exp e rie n c e s
on
of
her
cap acities
C p .5 6 4 0 .
In
is
h er
regard
as
to
Bash
good and
the
through
the
D e v il
m a r c h in g
th is
fig h t
of
sid es
an
can
and
M artha
body,
the
she
to
Jew
both
ego.
eat.
M artha
k in d
both
p erso n ality
of
to
But
She is
the
w ith
enem y,
a
hated
the
not
w e ll
the
she
of
packed
London and
the
a
house.
of
e xp erien c e,
v isio n
d isso lu tio n
fa cets
d e v ic e "
Tortured,
th is
the
sp e n d in g
C p .5 5 1 D .
thoughts
p lace
conducted
the
of
"r e c e iv in g
the
if
P au l’ s
d e c id e s
co n scien ce"
in te n sity
p erc e iv e s
of
co n stitu te s
"in t e n s it y
hatred
d isc e rn
street,
occur
A fter
top
the
little
of
the
fo rces
nephew,
self.
the
more
o b ject
order
Torturer
of
C h rist,
a
sleep
the
in
M artha
statio n s
as
to
w ith
the
the
a n d a t w o - fa c e d p r e s e n c e i n s i d e h e r s e l f .
Germ an.
w e ll
once
a nd
M ark’ s
w ith
goes
on
s h e h a s h a d on t h e s t r e e t s
desp ite
t h e enem y o f f .
ev il,
have
"g a lv a n iz e d
that,
sense
country,
M a r th a
A rm a g e d d o n a n d
does not happen.
house,
e x p e rie n c e
the
the c r e v ic e and th e flo w er
of
facts
g u ilt,
realities
w o r ld
destru c tio n
e x p e rie n c e
P au l’ s
basem ent,
Lynda.
d isc o v ers
at
C p .5503
self- hater,
of
te rro rizin g
stay
p lans
e xp e rie n c e "
fo rces
the
no
w ith
the
and
tim b e r,
phase
in
when we co m p are t h e i r
b a se m e n t
the
w ith
t h e s y m b o lic
e x p e r ie n c e w ith
M artha’ s
another
e x p e rie n c e
M a r t h a 's
of
co n fro n tation
the
The p resen ce o f
no vel,
the
and
and
w h ile
also
past
has
as
instru m en t,
in s tru m e n t,
87
M a r th a know s a b o u t
th e c o m p lex ity o f
is
the
a
m a c h in e
for
c o n v e rsio n
a n o t h e r " Cp. 0 6 6 3 .
A nd t h e e n e r g i e s
d isc o v e ry
the
reflect
v io le n ce :
“If
then
a
I ’m
F in ally ,
go
to
had
is
n o tic e s
these
gallery
still
back
has
all
a
very
that
dangerous
But
co n sciou sn ess
that
the true s e l f
that
Lynda,
peo p le.
lead s
T h is
Lynda
lo v in g
is
has
a cc o r d in g
try in g
the
C p .5 8 2 3 .
Lynda
can
pow ers.
house
who
she
now l i b e r a t i n g
The co rrect
o v erc o m e
a ll
use o f
the
provokes
An
really
a
health y
an
The
woman
to
m a rry
the
m ental
a n n ih ila tin g
the
is
fo rces
in
the
h er
to
the
the
of
liste n e r,
h erself
p ills,
c risis
deathly
v o ic es
a
to
in
fa v o r
liv e
of
the
and
a
to l i v e
k in d
or
the
in
a
of
she c r ie d ;
g litte rin g
of
fa r m e r
that
w here e v e r y t h in g
was p o i s o n e d ,
a
to
w ith
e x p e r ie n c in g
dew"
suffo cated
a
m arzip an
gardener
a d iffe re n t
L y n d a ’ s in s t r u m e n t
of
a lso
re la tio n sh ip
happens
w anted
eith e r
en erg ies
power
It
w ith
who
she
em bo dy
o v e r w h e lm in g
"E n g la n d
utter
to
to
w atcher,
in a b ility
England
fin a lly
of
lead
She
M artha d e d ic a t e s
is.
me,
e x p e rie n c e
has
of
t o u n d e r m in e .
to th e w orld o f
— a dream :
w ish e d
have
of
d ec id es
B u t an e p i s o d e m arks L y n d a ’ s e f f o r t
in jec tin g
v isio n a ry
and
h er
b y them .
enem y was
to
h o sp ital.
w hat
the
Lam b t r i e d
relatio n sh ip
to
lost
self
C p. 6 6 7 } .
in n e fic ie n t.
d isc o v e rie s
not
M a r th a
others
of
aspects
the
in to
products
re je c ts"
that
extrem ely
to M ark’ s house,
ex p lo siv e re v e la tio n
some
has
once Dr.
n o rm ally se n d s
regulated
and
are
body
energy
who a r e
D e v il,
who m a n i p u l a t e s
she
been
to
the
of
"A
the process
nature’ s
co ncludes
M artha’ s
re tu rn in g
who
She
in
creatures
by
fu n c tio n :
k in d
present
and
u n d e r m in e d
house.
one
human b e i n g s
freak s
any person
self- hater.
of
and i t s
of
subhum an
of
b it
M ark’ s
A fter
nature
it
in
self- hater.
is
life .
order
She
to
has
88
a lw ay s
its
been
the
‘'s a n i t y ” .
C h rist
the
But
fin d
of
of
a
so c ie ty
the hope in
e m p h a size s,
process
Lynda
v ic tim
is
breakthrough
of
destroys
the sisterh o o d
the s t a r t in g
a reality
that
to
s h a rin g
point
of
another
and
of
t h e e n e m ie s
women,
that
Carol
tr a n sfo rm a tio n .
of
re b irth ,
re n e w in g
From
M artha
contact
of
among
and
human
b e in g s.
P rep a ra tio n
the
no vel.
p eo p le
Mark
lik e
Mark
about
is
term s
of
p eo p le"
by
d iv e rse
h is
o n ly
fo u n d
in
by w in d ,
C p .5 975.
Mark
in
The
a
in
c e rtain
room ,
exam p le
parts
rain ,
of
the
Memorandum
tragedy
One
end
etc,
of
of
and
w h ic h
of
w orld
less
prepared
then,
of
is
the
p lan et.
a v o id
the
fo r
and,
p ointing ,
so lu tio n s
fo llo w s:
la rg e
in
"8 .
vuln erable
p red icted
c o lle c tiv e
of
ad vise
d e stru c tio n
not
also
part
w ill
of
p rep aratio n
the
catastrophe,
foreground
can
but
fo u rth
areas
p o ssib ilitie s
study
the
the
a
a n n ih ila tio n
in
must b e
at
p re p arin g
the
not
c o n ta m in a tio n
and
keyword
o rg a n iza tio n .
L o c atio n s
of
of
w alls
d e m o n stratin g
a
is
fu ture
aware
the
is
to
n um bers
by
Lynda
in s a n ity
and
in se n sib ility .
true
There
is
self.
T h is
r ic h
im a g e s .
the le th a r g ic
a
of
m om ent,
how ever,
moment
in teg rates
the
M artha i s
in
fa vo r
human
that
re c o n c ile s
nature
b e in g ’ s
"c o r e "
the p ro ta g o n ist
of
and
in
M a r th a
self
in
th is
an
and
w ith
her
allow s
the
a tm o s p h e r e
of
scene that r e je c t s
re c o n c ilia tio n .
She
w alk ed
b e sid e
the
riv e r
w h ile
the
m u s ic
th u d d e d , f e e l i n g h e r s e l f as a h eav y , im p e r v io u s ,
i n s e n s i t i v e lu m p t h a t , l i k e a p l a n e t doomed a l w a y s
t o b e d a r k on o n e s i d e , h a d v i s i o n i n f r o n t o n l y ,
a m y o p ic s e a r c h l i g h t b l i n d e x c e p t f o r
the tin y
t h r e e - d i m e n s i o n a l p a t h o p e n i m m e d i a t e l y b e f o r e her
eyes
in
w h ic h
the o u tlin e
of
a tree,
a rose,
em erged t h e n subm erged i n d a rk . S h e t h o u g h t , w ith
89
the d o v e ’ s v o ic e s
in
her
so litu d e :
W here?
But
w h e r e ? How? Who? N o ,
but
where,
where. . .
Then
sile n c e
and the b i r t h
of
a
re p e titio n .
W here?
H e r e . H e r e ? H e r e , w h e r e e l s e , you f o o l , y o u poor
f o o l , w h e r e e l s e h a s i t b e e n , e v e r . . . ? Cp. 6 0 7 3
M artha’ s
task
moment
that
of
th is
is
grow
in n er
of
life
its
A p p en d i x
of
not
co n scio u sn ess
the
m any
o nly
to
and o f
the c a ta s tr o p h e ,
and
in to
and b r e a k in g
the
c o n stitu te s
su rv iv a l
co n scio u sn ess
c o n sid e ra tio n
w h ic h
the
the
tra n se x p e rie n c in g
It
co n sciou sn ess
in v o lv es
p re se rv a tio n
develop
of
a
the
h u m a n k in d .
v isib le
of
fo rces
the
novel
that
p rev ail
catastrophes
but
t h e us© o f t e l e p a t h i c
also
pow ers,
c ity
o b je c ts
w e ll
as fo r c e s
The
of
o n ly
a ir,
by
the
the
sa n ity ,
le ad s
of
n o vel.
of
Great
cam ps
of
is
human
fo o d
sh a rin g ,
the
They
m a in
co m p rise
the
a
novel
re v e la tio n
and
of
So,
th e atm ospheres i n
the gardener
of
forces
the
w o r k in g a t
study
of
at
d estru c tio n
the
as
r e c o n s t r u c t io n and b e l i e f .
Catastrophe
d ig n ity
of
the
h elp
t h e human b e i n g .
the
of
can
al 1 ows
in
to
and
c o n clu sio n
the
of
that
t h e n ew r a c e o f c h i l d r e n ,
be
a
through.
the v is io n a r y powers o f
w ill
act
of
Only
sen sitivity
the is l a n d ,
outer
b e g in n in g
the
b e in g .
and
w a te r
result
In
B rita in
to
refugees
an
in
fact,
but
re latio n sh ip s
and
of
a
by
a
n eglect
becom e
process
exp e rie n c e .
d isa ste r
north
total
p eo p le
also
a to m ic
the
of
of
and
A frica
of
the
p o iso n ed
not
of
c o rru p tio n
T h is
decadence
the
p o p u la tio n
to
and
to
isla n d s
in
lik e
Lynda
the north of S c o tla n d .
In
th is
resp o n sib le
catastrophe.
salvage
in
In
te r m s
th is
o p e r a tio n
of
of
m a n k in d ,
p red ictio n
aspect
the
of
use
and
of
p eo p le
p rep aratio n
telep a th ic
fo r
powers
are
the
is
90
ba sic.
Lynda
co rrectly
on
extrem ely
w o r k in g
m eets
doctor
v isio n a ry
b en efic
shall
fo r
never
prepare
p eo p le
g ro w ing
and
a ctiv itie s
a
and
a
a b ilitie s
their
p a n ic .
make
them
n ew
ch a rac te rize
group
and
fu rth er
cause
p erceiv in g
that
and
On
a
p eo p le
whose
b e h a v io r
the
and
of
of
the
h e a rin g
v isio n ary
who
work
r e la tio n s h ip
a ction .
contrary,
c o n scio u s
fo r m s
of
they
T h eir
have
to
im p o r t a n c e
of
and
person
is
se e in g
w ith
-
telep athic
powers as w e ll.
M artha’ s
island .
of
p lace
There
the
s im p lic ity
and
we c a n e x p e c t ,
of
refug e,
group she
a
liv es
h ealthy
after
the
w ith
trie s
re la tio n sh ip .
catastrophe,
to
keep
T h eir
the
is
an
essence
exp e rie n c e s,
as
a r e s u p r a n o r m a l:
. . .i t
was a l s o d u r i n g t h a t y e a r when we becam e
aw are o f a sw eet h ig h l o v e l i n e s s som ewhere, l i k e a
f l u t e p lay ed o n ly Ju st w it h in h e a r i n g ...
It
was
d u r i n g t h i s y e a r t h a t m any o f u s w a l k i n g a l o n g or
i n g r o u p s a l o n g t h e c l i f f s or b e s i d e t h e i n l a n d
s t r e a m s met a n d t a l k e d t o p e o p l e who w e r e n o t o f
our co m p an y,
nor l i k e
a n y p e o p l e we h a d know n
t h o u g h some o f u s h a d d r e a m e d o f them . I t w as a s
if
th e v e il
betw een t h i s w orld and another
had
w orn s o t h i n t h a t e a r t h p e o p l e a n d p e o p l e fr o m t h e
s u n c o u l d w a lk t o g e t h e r a n d b e c o m p a n io n s . C p. 6 5 8 )
T h is
race.
sane
The
We
exp e rie n c e re s to r e s
fe e lin g
w h ic h ,
tran sfo rm atio n ,
of
b e in g ; part
a cc o rd in g
is
the b e l i e f
to
a lso present
of
L aing ,
in
a
in
a future
group,
is
th eir
the
of
to
t h e human
c o n stitu tin g
s tartin g
point
a
of
liv e s:
And t h e t e x t u r e o f our l i v e s ,
eating ,
sle e p in g ,
b e in g t o g e t h e r , has a n o te i n i t
that c a n ’ t be
q u i t e c a u g h t , a s i f we w e r e a l l o f u s a h a l f - t o n e
or a b r i d g i n g c h o r d i n som e sym p ho n y b e i n g p l a y e d
out
of
earshot
w ith
ic eb erg s
and
fo rests
and
m o u n ta in s
fo r
in s t ru m e n t s .
There
is
a
t r a n s p a r e n c y , a c r y s t a l l i n e g le a m . C p .6 6 C D
91
T h e ir
are
born
fu ture
on
sile n c e
the
they
becom es
is la n d .
are
p o ssib le
Three
content.
of
because
them a r e
Other
s e ld o m a c h i e v e d b y L y n d a d u r i n g
cap ab le
of
the
v o ic e s
frig h ten ed .
There
up c r y in g
and
the
because
t im e
Another
group
fa ntastic
to
the
has
a
p ictu res
children
is
their
fr o m
ch ildren
C p .6 6 2 3 .
of
the
are
after
their
later
is
These
g u ard ian s
th eir
F ra n c is
A
of
seven
the
sc a tte rin g
C o ld rid g e,
in to
of
a lon e
are
T h e ir
g ro w n
children,
co m m u n ity a n d
throughout
M ark’ s
son,
e xp la in s
b e in g
b o r n now i n
the
hum an
race
h id d e n p la c e s i n
be
e x p e r im e n t a l
for:
lik e
model
thorn.
and
the
Joseph,
the
seers
the h isto ry
three
a
g irls,
n ew r a c e
letter
black
lik e
has
them
and one d a y a ll
yo u
had
to
ch ild’s
"H e s a y s more l i k e
P eo p le
Nature
these
and
M artha’ s
the w orld,
and
the
em o tio n a lly "
p r o m is e o f
w orld.
of
d istin c tio n
up
bo ys
the
the
are
w ill
fo u r
of
freely .
among
hearers
end
m ost
because
w hen o l d e r .
"t h e y
and
behave
eyes
of
They are
su ffe rin g
h im
groups
a n d t h e p r o m is e t h e y s t a n d
of
let
in
cap acity
a b ilitie s
sort
and
who
even
e xp e rie n c e s.
c lo sin g
r e u n io n
that
a
a b o y who s t a y s
not
but
They h ave th e a u t h o r i t y and t h e kn o w ledge of
century.
the
see.
separateness
and
is
of
h er
ch ildren
m ute
have
m ise ry
w ill
h ab it
they
w h i l e sm a ll
other
others
of
the
born
ch ild ren
h e arin g
tu ning
of
and
me
enough
are
of
a
us"
Cp. 6 6 3 3 .
A fter
cam p i n
as
M artha’ s death,
N a iro b i.
p o ssib le .
He
There the o p in io n s
is
judg ed
c o m m i s s io n e d t o work
of
a
departm ent,
and
a
about
by
C old ridge.
letter
to
c h ild ,
is
sent
to
a
h im a r e a s d e p r e c i a t i v e
c lassifie d
w ith F r a n c is
sends
black
D o c to r
K a lin d e
M’ tuba S e l i n g e ,
F ra n c is
m e n tio n in g
and
head
the
doctor’ s
opinio n
sub no rm al
fo r
3rd
to
the
grade
orders Joseph
him
m ile s
to
7th,
w ork.
f a r m ? Cp. 6 6 4 ) .
fo r
about
be in
W it h
th is
and
Another
order
fo r
process,
Joseph
b u sin e ss
g a rd ening
Joseph,
use
the
c ity
in
n ew w ay o f
the
deep
land
order
hope
its
of
to
d e stru c tio n .
w ith
the
to
also
a
ego
as
sane
a
"It
w ill
rest
w ith
"t h e
c u ltiv a tio n
of
is
of
w ith
M ark’ s
order
of
seven
lim it.
It
of
the
p eo p le.
The
story
the
lik e
in
The
d iv in e ,
in
about
p oint
h im ,
telepathy
w ords,
and
to
gardeners.
who,
present
land
that
sta rtin g
p eo p le
servant
be in
devoted
the
the
Laing ’ s
The s o ld ie r
be
of
co n sciou sn ess,
in
fit
vegetable
lim its
re latio n
be
But
on g a r d e n i n g " C p . 6 6 9 ) .
r e m in d e r
w ill
as
Pu t o F r a n c i s
w ill
the
g u ard ian s,
N a iro b i,
of
on t h e
by T s ie n
w ith
h im
ed u c a tio n .
work
t h e cam p:
fu ture
secret
w ill
classes
a re allow ed o u ts id e
m a in tain ,
b e t r a y e r " C p .1 4 5 3 .
rests
is
that
the
sent
gardens
B a t t *s
and
c ap ac ities
E xp e rie n c e ,
its
land
and
liv in g
prophecy in
of
the
fin d
h im t o a t t e n d c o u r s e s
of
in n e r
and
No a l i e n s
c u ltiv a tio n
the
p a p er
in
"H e
a c a d e m ic
yo u c o u l d
o ffic ia l
parks
ch ild:
fo r
B a i t ’ s o c cu p atio n
in sp e c t
of
b lack
u nfit
Perhaps
fro m t h e c i t y .
w ill
the
B a t t 's
sp irit
and
A nd
of
a
w ill
and
of
P o litic s
no
lo n g er
w orld but
not
w ith
M o tes
1C a r o l
P.
C h rist,
Sp lrltual
2C h r i s t ,
P iv ln g
Q u e s t C B o s to n .
Surfacin g :
Beacon P r e s s ,
Women
W rlters
on
19863.
p. 6 7 .
J u a n - E d u a r d o Cl r i o t ,
A Pi c t l o n a r y o f S y m b o ls
R o u tl e d g e s & K a g a n P a u l ,
4J u a n - E d u a r d o C i r l o t ,
5C h r i s t ,
Deep and
p. 7 3 .
19713,
p .292.
p. 3 0 7 .
CLondon
and
H enley:
C HA PTER 4
B R I E F I N G FOR A DESC EN T I N T O H E L L
Category:
In n ersp ace f i c t i o n
th e r e i s never anywhere to go but in .
For
Lessin g ,
There
that
Is
a
B rie fin g
sentence
c h a rac te rize s
a
at
fo r
the
r ic h
a D escent In t o H ell
b eg in n in g
p erio d
devoted to o b s e r v a t io n and to the
w h ile
her
She i s
land lady ,
state
of
w a lk in g .
of
w hat
starts
love,
is"
the
In ta k e
fatig u ed
man
in fo r m a tio n
m an’ s
if
suggest
never
p re c io u s
is
the
has
been
in
both
a
he
in
and
characters
g ra tu ito u s.
and
second
life
one
a
h is
the
Quest
move
movement i s
t h i ng i n common i s
w ith
but
attem pt t o u n i f y fr a g m e n ts
lo st,
to
their
In to
sheet
In
H ell
in
the
d istre sse d
and
Tham es
have
and
but
no
D e sp ite the
p o ints
both
in
novels
a step to a ch ie v e
that
the
M a r t h a a n d t h e man a r e l o o k i n g f o r
relevant,
Iris,
here.
Descent
b e lo n g in g s.
to
m em o ries
a c k n o w le d g e m e n t
d istu rb e d ,
near
C ity
e n tire ly
moved
a d m itta n c e
M artha
need
London
total
for
w an d e rin g
t h a t s o m e t im e s t h e p h y s i c a l
The
but
m an’ s
The
in
Iris,
B rie fin g
av a ilab le
aspect,
streets
"W it h
London.
fo u nd
a b o u t h im i s
F irst,
the
of
Four- Gated
M artha’ s
d e lic a te
C u rio u sly ,
H o s p ita l
so m ethi n g v i t a l .
is
lo v e
The
"e x c a v a t io n " of b u ried
realizes:
p re se n ta tio n
d istre sse d
common.
she
C p. 2 0 3 .
w ith
Central
w hen
on o n e o f
In
of
liv e s.
A nd
m ovement
so m ething
last,
and to a c h ie v e self- know ledge le a d s
the
to
93
a tt e m p t
a
to u n i f y fragm en ts
d ifferen t
d im e n sio n
and to a c h ie v e s e lf- k n o w le d g e l e a d s
- to
the
voyage
in .
Whereas
M artha
move i n s i d e a n d o u t s i d e t h e C o l d r i d g e h o u s e a n d w i l l
a n d M a r k ’ s c o m p an y ,
m a in
in te r e st
is
t h e man w i l l
h is
be c o n fin ed
"r e - c o v e r y "
and
to
w ill
h a v e L y n d a 's
to a p la c e w here th e
the
"d ls - c o v e r y "
of
h is
id e n tity .
B e sid e s
B r ie fin g
th is
also
pointed
out
Structure
not
w ith in
ro les
the
and
the
and h i s
ego;
alie n a te d
and
of the n o v el,
center
of
B rie fin g
deadly
of
lo ss
of
h is
Descent
h is
the hollo w ness
he
H ell"
h is
is
found
In
m ystery,
m o dern
its
e n e rg izin g
as
and
those
of
but
man
rather
s o c ia l l y co n d itio n ed
com m ents
of
European,
contact
im a g e s
"M o d e r n
psyche
of s p i r i t
on
ex p lo ra tio n
CW estern,
of
-
and f a i l u r e
and v a stn e ss
study
"T h e m e
B o llin g :
of
and s h a llo w s o f
tw o
a rticle
to
largeness
W hen
to
In to
A c c o r d in g
the
the
b o t h im a g e s a r e a g a i n p r e s e n t :
the r ic h n e s s ,
sug gestio n
a
t r u n c a t e d " 1.
center
the
in
for
is
in ,
B o llin g
v ital
h is
voyage
a tte n tio n
largen ess.
w ith in
th©
constant
D o ug las
the c o n s t r ic t io n s
depths;
w ith
a
B rie fin g
shallo w n ess
liv es
d em an ds
by
in
concern
t h e m a t ic
" T h e t h e m a t ic
of
m an’ s
"in n e r
p sy c h ic
s p a c e ";
"c iv ilize d "}
w ith
of
h is
own
and
m an ’ s
deeper
di m ensi o n s " .
In
The
jo u rn e y
have
P o litic s
in
as
a
neglected.
sin c e
w ith o u t
exp e rie n c e
of
Im p lie s
the
jo u rn ey
is
of
m eans
E x p e rie n c e ,
of
re ac h in g
E x p e rie n c e
it
the
h e /s h e
w ill
jo u rn e y ,
movement
and,
exp e rie n c e d
is
as
lik e
R o n ald
the
v ita l
liv e
the
places
fo r
the
in
one
e m p h a size s
that
sterile
the
p atien t
fu rth er
the
human
m odern
a
co nseq uently,
g o in g
Laing
b e in g s
in d iv id u a l
earth.
w ill
as
The
start,
kn o w ledge:
"in ",
the
g o in g
"T h is
back
96
through
in t o
and
one’s
the
exp e rie n c e
perhaps
and
personal
even
m in e ra ls"
in te g ratio n
start
life ,
of
a ll
fu rth er
To
scattered
of
the
back
of
and
the
b ein g s
L ain g
p ie c e s
h ap p e n in g as soon as
a n e c e ssity
and
m a n k in d ,
in to
Cp . 1 2 6 3 .
of
in
of
a
k n o w ledge
task»
of
m an,
beyond
of
Adam
vegetables
as
to
about
the
realizes
d o in g
and
a n im als,
w e ll
t h e hum an b e i n g
c o m p leting
p r im a l
of
as
through
Lessin g ,
self
that
w ill
there is
so m ething i n
fa v o r
of
v a l u a b l e a n d hum ane e x p e r i e n c e s .
A fter
psyche
and
Laln g’ s
the
the
a tte n tio n
Y.
in
h e a lin g
the
B o llin g ’ s
lim ite d
b e lie f
through
Doctor
p re se n tin g
the
p atien t,
them es
the
are
in
in
Y.
no vel:
in n er
and
ric h
the
transparency,
In
the
center
human
and
it
is
b e in g
necessary
novel
to
of
w ith
nature
co n sid er
betw een
the
w ith
p a tie n t
and
of
the
of
the
the
stone
n ew d i m e n s i o n a n d
B r i e f i n g t h e r e has
and
sentences
may
n e c e ssity
of
s o c ie ty ;
w ith
the
three
re la tio n
d im e n sio n s
self
of
S i n b a d t h e s a i l o r man. T h e b l i n d l e a d i n g
t h e b l i n d . Around and around and
around
a n d a r o u n d a n d a r o u n d a n d . . . Cp . 18- 93
first,
realities
on
alon g
of
ric h n e ss
You g i v e l e c t u r e s , d o y o u ? W hat s o r t
l e c t u r e s ? W hat d o y o u l e c t u r e a b o u t ?
in tim a te
the
in te n sely
in d iv id u a l,
L essin g ’ s
and e s p e c i a l l y
of
the lim ite d
in ,
in
P a tie n t.
d ia lo g u e ,
of
the
the
fe w day s o f c o n fin e m e n t:
D o c to r
T h is
on
In te g ratio n
voyage
d ia lo g u e
after
w orld
comment
the
h elp
c ity
stand
of
psyche
then,
of
uttered
the
in
fo r
by
the
voyage
order
to
the
basic
through
o u tw it
t h e i m p o r t a n c e o f w o r k in g
som e s y m b o ls :
and
the
upward s p i r a l
to be a co n stan t
the
Crystal
m a n d a la
w ith
its
movem ent.
a tte n tio n
on t h e p art
97
of
the
reader
c irc u la r
end i t
to
the
structure
of
the
and go back
to
the b e g in n in g
around"
is
present
s w a llo w in g
its
re p e titiv e
b e h a v io r
helps
in
tail"
le ft- tu rn in g
of
'd e s t r u c t i v e n e s s '"
the
voyage in .
m a n ife s te d
in
re la tio n sh ip ,
liv e d
is
c ircles,
the
In
in
that
of
a
k in d
break
e x p e rie n c e
of
work
to
there
is
alw ay s
e x p e rie n c e
th is
and
d isc u ss io n
the
and
that
- t h e fo r m
the
p a tie n t
in
so c ie ty
a
re p e titiv e
is
so
work
the
to
of
know.
is
s e ld o m
on
som e
abandonm ent
in
w hether
a human b e i n g c a n r e t a i n
if
happens.
sentences
c o n fin e d
By fo c u s in g
I
Lessing
w ant
to
still
a
m en tal
on
sh o w
asks
re latio n sh ip
fo rm u la o f
w ord
to
the
fo r
the
to . show
My
my
the
after
q u e stio n ,
th e kn o w ledge h e /s h e
a nd
at
the
on
the
movement
w ill
in teg rate,
the voyage i n
h o sp ital
other
w h ic h
is
o u ts id e .
c irc le s
that
to
C onseq uently,
B rie fin g
w h olen ess o f th e i n d i v i d u a l
of
a tt e m p t
is
The
the
c irc le ,
life
and s t e r i l e
that
through
and
im p lic a tio n s
of
fr a g m e n ta tio n
to
snake
b e h a v io r
its
we
and
v ic io u s
th is
w ith
as
"t h e
the
the
around
a b o u t t h e book
need
The
is
and
breakthrough
B rie fin g
to
It
soon
lik e
In
in sip id
gotten
three
in
as
and
how ever,
voyage
life .
as
"A r o u n d
sp ira l
the
who
it
B e sid e s
one.
a c h ie v e m e n t o f
has
w ell
o p inio n
The character
c irc le .
exp ression s
as
provokes
a sc e n sio n
understand,
lo n g
- the
c o n tra c tin g
tireso m e
L e s s i n g 's
o b jective
a
or
the
understand
in stitu tio n s.
represented
another
to
C p. 1 4 7 3
in d iv id u a ls
a
of
- we
to c h a r a c t e r i z e B o l l i n g 's
"t h e
of
book
m e a n in g f u l
of
of
in to
r e p e titiv e n e ss
is
elem en ts
a v o id
the
t im e
the
p a tie n t’ s
v ital,
in
but
the
re p e titiv e
the treatm ent.
"s a ilo r "
has,
in
B rie fin g
a
s ig n ific a n t
98
resp o n sib ility
attitu d es
In
w hat
to stand fo r .
to re a d another
stands
a
here,
fo r
sense
doctor.
n am eless
false
Y.
Y e s t e r d a y i t was
e i t h e r , y o u know.
We a r e a l l
D o c to r
I
am
not.
I
am
h o s p i t a l . C p. 14-52)
Y.
more
than
a
and
ness
w ith
the
r e m a in s
of
strong
so
is
In fa c t ,
consequence,
are
all
as
among
lo n g
s a ilo r s ",
r o u t e and a goal
and
"I"
of
w ith
me?
You
c a n 't
doctor
a
w ay
ness
"I"
end.
in
is
in
of
as
w h ic h
the
the
to
to th e p a t ie n t
absurd
in
The h o sp ita l
staff,
for
by
to
the
doctor
prove
is
that
who s e e m
they tend
hum an
who
a
to
to l i v e
b e in g s.
b e lie v e
blu rred
seem s
It
in
do not a llo w growth but
other
are
th is
life .
claim ed
among i n d i v i d u a l s
in d iv id u a ls
B rie fin g ,
be
and p o in t s
ness,
T h is
by l i t t l e ,
R ec o g n itio n by s o c ie t y o f t h i s
rare.
you t e l l
a
by b e in g se p a rate d
little
necessary
t h e y c a n ’ t b e g i v e n a nam e a n d a n i d e n t i t y .
Id e n titie s,
h o s p ita l
the
present
sh a rin g
in d iv id u a ls
the
the
sense
until
id e n tity
th eir
than
Is
and
sailo rs.
p ro fe ssio n
rather
k in d s o f cocoons w h ic h ,
is
it
Jason.
P atien t.
"w e "
A lon g
im p o rtan t.
nam e? W i l l
D o c to r
Y.
better
fo llo w
and t h e p a t ie n t :
Jonah.
is
sense of
sim p ly
W h a t ’ s your
to
a f e e l i n g o f e q u a l i t y among hum an b e i n g s
of
end
Y.
P a tie n t.
be self- assured.
the
d ire c tio n s
To u n d e rs ta n d t h i s
d i a l o g u e b y D o c to r
Do c tor
S ailo r,
concerns
to
are
in
Doctor
they
is
are
concerns
h ealth y .
Y. ,
a
They are
what
not
As
"W e
lik e
a
the voyage in .
situ a tio n
in stan ce,
of fa lse
id e n titie s
wants to r e c o g n iz e
the
p a t i e n t ’ s nam e w i t h o u t r e a l i z i n g
sailor
m an"
le ad in g
the
has
the
h elp
have
b lin d ".
of
w ith o u t
its
ch ildren,
sle e p in e ss
d isc u sse d
the
letters
C harles
co nseq uently,
not
a
everybody.
Can
letter
a
when
of
L ik e
due
not
the
part
to
In
how ever,
kno w
process
it
is
a
be
through
d u rin g
carefu lly
A lso ,
lecture
e n th u sia stic
"E d u c a t io n
he has
she
w o rd s.
of
th is
-
children
m ust
be
of
e d u c a tio n "
C p. 1522).
of
among
general
p eo p le
and b r o u g h t
true
now c a l l e d
he i s
of
C lassic s,
that
a ffects
id e n tity
are
by h is
p ro fe ssio n a lize d
w o r ld
is
and,
he
is
alm o st
part
of
w orth r e s p e c t i n g .
yeast?
Cp. 495
the h o sp ita l.
regarded,
is
part
fo r
of
a
lectures
Th e p r e s e n c e o f
she
knows
that
T h e a tm o s p h e r e s e t t l e d b y W a t k in s
is
one
of
p o ssib ilitie s
o n ly
c u rio u sity
state
of
t h e c a p a c i t y t o to u c h s e n s i b i l i t i e s
attends
rec o g n itio n
m eans
d o es no t
to provoke and to e n la r g e p eo p le ’ s c u r io u s it y
th e sound of h is
the
aspects
e d u c atio n
the p a tie n t,
a
w it h
d eta iled
who a t t e n d s one o f h i s
th is
about th e w orld.
h is
a
unearthes
the
p atien t
b lin d
d isc o v e re d
Th e s t a f f
the
of
of
c o n f in e m e n t i n
W a t k in s h a s a pow er
w ell.
b lin d n ess
som e t im e b e f o r e h i s
must
search
lik e
the
the
w r i t e n b y R o sem a ry B a i n e s ,
character
the
of
starts
r e la tio n sh ip
to
w orld.
is
staff
th em es
is
w o r ld
name
the t h e r a p is t s ,
and d u r in g t h is
yeast
"T h e
arch eo log y,
W a tk in s ,
R e c o g n itio n ,
th e voyage i n
that
addressed
person
th is
a n d m odern man a s
fr a g m e n t e d
sp e c ia l
"S in b a d the
the
d e h u m a n iz e d
w ife to the doctors.
P rofesso r
in
own c o n d i t i o n .
p atien t’ s
n o tic in g
fallacy
and
in
the
b lin d n ess
the
name
photographs»
m odern c i v i l i z a t i o n
p erc e iv e
a
W hen
some
in v e s t ig a tio n
of
to
th eir
R o sem a ry
that
fed,
B ain es
the
m ust
a liv e n e ss,
a w a k e n in g ,
th r o u g h
a
liv e ly
alert
be
kept
e x p erien c es
s im p le id e a :
a liv e .
the
fearless
That
is
fe e lin g
of
100
b e in g
"s t u n g
years.
trap
B efo re
had
B aines
knows
In
’ p riso n
she
the
b e in g
" ’ the
w orld
of
b e c o m in g
of
U n iv e rsity
cam pus
and
T h is
a
th is
q u a lity
in
w hat
one
w is h
of
to
letter
is
is
a
tow ards
lectures
and
th eir
w ay
of
id e a s
the
after
it,
cu riou s
b lin d
so
of
rin g in g
to
She
W atk in s
c u r r e n t ",
m eets
both
about
stim u la tin g
"p o w e r f u l
Larson
has
the
C harles
in
the
k in sh ip "
and
w o r ld
"t h e
already
F red erick
met
R o sem a ry
they
for
as
F red erick
b r o t h e r - in - l a w ,
that
flash
h a p p e n s som e w ee k s
it
th is
that
yeast.
“ Another
v ib ratin g
h im
for
B efo re
also
m a tc h in g ,
and
is
spread
the
Cp. 1 5 4 ) .
im p o r t a n t
h is
and
e x p la in s
h ig h
siste r
feels
and
fa nta stic
of
B aines
fo rgo tten
dow n.
t u n e " C p. 1 5 4 )
"t h e
her
had
come
alert
le a d in g
in
I
lectur®
r e m a in
transparent"
frie n d
But
th is
b lin d
w a v e l e n g t h '" ,
had
through t h is
Rosem ary
a
have
the
C ...)
le c tu re .
fa m ilia r
W a t k in s
to
o f su b sta n c e s b e in g
a fter
C p. 1 5 6 ) .
D u ring
has
th in gs
shades'
can be d isc o v e re d
re c o g n itio n
Larson,
rem em bered
C p. 1 5 3 ) .
that
th is
together,
"I
those
shut"
m ore t h i n g s
of
a w a k e ":
liv e
the
in .
actual
m e e t in g .
R o se m a ry
s t a m m e rin g
and
c iv iliza tio n
analy zes
B aines
is
cu riou s
aw areness
in
B ritain
The
1969
about
Ro sem ary a n d F r e d e r i c k ,
who s t a r t
is
struck
"...a l l
w eather,
events
the
h u n t " C p .1 5 9 ) .
are
craft
is
equ ally
of
and
c o n sid e rin g
d isc u ssio n
an a r c h a e o l o g is t ,
in
re la tio n sh ip
She
w rites
about
the
sc ie n c e
th in g s
these
and
fa irie s,
w h e th e r
a
w itc h es,
that
starts
w ar,
a
show,
m a g ic a l
w it h
Larson,
new s i s
fa sh io n
about
a rtifa c ts
p o ints
b y t h e way t h e
im p o r t a n t
betw een
life .
m e e t in g f r e q u e n t l y .
p ia n t- g ro w in g ,
The b e l ie f
the
W a tk in s'
in
c iv iliza tio n s
arch aeo lo gy .
in
about
who
presented:
gam e,
a
the
p o lice
p lan ts
and
anim als
the
is,
cu rio u sly,
im p o r t a n t
A frican
life
d isc o v e ry
trib e ,
centre
on
the
years
the
flo o d in g
Earth"
m em bers,
the
la ck
betw een
the
dependence
c iv iliza tio n
w h ile
Larson
"N o t
towards
life
in
in e v ita b le .
th is
d u rin g
lead s
lectures
happen.
A fter
a
v isit
to
he
resp o n sib ility
towards
its
a
Larson
w ay
C p .1653
that
the
the
riv e r
co n clu des
so c ie ty ’ s
to
that
ju d g e
the
a g a in .
A ll
sim p le
reason:
has
also
of
been
a p p ea rin g .
the
three
By
h erself
one
w ho ,
he
and
in
lik e
understand
m e n t io n s
p r o b le m
in
a
Larson
th e m ,
are
and
that
the
referred
the
no
can
sam e
do not
B aines
C p .1613
other
letter:
last
A
can
be
is
She
that
lo n g.
try in g
feels
starts
a
very
fo r
to
present
is
its
un ite
that
W atk in s
Now i t
about
s ta m m e r in g
fo u nd
is
so
recent
fo r
that
not
sin c e
q u estio n
W atk in s
peo p le.
v ib ra tio n .
th e b e g in n in g of B a i n e s ’
does
S t a m m e r in g
lecture,
" ’ w avelength ’ ".
stim u la te
the
to
reason
e v ery th in g ,
th is
o ld
trib e
s t a m m e r in g
a ctiv ities.
sam e
a
But t h is
as w e ll,
doubts
assu m p tio n s.
w akefu lness"
has
h is
h abitu al
d u rin g
common
extra
p ro fe ssio n ,
provokes
s u b je c ts
m e n t io n in g
lik e
h is
a r c h a e o lo g ic a l
these
p eo p le
"c o n d it io n
how ever,
of
a
w ith
starts
co n v e rsa tio n
cu rio u sly ,
a g a in
he
strik e
c o m p a r is o n
and
p o ssessio ns
thin g:
norm al
itT
the
and
cu riou s
in
But,
is
Turkey,
v alid ity
a
but
the su n ,
by
about le a v in g h is
appear.
t im e
to
alth o ug h
He t h i n k s
many d o u b t s
the
h im
trib e ’ s
riv e r,
c a n n o t b e j u d g e d b y t h e p a t t e r n im p o s e d b y a r c h a e o l o g y .
c o n clu sio n
an
th e w in d s,
such
m a c h in e s
the
But
stu d y in g
d id
n eig h b o u rs"
regulated
a rtifa c ts,
of
s o c ie ty .
Is
o n ly
sub sid en ce
"H arm o n y *
a tten tio n
beco m e
te c h n o lo g ic a l
around th e s e a s o n s ,
t r i b e 's
on
and
a g g re ssio n
arch aelo g ist' s
a
befo rehand:
C p .1 6 9 3 .
of
in
happens
ten
was h i g h l y r i t u a l i z e d
moon,
constant
the
in
can
be
easier
to
102
. . . i n w r i t i n g t o you* t h i s a c t o f s i t t i n g dow n t o
p u t w o rd s t o g e t h e r ,
i n t h e h o p e t h a t t h e w o rd s
w il l be a s s t r o n g a s t h o s e u se d by you th a t n i g h t ,
i t i s l i k e t h e s p r e a d i n g o f a y e a s t or som e s o r t
o f c h e m ic a l t h a t h a s s t a r t e d w o r k i n g i n o n e p l a c e ,
a n d t h e n moved o u t , f e e d i n g a n d i n c i t i n g ,
then
c u rv e d back a g a in t o w here i t beg an . T h is l e t t e r
i s l i k e a snake sw a llo w in g i t s t a l l . C p .1473
In
rep ly ing
not
r e c o g n ize
in
the
that
h er
in
London
is
reveals
in
many
unfo rtu nately
letter,
so m eth ing
conference
repeated
h is
to
gen eral.
p laces.
no
t im e
short
and
he
is
character
p erfo rm ance.
W atk in s,
th a t he i s
"y e a s t".
a
in d iffe r e n c e
b eh av io r
and
the
but
The s t a t e
it
of
of
sh o w n
stands
clearly
m any
sle e p in e ss,
as
for
it
C la ssic s,
nam e
h is
to
the
and
pro blem ,
drug
see
th eir
o ffers
that
n ig h ts
relief
thousands
p r o b le m s
are
fr o m
of
the
p eo p le
fin d
kno w
in
fr o m
of
the
by
to
h is
and
events.
Most
no
to
w ay
so
do m inates
who c a n
a r e num bed
a v o id
the
th is
n ig h tly
im p o rtan t
awaken
to
g e n e ra tio n .
c o n d itio n ,
To
th is
ch ild
n o vel,
sleep .
p ills
the
B rie fin g ,
growth
b eh av io r
even
d a ily
h is
general
In
called
regu lated
of
p eo p le.
S e n sib ilitie s
have
not
c h a ra c te rize s
not s e e and p e r c e iv e an i n e v i t a b l e f a l l .
p eo p le
w ith
q u e stio n c o r re c tly .
th eir
many
in
then,
share
does
t h o u s a n d s o f p e o p l e who a r e n o t a w a r e o f
and
but
stay
b e in g s
C harles*
is
u su ally
letter,
not
relatio n sh ip s
through
is
and
suppose s o " C p .1 4 9 3 .
hum an
of
words
by
T h is
does
and th e s ig n if i c a n c e o f
a yeast? I
other
h is
sin c e
d isp o sitio n
lectures
e x p e r ie n c e
is
th e m
busy.
p rofessor
is
in
Larson
m eet
u n re c o g n ize d
towards
ch a rac te ristic
adult,
of
to
W a tk in s,
h a s " said
B a in e s h a s an sw e re d her
"C a n a y e a s t n o t kn o w i t
state
present
he
u sually
of
C h arles
knows
and h is
the
is
W hat
He
has
audience the contents
The
sp e c ia l
he
C harles*
how ever,
is
d u rin g
to
the
103
day.
S le e p in e ss
b lin d n ess
and
the
app eals
and
s o c ie ty ,
Is
a
w h o se
of
general
results
sleep
later
sin c e
on,
state
w ill
the
are
be
that
Is
a sso c ia ted
c a ta stro p h ic .
b e g in n in g
of
resp o n sible
h is
for
C harles
life .
h is
The
to
feels
m other
u nco n s c io u sn e ss
a n d d e p e n d e n c e on p i l l s .
C harles
W a tk in s'
c o n fro n tatio n
betw een
a liv e ,
e n e rg e tic
sleep.
Her
sleep.
and
character
of
T h e k e y w ord
le arn in g
C p .1 2 8 D .
d isc o v er
to
the
is
be
There
in
the
m other
p ercep tive
d isco u rse
T h e p r o b le m ,
ch ildh o o d
is
then,
ch ild
a
"b e
g o o d ":
good.
I 'm
is
h im se lf.
whereas
the
claim :
p a ssitiv y
" I 'm
o ff
good
so m ething ,
t h e d a rk
c h a ra c te r ize d
the in v e n tiv e ,
the
a
and
constant
is
and
is
to
boy
to
be
m other
w a n ts
h im
to
a
good
I
the
school
and
the
m o th er.
now a n d
am q u i e t
that
boy
and im a g in a r y
dem an ded b y
how ever,
territo ry of
w ants
cu riou s
now,
a
He
be
th eir
by
and
boy
I 'm
good"
w ants
to
sleep:
B u t back i n t h e d a r k i n t h e d e e p o f my m in d i s
w h e r e I know t h e do o r i s , back or f o r w a r d , u p or
down,
beyond
the
Boom,
shush,
the
eternally
b o o m in g , t h e p u l s e , t h e b e a t , t h e o n e a n d t w o , t h e
o n e a n d t w o , t h r o u g h t h e r e , who know s w h i c h or
w h e r e - I d o , I know . I rem em ber. D o I rem em ber?
Yes.
I rem em ber.
I m ust rem em ber.
There.
W here?
C p. 1 2 8 5
But
the
m other
fin d s
a
p re sc rib e d
by the doctor.
are k ille d
dead w ith p i l l s .
so lu tio n
"T h e
r e g u la t e d and g o o d " C p .1 2 8 } .
w h ic h
fu n c tio n s
h im t o b e norm al
Later
on,
as
a
fo r
s m a ll
h is
days
But he s le e p s
T h e m other
m ic r o c o s m
of
restlessn ess:
flic k er
w ell,
he is
stan d s fo r
s o c ie ty
at
and
the
p ills
n ig h ts
h e a lt h y and
an i n s t i t u t i o n
large.
Both
expect
and c u re d .
the
r e la tio n s h ip
of
the
fa m ily . is
rep laced
by
104
s o c i e t y 's
lim ited
h o sp ita ls,
“ D o c to r
w ith
co n d itio n s.
c o n su ltin g
thousands o f peo p le s tre tc h
g i v e me p i l l s
W atk in s.
n um bness
In
to
He
is
reality .
and
in
m any
th eir
h a n d s a n d dem an d
t o make me s l e e p " C p . 1 3 0 3 .
T h e s am e h a p p e n s
also
In
the
the
out
room s
v ic tim
voyage
of
in
o f t h e w o r l d o u t s i d e w hen h e c l a i m s
a
he
fo r
so c ie ty
reproduces
h is
that
p refers
the
horrors
drugs:
...
g i v e me now e v e r y t h i n g I h a d w hen I w as a
baby » g i v e me w hat you t r a i n e d me t o n e e d b e f o r e I
e v e n t a l k e d or w a l k e d , g i v e me a n y t h i n g y o u l i k e
b u t l e t me S L E E P f o r i n t h e d a r k w h e r e t h e d oo r
o n c e w as C b u t i s i t s t i l l 73 i s t h e o n l y p l a c e I
can t o l e r a t e b e in g a l i v e at a l l .
I never le a r n e d
t o l i v e a w a k e . I was t r a i n e d f o r s l e e p . O h , l e t me
s l e e p a n d s l e e p my l i f e a w a y . C p. 1 2 9 3
The treatm ent
e le m e n t
of
death
usu ally" fin d s
and s t e r i l e
w ith
in
and
drugs
its
w h ic h
d u rin g
the
c o m p o sitio n .
c a lm s
h im
is
co n fin e m e n t
The
door
rep laced
by
also
that
a
has
an
W atk in s
m ore
obscure
p lace:
Sfahhhh, h u s h , S L E E P a n d i n s l i d e s t h e n e e d l e d e e p
a n d dow n I g o i n t o t h e c o l d b l a c k d a r k d e p t h w h e r e
t h e s e a f l o o r i s a n e a r t h o f m in u t e s k e l e t o n s . . .
d e a d p l a n t s , n e w e a r t h f o r g r o w i n g . B u t n o t m e, I
d o n ’ t g r o w , I d o n 't s p r o u t . I l o l l l i k e a c o r p s e
or a d r o w n e d k i t t e n , my h e a d r o l l i n g a s I f l o a t
and
b lack
w ashes
o v er
m e,
dark
and
heavy.
C p. 1 3 0- 1 3
T h is
deadly p la c e ,
voyage,
of
represents
human
adulth o o d
ste rility
its
end.
b e in g s
the
is
For
in
o p p o sitio n
the
by
the
of
the
consequences
of
In stitu tio n a lize d
tendency
part
to
the
p atien t
is
to
k ill
treatm ent
it
is
p ro m ises
the
From
a ctiv ity
the
d iffic u lt
the
d e h u m a n iz e d
n o rm s.
sin c e
of
to
and
treatm ent
child h o o d
grow th.
b eg in n in g
a v o id
sailo r’s
and
the
to
So,
is
at
v ic io u s
103
c ir c le of re p e titio n
The
c irc le
a ss o c ia te d
The
to
R o sem a ry
to
and
m ovem ent,
"s n a k e
uses
around
e x p a n sio n
a
task
part
the
voyage
and
in
sa ilo r ’ s d iffic u ltie s
of
fa m ily
and
fa m ily
a u dien ce.
fo r
he
There
is
c o n fin e m e n t
the
among
M a ry A nn
M other
d iv isio n
is
not
a lso
fo r
These
is
present.
the
the
can
alw ays
voyage.
im a g e
that
the
best
"A r o u n d
shows
not
v ic io u s
and
that
be
the
absent
circ le
w ill
to
be
therefo re
be
state
hard
hum an
due
to
the
betw een
in
in
to
of
the
S in g le to n
h is
but
"n o r m a l"
not
At
one
of
the
the
he
and
t im e
lectures
w ith
n ig h tly
are
h is
drug.
fin d s
o u tsid e :
p atien t
reflect,
sterile
the
A
w ith
sam e
contact
p ills,
the
w o rk .
su ffic ie n tly
H is
keep
doctors
h is
o rd in ary l i f e
is
p r o b le m s
to
relatio n sh ip
uroboros*
fa cets:
t h e G r e a t M other.
The
of
in
to
w ords,
refer
h is
overw ork.
w ith
sam e
in
W atk in s
b e in g s .
enough
m a tter
m e a n in g
facts
C harles
present
as
the de v o u rin g ,
a
in
re p re ssio n
k in d
the
S in g le to n ,
as
a
is
is
n o vel.
C p. 1 9 )
and
lead
works
search
peo p le.
He
reproduces
the presen ce o f
Great
w ith
presence
is
the
exp ressio n s
h elp
that
students
h is
W atk in s,
power.
a n d a c c o m p l is h m e n t s .
do
h is
two
w ill
th in gs
to
but
the d i f f i c u l t
in
and
co lleagu es.
lack s
b rillia n t,
H is
have
its
the
co n tra c tio n
p erfo rm ed
d e s t r u c t i v e b e h a v io r
resp o n sib le
h is
the
be
t a il",
around"
the
and
of
to
in
novel
aspects
its
letter
and
d e stru c tiv e
the
c re ativ e
changes
and
to
uroboros
k in d o f
her
around
The
c o n fin e m e n t
and
in
sw a llo w in g
in
and
w ith i t s
im a g e
these
is
M ost
strong
dangerous
broken.
of
present
illu s tra te
the
w hen t h e r e
a
the
B aines
exam p le
around
is
the
uroboros,
alw ay s
C ity
b e in g
and
where
a sso c ia te s
the
no
th is
V eld,
presents
the
re sp o n sib ility
or
state
to
of
b e in g
106
th e u n c o n sc io u s and to th e A f r i c a n
v eld in
L e s s in g ’ s sto ries.
She
says:
T h i s i s t h e p a r a d i s e o f c h i l d h o o d a n d o f t h e human
psyche
befo re
the
ego
dev elo p ed,
and
man
w as
s e p a r a t e d fr o m c r e a t i o n . . . H o w e v e r , t h e e s s e n c e o f
th is
p arad ise
is
rep e titio n ;
as
lo n g
as
u n c o n s c io u sn e s s
co n tin ues
C in
a
race
or
an
i n d i v i d u a l 3 , t h e n t h e u r o b o r o s t a k e s o n i t s m ore
s i n i s t e r m e a n in g a s t h e d e v o u r i n g m o t h e r . . . " C83
The d e v o u rin g
of
a
w h o le
m other
in
the
to
"in s t in c t
r e a lm .
But
the
second
the
type
of
of
has
o b stin ate
attem pt
uroboros
c re ativ e
movement i n
to
th is
m in d
the
that
the
W a t k in s
"T h e m "
w ith
not
of
b e h av io r,
in
the
u n c o n sc io u s
natural
then,
is
cy cles
th is
patterns
part
w orld o u t s id e
of
and
the
the
v eld
tim e ,
of
but
b e h av io r"
uroboros
w h ic h
a
that
prevents
h im
true id e n tity .
d u r in g
the
to be part
voyage
of
the
n ew
of
in
h is
endeavour:
to
"O u r
c irc le
b e g i n n i n g ...
of
a
the
e v o lu tio n ’ "
Crystal
fo llo w th is
eleven
e x p la in
it
is
d isc
the
— the
S in g le to n ,
ev o lu tio n "
has
w ill
in
another
a cc o rd in g
sp iral
steps
of
d e stru c tiv e
upward s p i r a l
and
the
a v ic tim of
voyage
now o n C h a r l e s '
also
m a n k in d i s
of
"u p w a r d
in
S in g le to n
th e contem porary c i t y ,
that,
im p u lse
C p. 1 9 3
part
w ith
W a tk in s
events
the
a d iffe re n c e
nature.
is
c o m p a r is o n
D e s tru c tiv e
Many
reason"
of
e v ery th in g
in
fr o m r e m e m b e r in g h i s
of
no
re p la y in g
encap sulates
in d iv id u a lity :
re p e titio n
rep etitio n ,
constant
C p .193.
w ith
city
c itize n s
no
c y clical
refers
- "A s
allow s
sailo r’ s
other
fa cet
s y m b o lize s
" 't h e
in itia l,
rotatory
C p .1 9 3 .
W ith
im p o r t a n t
to
as
regard
keep
d e stin a tio n .
in
From
d ire c tio n .
c o m p a n io n s
exp ect a t i ons
are
had
engaged
been
in
for
m e e t in g
a id ,
for
e x p la n a tio n ,
...t h e
fo r
w aitin g
m in d s
as
lig h t
w a ll
and
d iffe re n t
C harles,
to
m eet
as
in
sound
the
the
is
o f our s e l v e s
w ith
Them h a d
ocean"
th eir
b o d ie s
alon e.
e le m e n t
H is
whereas
He h a s
not
d im e n s io n o f
W hen
and
frie n d s
a
our
appears,
betw een
d is a p p e a r a n c e le a v e s
have
the
d isc
in
c o n flic t
been
is „ l e f t ^ l n
left
thoughts.
c irc u it
the
a
But i t s
he
yet
a n d o f our
beco m e
Cp. 2 2 ) .
establish ed.
cap tain,
to rot.
a d iffe re n t
up
In v a d e
substances
thi s - d i f f ere n t
sta rtin g
a h eig h ten in g
a
absorbed
sh ip
re p e titiv e
that
movem ent
by
is
fo r
sp a c e and u n d e rsta n d in g :
For a l l t h e s e c e n t u r i e s I h a d b e e n s a i l i n g a r o u n d
a n d a r o u n d a n d a r o u n d a n d a r o u n d a n d a r o u n d f o r no
o t h e r r e a s o n t h a n t h a t o n e d a y I w o u ld m eet Th em ,
a n d now a t l a s t we h a d i n d e e d i n h a b i t e d t h e sam e
s p a c e o f a i r , b u t I h a d b e e n l e f t b e h i n d . C p. 2 3 )
O n l y t h e n e x t e v e n t s on t h e
the m y s te r ie s o f
The
is la n d
p erc e iv e s,
been
at
born"
ro o fless
flo o rs
beco m es
C p .4 0 ).
in
and l i g h t
the
c ity
and
w ater
has
to do i n
c irc le
is
and p u l l in g
revealed
is
a
in
the center
its
sailo r’s
that
by
in
a
of
its
in v isib le
p erfect
of
through
fo rm s,
by
c le arin g
W hen
w ith
workmen
But
c le a rin g
of
d islik e
c o m p o sitlo n ,
who
e x p la in
"I
he
what
has
not
he
on
m a in tain
is
ha
yet
fin d s
realizes
a
the
that
gardens
so m ething
he
had t o p r e p a r e t h i s
a ll
the
lo o se
a l s o know s t h a t
the next fu ll
the
and
m o saics
there
away
C harles
and th en w a it for
the
or
the sto ne c it y :
square,
w ill
te rritiry
p aradise.
order.
out the g r a s s " C p .5 4 ) .
th e center
n ew
"h o s t ilit y
in h a b its
substances
la n d o f an is l a n d
and th e c o m p a n io n ’ s d is a p p e a r a n c e .
p erfe c tio n
in h ab ited
in
the
He
chan n els
ly in g
to clear
the C r y s t a l ’ s
first,
c ity
"s a fe "
center
has
moon.
to
d irt
he has
W hat i s
do
w ith
108
u n iversal
fo rces:
"p a t t e r n s
patterns,
that
suggested
correspondence
w ith
the
g lo w e d
in
it,
flo w ers
and
m ovem ents
of
th in ning
m o o n l ig h t
moon
and
her
cycles
co uld
not
take
my th o u g h ts, fr o m h e r
her
w ild
p atternin g
"I
earth
in
full
moon
that
he
and
can
m ooncrazed"
fo r
not
resp o n sib le
has
to
never
liv e ,
w hat
I
I
fo r
the
He i s
approaches
th eir
one,
the
sky.
voyager
as
v isit
of
c o n d itio n :
"I
the
the
a ir,
death
of
the
th eir
Even
in
a
in
the
d iffe re n t
she d iz z ie d
the
d isc
was
sailo r
is
The
w ay:
around
fo r
the
absorbs
co n fro n ted
the
next
h im
m oonstruck.
g rie f,
and
t h e p r e s e n c e o f e n e m ie s .
he
a
to
The
oh,
be
be,
sud den ly
beast
isla n d .
m ust
c ity
I
no,
aw are
no,
a lie n
the
fe e lin g
no,
around" C p .605.
b eco m es
among
cannot
made
n o tic es
I
so
was
w ith
an
of
h im
of
and
by a stra n g e fe a s t in
it
W o m e n 's
three
around
h im ;
th eir
and
d e stin y
fo r
a
feasts,
he
The
w here
tim e .
o versleeps
"la u g h e d
stretched
C p .6 3 5 .
p artic ip a te
they
faces,
a
Because
and
is
he
m isse s
and
m ouths,
bloody
baby
w h ic h
the
it,
I
no,
a
that
he
h im :
don’ t
w ish
I
have
done
and
around
and
sudden
e v e ry th in g
n ig h t
is
the fo re st
are
is
upsets
no,
the
he
a
v a ria tio n s
and
and
tric k lin g
feasts
ran
in
p artic ip a te d
C r y s t a l 's
blood
w h ic h
change
new
a n d w hen
exu lted,
m urdered
has
that
g u ilt
w hat
no,
B u t w hen
cattle,
stand
A ll
to
of
attracted
greet
ch in s"
realized
w an t
w hat
around
terror.
sm eared
in to
do not
- the
sin g le
on
know such
changes
he
the
and
d a n c e " p . . 5 7 3 .. „ W a i t i n g
M e a n w h ile
never
blood
am a n d
around and
gardens
c h a n g e s t h e a t m o s p h e r e on t h e i s l a n d .
draw n e v il
"1 *1 1
affect
a
g e o m e tric a l
lo o m e d up m i l k i l y . . . " C p . 5 5 3 .
p ro bable
a v o id
W atk in s h as
sm ells
a lso
the
C p .5 7 3 .
ep iso d e th at
he
the patterns
co n tin uo u s
the
h is
of
a
w as
o ff
sons
v o y a g e r 's
tw ice
in
such
descent.
In
th is
109
co n fu sio n
of
fe e lin g s
r e latio n sh ip
betw een
houses:
they
c ity
of
"...
w h ic h
had
in te n sity
through
fo u nd
its
departure
the
"...
friv o lity ,
an
a
sort
appears
in
the
of
a
At
after
W a t k i n s 's
the
m onkeys,
both
the
races
and
too:
a rr iv a l
the
it
shot
and
had
C p .7 0 5 .
A
and
in
it
C p .6 9 3 .
silly
after
feasts
and
servants.
lik e
a
the
of
a
of
lo o k
g ig g lin g ,
th in g
m o nkeys.
W ith
t o him .
Now ,
of
k illin g
th eir
frie n d
C ry stal’ s
betw een rat- dogs,
The
m ost
the
is
is
descent,
stu p id
m em bers.
and
The
robs
circ le
a k in d o f d e p o s i t o f c o r p s e s and t h e w ater
red
blo o d.
W atk in s
im p o ssib le because o f
w ants
to
t h e r a t- d o g s *
clean
the
presence.
the
the m asters,
square is
w ith
and
aspect
te rro rizin g
them
a
w h irl
after
s ile n t
n ew
the
through
had
a
w as
that
But
It
and
it
frig h te n in g
gone.
a
is .,
centre;
p lace,
C ...D
the c it y
of b attles
fr o m
to
a
reveals
Crystal
restin g
silen ce
rat- dogs
c ity
a t m o s p h e r e becom es e v i d e n t .
bloody
beco m es a f i e l d
the
reveals
drunkenness
city
the
s u b s t a n c e s ..."
coarseness"
them t h e c h a n g e i n
on
m o r n in g
peace
w here
its
c laim s
fin e
of
in w a rd s,
core,
the
its
in fa n tilism ,
turned
its
own
center
c irc le ,
la id
C r y s t a l 's
c ity :
the
were
w h ic h
w ith
the
c ity
and the
v io le n tly
w ith in
c han n els
center
but
it
the
are
is
Then the w h ite b ir d
appear s .
W it h
an im als
in
p o rp o ise
to
the
c ity ,
the
e xc e p tio n
the
voyage
that
saves
is la n d ,
tw o
and
p o llu tio n
a n i m a l 's
th is
of
in
is
W atk in s
b en ig n
w h ite
as
and
alw ays
fro m
the
leo p ards
b ird ,
and d e s t r u c t io n
territo ry
rat- dogs
m onkeys,
p eacefu l
rotten
that
w h ic h
has
the
presence
of
and
helpfu l.
A
raft
a nd
b rin g s
h im
s h o w h im
the
way
the
p re v io u sly
p e r p e t r a t e d b y h u m a n ity ,
co o perative.
When
the
w h ite
all
to
shown
h im
sig n a l
the
b ird
land s
on
110
the
center
o c c u p y in g
of
the
c ity ,
C harles’
the c e n te r,
th is
p lace.
and C h a rles
tim e,
M o n key s
starts
it
and
b a n ish e s
rat- dogs
the c le a n in g
of
those
leav e
the
w ho
are
o b e d ie n tly
c ircle
w ith in
the square.
In
not
B rie fin g ,
be
tim e,
the
n eglected.
W atk in s
center
m eans
p o ssib le
to
minim um o f
the
the
related
c irc le ,
the sac re d ,
"T h e m "
and
w ants
of
p ersp ec tiv e ,
the
The
The m andala,
to reorder
earth,
other
the d iv in e .
of
in
the
m oon’ s
to
can
v isio n
e xp erien c e
the v is u a l,
p lastic
w ith in
body
stands
and
m a n d a la
exp ressio n of
- and
n o n - sp atial
of
and
s y m b o ls
of
a
F irst,
that
has
to
cardinal
the
other
w a it in g fo r
sp ite
of
h is
horror.
From
m eans
o v e r c o m in g
for
t h e sym bol
the
it
related
W atk in s i s
W atk in s
of
yantra,
fo r
of
e s p e c ia lly a fter
is
of
the
in
to
m andala,
is
and
first
a
of
w h ic h
can
order
te rre stria l,
and
as
the
c lean in g .
th is
the fe a s ts
the
of
co sm o s.
corresponds
t h e s t r u c t u r e and f u n c t io n o f i t :
d iv e rsity
p ristin e ,
the
study
dim e n sio n
seen
situ atio n ,
w ith
is
and
in c ite
h im se lf
k in d
W atk in s’
C harles
be
lik e
a
the
another
of
is
hand,
d isg u st
cycles
C harles’
about
the
the
m a n d a la
exp la n a tio n
even
b eh in d
for
that
resto rin g
the
structure
the
of
as
Through
and a s t a t e o f d is o r d e r ,
fo rest.
C harles’
and
ascend
ev il,
the
C irlo t
im p e r a tiv e
streets
structure
ric h n e ss
on
an
the
to e v e ry th in g th at
fo r
c o n flic ts
T h is
elem ents,
to
on
is
im p o r t a n c e
e m b l e m "4 .
w orld,
kn o w ledge
the
c ity .
or
see
the
The
c le a n in g
w a lk in g
o rg an iza tio n
seasons,
p o in ts.
of
Juan- Eduardo
the s q u are i s
a
W h ile
the
by
"in s t r u m e n t ,
task
understands
of
e xp la in e d
is
the
w ork,
h is
In
to
"It
to o .
attem pt
B riefin g ,
C i r i o t 's
is,
then,
the s t r u g g le to ach ie v e order
the
lo n g in g
n o n- tem poral
to
be
reu n ited
’ Centre’ ,
in
as
-
w ith
it
is
Ill
co nceived in
W atk in s i s
all
h is
life
in
In s id e
When t h e f u l l
the Crystal
moon c o m e s ,
he w ill
understand
t h e c i t y and t h e d im e n sio n o f
h is
task
the center.
The
m a tter
crystal
and
cry stal’s
the
is,
sp irit
state
most
m a tter
can
trad itio ns” .
ready to ascend.
t h e m e a n in g o f
in
3
s y m b o l ic
- m eet.
of
see
through
n eith er
hardness
W a t k in s
is
W atk in s’
substance
and
but
it
it.
As
nor
the
can
be
b e a u tifu l
is
as
an
if
where
exp la in ed
it,
d id
of
nor
in
a
d e fin e s
not
s u f f e r i n g 4*.
sw irling
dust
and le a v e s
fr o m
a sc e n sio n
to
th is
a tm o s p h e r e
changes,
body
and
h is
v isio n
of
In
the
"o n e
of
one
if
o ffers
the
novel,
around"
"a s
a
C p .8 8 D .
co nseq uently,
w orld
the
because
m ovem ent,
yards
of
-
o p p o site s:
co n tem p la tio n ,
in
h is
as
of
exist,
gathers
of
o p p o site s
because
c o n ju n c tio n s
it
o b jec t
by
place
w h ic h C i r l o t
re sista n c e
"g a t h e r e d "
d u s t - d e v il
T h is
transparency,
e ffe c tiv e
'e x i s t s * ,
sy m b o lic a lly ,
o u tsid e
the
the
C rystal.
H ea v in ess
and
lig h tn e ss
w h ile
o b se rv in g
the
c ities
t h a t now h e i s
c ity
are
elem en ts
fr o m
above.
that
They
W atk in s
d isco v ers
d iffe re n tia te
tw o
a b le to p erc e iv e :
a s my own b o d y w as now a s h a p e i n
1i g h t,
though
not
as
f 1 ne
and
hi gh
a
1i ght
as
the
sub stance of the Crystal i t s e l f ,
s o t o o w as t h e
c i t y : i t w as a s i f t h e c i t y o f s t o n e a n d c l a y h a d
d i s s o l v e d , l e a v i n g a g h o s t l y c i t y , made i n l i g h t ,
lik e , an
illu m in a te d
m is t
that
has
shadows
or
echoes
h eld
in
it.
Yet
the
city
that
rose
e v e r y w h e r e a b o u t me i n t h e sam e s h a p e o f t h e c i t y
I k n e w s o w e ll w as t h i n n e r , more s p a r s e . Cp. 8 9 }
W a t k in s
sees
and th a t i t
that
is
there
are
im p o s s ib le for
few er
th is
houses
lig h t
in
th is
pattern
"g h o s t ly "
to f i t
in to
c ity
som e
112
b u ild in g s
of
the
im p e rv io u sn e ss
c itie s
have
substances.
leads
me,
h is
it
...t h i s
w eigh t,
the
a
part
lik e
th is
of
h is
t h e w orld i n
a
of
liv in g ,
and
in
the
dev elo p m en t,
its
w as
bred
and
h e av in e ss
e ith e r
and
in n e r
and
outer
heavy
or
lig h t
co - existen ce
of
o p p o site s
the
and
are
a
fear
in to
w ith
it:
understood
too
of
my
th is
co m p ellin g "
gro w ing
in
a
the
B u t now h e i s
essence
kneaded
a sso c ia te d
h is
and
c o m p u lsio n ,
p erc e iv e d
on W a tk in s .
in to
fo rest
a
already
g rie f
d ra g g in g
of
w eig h t,
has
sorrow
p u llin g
"b lo o d y f e a s t s "
part
"It
b reath in g
So,
co ld
pressures
my
C p .9 0 ).
the
W atk in s
its
“extra
th eir
of
"a
w h ic h
to
d isc o v e ry .
C ry stal,
fee lin g s:
was
was
n e c e ssity
w ith
to a personal
m a n ifests
due
substance"
spaces
C p .9 2 ) ,
stone c it y ,
c ity
p ercep tio n
the
n e c e ss ity "
for
th eir
T h is
In sid e
of
in
their
W a t k in s
a fra id
stone
not
a n c ie n t
the
race.
fib re s,
co ld,
a
th is
C p .9 2 ).
E v en
b y h im a s
b e in g
cap acity
to
understand
to tality :
. . . my h a v i n g d r u n k b l o o d a n d e a t e n f l e s h w i t h t h e
poor women h a d b e e n a d o o r , a k e y a n d a n o p e n i n g ,
b e c a u s e a l l s y m p a t h e t i c k n o w l e d g e m ust b e t h a t , i n
t h i s s p i n o f f u s i o n l i k e a w eb w h o s e e v e r y s t r a n d
i s l i n k e d a n d v i b r a t e s w i t h e v e r y o t h e r , t h e sw o o p
of
an
eagle
on
a
m ouse,
the
eag le’ s
co ld
e x u l t a t i o n a n d t h e m o u s e ’ s t e r r o r m ake a m atch i n
nature,
a n d t h i s h ar m o n y r u n s i n a s t r e n g t h e n e d
p u l s e i n t h e i n n e r c h o r d o f w h ic h i t i s a p a r t .
C p. 9 2 - 3 )
The
in n er
m atch
in
W a tk in s.
of
th is
its e lf.
and
outer
nature"
The
they
m ovem ent,
search fo r
In
c itie s
the
are
stand
the
exam p les
fo r
the
constant
of
C harles’
th is
h arm o n y
change
b a la n c e and w ith o u t
context
of
fu sio n ;
now
and
lik e
"a
understood
by
dan cing
are
th em s t e r i l i t y w i l l
voyage,
it
is
im p o r t a n t
part
repeat
to
be
113
part of
the
th is
outer
"lo c k in g
w o r ld
of
stone,
Cp. 9 3 D .
O ily
task
the u niv erse.
in
H a v in g
m ovements
through
a
among
p ulses
p erc e iv e d
com m union
the
human b e i n g
he
w hat
p ro fe ssio n a ls
h is
that
r h y th m s
fa m in e
co lo urs
in sta n c e ,
in d iv id u a ls.
o v errid e s
see
sees
W ars,
T h is
w ith
lig h t"
to
by the
by
fo r
m atters.
and
able
lig h t.
separate
lig h t
W a tk in s
a c c o m p a n ie d
of
in
o rd in ary
be
d is tin g u ish e d
of
is
and
p lanet,
P ro fe ssio n s,
the co lo urs
among
w ill
co lo urs
are
lig h t.
through
than
and
are
pattern
flesh,
the
on e a r t h
tones
th e in n er
leaf,
of
n atio n s
of
of
kn o w ledge
v iew
and ch an ges
a sso c ia tio n s
rather
th is
good
sound and d i f f e r e n t
beats,
together
and
and
are
The
fact
of
by
not
w h o le
creates
d iffe r e n c e s
a
a nd
fig h ts :
th e r e i s no such t h in g as s o l d ie r s but o n ly
S o l d i e r , and not c l e r k s but C l e r k , and G a rd e n e r ,
and
Teacher.
For,
sin c e
any
category
anywhere
a l w a y s b e a t s on i t s own w a v e l e n g t h o f s o u n d / l i g h t ,
there co uld not be in d iv id u a l s in t h is n o u r is h in g
w eb. T o g e t h e r t h e y fo r m e d o n e b e a t i n t h e g r e a t
dance,
one note in th e song.
E v e r y w h e r e a n d on
e v e r y l e v e l t h e l i t t l e i n d i v i d u a l s made u p w h o l e s ,
s t r u c k l i t t l e n o t e s , made t o n e s o f c o l o u r s . C p. 9 0 }
B ut
order
so m eth ing
and
h arm o ny.
p ro fe ssio n s
and
selfish
- the
b e in g s
sp iral.
The
sense
of
"I"
- is
ness.
to
of
the
planet
w h o len ess
and
W atk in s
g iv e s
p lace
in te rp re ts
a
" b l o w or
to
the
d istu rb e d
reflected
in
its
the
s u b s t i t u t e d b y an i n d i v i d u a l i z e d
T h is
"I"
ness,
on
th e ir r e s p o n s ib l e and c a t a s t r o p h ic
and
consequence o f
happened
"W e " n ess
sense
re sp o n sib le fo r
human
has
the
d e stru c tiv e
change on
k n o c k " C p. 1 0 3 D .
the
its
turn,
b e h av io r
movement
p lan et
C harles'
as
is
among
of
the
b e in g
q u estio n
a
"w h a t
114
sent
us
o ff
C p .103}
is
centre,
and
away
fr o m
the
sw eet
s an ity
of
W e?"
a n s w e r e d w i t h a movement b a c k w a r d s :
I ’ m b e in g su c k ed back l i k e a m ite r e v o l v in g i n th e
vortex
of
the
bathw ater,
eddy ing
in to
the
m ill- ra c e ,
back,
and th en C rash!
T h e C o m e t,
it
com es h u r t l i n g o u t o f t h e d a r k o f s p a c e ,
g iv e s
E arth a blo w to m i d r i f f . . . l e a v i n g E arth no lo n g e r
c i r c l i n g san e and s te a d y . . . The a ir that had been
the fo o d o f s a n e and l o v in g u n d e r s t a n d in g becam e a
d e a d l y p o i s o n . . . C p. 1 0 3 - 4 3
W atk in s
understands
the
u n b a la n c e and p e r c e iv e s
in
to
now,
the
the
w orld
of
terrib le
that i t
r e la tio n s,
kn o w ledge
that
can
is
to
consequences
of
t im e t o r e t u r n
the
change
w orld
m any
c o s m ic
fr o m t h e v o y a g e
o u tsid e
th in g s
the
sin c e
in
h is
he
has,
p lace
on
the plan et:
B u t m a n - w ise , m i c r o b e - w is e , I am b e f o r e t h e C r a s h
a n d i n a co o l s w e e t l o v i n g a i r
th a t r in g s w ith
h a r m o n y , I S , y e s , a n d h e r e am I , v o y a g e r , O d y s s e u s
b o u n d f o r home a t l a s t , t h e s e e k e r i n hom e w a t e r s ,
s p i t e f u l , N eptune o u tw it t e d and J u p i t e r ’ s daughter
my f r i e n d a n d g u i d e . C p . 1 0 4 }
W atk in s’
m o v em e n ts,
sam eness and r e p e t i t i o n
and
personal
chance
of
at
"B o u n d
to
h is
p ercep tio n
and
how ever,
part of a greater
is
human w i l l
of
the
Structure
kn o w ledge
to d e v e lo p i t .
cre ativ e
in
n o vel’ s structure
as
in v o lv e the return not
fo r
home a t
o rd in a r y
of
th in gs.
la s t ",
life
The
he w ill
w ith
to
In
b e in g
h is
by
a rtic le ,
a d e stru c tiv e
a
d iffe re n t
c re ativ e
m ov em en t,
dim e n sio n and in v o l v e s
m e n t io n e d
have
a
T h e c r e a t i v e movem ent i s
sp iral,
B r ie fin g ".
p oint,
but tow ards t h e d ev elo pm en t o f c r e a t i v i t y
d isc o v e ry .
re tu rn in g
th is
B o llin g
B o llin g
sp ira l.
not o n ly the
in
"T h e m e
and
in te rp re ts
the
But
he
does
not
115
d isc u ss
space.
fu ll
len gth
The c r e a tiv e sp ira l
the
t im e
the
p lan ets'
Ju p iter
he
and
M inerv a
e m p h a size s
forget
that
trav eller’ s
and
W e,
W atk in s
the
p rev ail
has h is
lik e
task
are
it ’s
turn,
true
the
not
a
id e n tity
m issio n
task
on
on
the
so
that
else.
on
the
There
o n ly
h arm o n y ,
i t ’s
of
and
F red erick
Larson
T h eir
a w a k e n in g
w ill
be
lik e
on t h e
a
w ill
exactly
the
the
p eo p le
p lanet.
w ill
a lso
p lanet,
in
C harles
He has lo o k ed for
co m p an y
is
p ro v id e s
so
co n fused
sta b ility .
reader
fo r
sh all
how ever,
is
When
who
and
fr o m
and
C p .1 1 1 - 2 ).
p an ic
in
at
but
and
in
W a tk in s
on t h e p l a n e t
to keep
go dly
a liv e
B aines
r e a lm .
te rrify in g :
h is
“ You
rescuer,
Cp. 1 2 4 ) .
the
B aines’
that
that
p eo p le
cease.
th is
e n lig h te n e d
we d i s c o v e r
Earth
r e sp o n sib ility
terror"
in
on
Rosem ary
be
drowns
fo u n d
no
bad
t h e c o m m u n it y ,
that
w ill
re v e la tio n
that
the
learns
awaken
t o re m e m b er ,
e m issa rie s
your
on
a d iffic u lt
shall
ev id e n c e
person
the
"...d o n ’ t
liv e
be born and l i v e
good
c o n fin em en t.
but
he
have
In
pattern,
u p ..."
and
passage,
sp iral
who
The
re p e titio n
and w ill
stru ggle
state
a
re la tio n sh ip in
b lin d
d r o w n in g
you
th is
in flu en ce
C o n sc io u sn e s s
some
are
In
at
and w here a c o n fe re n c e i s
som e
the
p lan et.
is
unbalance
c re a tiv e
the
planet:
He o n ly
d iv in ity .
them
Earth.
t o w in i t s
by J u p it e r
c o s m ic
ev e ry th in g s p i r a l l i n g
b ra in p rin te d
everyone
v io le n tly
of
B rie fin g
the
the
try in g
w er e t h e p r e d o m in a n t movem ent:
No,
h is
is
m a in ly
th e m t o w a r d s a d i f f e r e n t
country,
shall
d isc u ssin g
is
a god and th a t he has been b r i e f e d
im p o ssib le
in c ite
m e n t io n e d i n
presence
it
that
w here th e gods appear
C harles’
is
are
Ju p iter,
jou rn ey .
reveal
the
if
e v e ry th in g i n
also
not
the
as
The passages
h eld
is
d istu rb a n c e ,
w ho le u n i v e r s e ,
good,
the c re a tiv e sp iral
t im e
T h is
of
h is
and L a r s o n ’ s
d ia lo g u e
they
so
have
among
m et,
a
lie
re v e la tio n
But
the
him .
in
the la s t
p olice
The
fin d s
circ le ,
the
pages
of
the
n o vel,
C harles
and
the
sp iral,
changes
the c ir c l e
m e d ic a l
its
is
clo sed.
in stitu tio n
d ire c tio n ,
now
many
o n ly
keeps
toward
de stru c tio n .
The
m e d ic a l
staff,
a tte m p t
to
co n fused
d ia lo g u e s
be
the
make
shock
after
C harles
and
record
C harles
talks,
some
rem e m b er ,
strange
treatm ent.
W a t k in s
p re sc rib in g
But
b efo rehan d.
of
about
h is
h is
total
fo r
C harles
a n n ih ila tio n
and
of
hope,
There i s
an atm osphere o f
the
has
land
sim ilar
w ay
not
to
alw ays
M artha
F o u r - G a te d C i t y ,
h is
harm ony w i l l
h is
attem pt
w ill
and
in
to
m ake
adulth o o d.
the
the c o lle g e
not
w ill
by
blood
e x p e r ie n c e
in h ab it
on
and
the
an
w ith
trie s
w ill
as
war
in
court.
end
not
up
in
p rev ail.
among them a n d t h e b e l i e f
stain e d
Quest’ s
Y.
exp e rie n c e s
d e stru c tio n
d iv in ity
last
c hild ho o d
c o m p a n io n s ,
and
been
The
D o c to r
Y u g o s la v ia and th e n about an e x p e r ie n c e i n
W ar,
im p a tient
adventures.
episo d es
first,
gets
drugs
a n g u ish .
isla n d
that
In
in
a
The
w i t h them :
...
t h i s l a n d t h a t w as s o r i c h a n d s o b e a u t i f u l
w o u ld f l o w e r i n t o a l o v i n g harm o n y t h a t w as a s
much a memory a s a d r e am f o r t h e f u t u r e . I t w as a s
i f e v e ry one o f us had l i v e d s o ,
once,
upon a
tim e ; a t another tim e , in a co un try l i k e t h i s . . .
among p e o p l e d e s c e n d e d fr o m a n a t u r a l r o y a l t y . . .
We w e r e a l l
bound i n together by another tim e ,
another a i r .
A n y t h i n g p e t t y a n d i g n o b l e w as a n
o u t l a w , we c o u l d remember o n l y n o b i l i t y . C p . 2 1 2 3
In
another
their
when
and
passage,
courses
the
the
poor
lio n
W atk in s r e f e r s
were
on
our
sid e,
and
meek
and
w o u ld
lie
down
the
t o a G o lden Age:
w hose
v ic to ry
h u m b le
w ith
the
had
la m b ,
“the stars
w o u ld
in h e rited
and
a
be
the
lo v in g
at
in
last
Earth,
h ar m o n y
117
w o u ld p r e v a i l
b e g in n in g
w ill
but
blossom .
the
voyage
d iv in e
o v er
the
the
t im e
in
is
C harles*
d a n g les
record
over
let
dow n
fr o m e a c h
these
te n d rils
as
personal
length
o uter
pot,
g ra sp in g
the
of
t im e :
is
to
ju st
T im e
W a tk in s’ .
yet
see
the
on
the
are
a
w av e .
the
- w ell,
runs
on
an urgency i n
memory
of
fa m ily and does
do
of
the
sid e ,
but
The s t o r y
of
d e sc rib e d
by
not
of
h is
W hen
the
they can
reach
the
in te r ru p ts
C harles
of
the
sw in g in g
th eir
understands
te n d ril’ s
C harles
ev e ry th in g
ev e ry th in g
a
summer
grows.
w in d ,
g iv in g
p lant
o p p o site
the
a lso
that
in
have
in
w ants
its
the
and t h a t ’ s
own
w in d .
what
I
t h a t ? C p .2 4 5 5 .
r h y th m
w h ic h
"c u r i n g " peo p le.
h is
the
t im e
dev elo pm en t,
success
Why c a n ’ t y o u s e e
h o sp ital
is
young
the
a
by
T i m i n g " C p. 2 4 5 5 .
The
of
H o n ey su ckle
Cp. 2 4 2 5 .
m onths,
the
im p o r t a n c e
the
s id e
h is
one so
s o m e tim e s
fo r
of
Last
c a m e llia
still
som e
p ro m ise
w ith
"T h e w a ll
garden.
c am ellia
in n er
A fter
sam e w i t h
There i s
re c o g n ize h is
or
b y h im :
a
of
t h e w ho le p o in t .
Doctor.
recovered
on t h e
resp o n sib le
the
in
story
where
m em ories
a yard"
reach
that
pot
both,
surfer
have to s a y ,
the
plan t.
"T i m e i s
"T h e
And i t ’ s
of
the
doctor
w ere
T e n d rils
to
new
the s a il o r
e xp erien c es
te n d rils
by about
the
a n c ie n t
m e m o r ie s ,
the
that
lo n g
try
not
th e garden above i t .
fr o m
tw o
that
clasp s
of
an
is
w ith th e C ry sta l.
d e sc rib e d
w a ll
other
the
w eight
t im e
attem pt:
it
reach
te n d r il
the
that
if
growth.
to
of
p re c io u s
recaptures
w all
th is
separated
tw o
The fu tu re
memory
contacts
thus
the r e t a in in g
hon ey su ckle
the
h is
u n p e rc e iv e d
next
down
W a t k in s
w here
re v e a lin g
The scenery i s
my door i s
C p .2 1 33 .
W h i l e r e c o r d i n g som e o f h i s
and s t i l l
co llege.
Earth"
o rd in ary
n o t rem em ber
h is
d iffers
fro m
W atk in s h as not
life .
w ork.
He
does
not
But t h e r e i s
118
an
a n x ie ty
than
the
and
urgency
s t a f f ’ s.
in sid e
W atk in s
h im
know s
w h ic h
that
has
t im e
a
is
d iffe re n t
ru n n in g
source
short
for
s o m e t h in g h e h a s t o d o :
" ’ T h e r e ’ s so m ething I h av e t o re a c h .
I have to
t e l l p e o p l e . P e o p l e d o n ’ t kn o w i t b u t i t i s a s i f
they a r e l i v i n g i n a p o iso n ed a i r .
They a r e not
awake. T h e y ’ ve been knocked on t h e h e a d , lo n g a g o ,
a n d t h e y d o n ’ t know t h a t i s w hy t h e y a r e l i v i n g
l i k e z o m b ie s a n d k i l l i n g e a c h o t h e r ’
C p .2 4 83 .
T h is
and
d ia lo g u e
a
frie n d
d estru c tiv e
we b e
come
out
take
is
h is
fo r
he w ill
us
of
How
me w i t h
the
C harles
W atk in s'
spiral
through
easier
h is
of
d iffe re n t?
and
th is
betw een
can
we
get
you?’ “
all
id e n tity
first
but
portrayed in
both
out?
yo u
He
you
h im
fin d
d e c id e s
treatm ent,
tim in g ,
w ish
asks
If
another
to
evade
“ ’ But
out,
to
tim e s.
how
can
you
the
w ay
that
S o m e tim e s
C p. 2 4 8 D .
the
w ill
try
b e lie v in g
see.
p atien t
m aybe
it
is
He th in k s
to in t e g r a t e the voyage in
and
t o t h e w o r ld o u t s i d e c o n f i n e m e n t .
how ever,
treatm ent
forgets
Stoke,
V io le t
to get out than other
sp iral,
the
that
C p .2 4 8 3 .
shock
“I t ’ s
p re v io u s e x p e r ie n c e s
A fter
reveals
h av e a c h a n c e t o rem em ber,
The
V io le t
r e p e titio n .
e lectric
t im e :
and
h is
m oves
w ith
on
in
its
shock,
d iv in ity
and
d e stru c tiv e
W atk in s
task.
course.
rem em bers
H is
fa ilu re
h is
is
a m e s s a g e t o R o se m a ry B a i n e s :
Dear
M iss B a in e s ,
I am s u r e y o u w i l l b e p l e a s e d t o h e a r t h a t I
am f u l l y r e c o v e r e d a g a i n , a n d s o e x p e c t n o t t o b e
s u c h a b u r d e n on your c o n t i n u i n g k i n d i n t e r e s t .
I n c i d e n t a l 1 y I h a v e t o th a n k y o u f o r your p a t i e n c e
on t h e n i g h t w hen I i n f l i c t e d m y s e l f o n y o u i n
w hat w as a n u n f o r g i v a b l e w ay. P l e a s e a p o l o g i z e on
my b e h a l f t o Mr. L a r s o n .
A s I s h a l l b e b a c k i n C a m b r id g e a n d e x t r e m e l y
b u s y I am a f r a i d I s h a l l n o t b e a b l e t o a c c e p t
119
your
v ery k in d i n v i t a t i o n to d in n e r .
Yours s i n c e r e l y ,
C harles
So,
W atk in s
o rd in ary
is
fin a lly
life
and
To
sum
happened.
"c u r e d ".
beg in s
up,
to
liv e
he
is
extent
a
th is
p oin t
tw o
human
b e in g
in d iv id u a l.
n o rm alcy
and
Laing
is
the
has
"a
in tro je c tio n
e xp e rie n c e "
C p .2 7 3 .
of
the
w e ll
h is
o rg a n ize d
as
the
reality .
"I"
ness
tran sfo rm
p eo p le.
if
som e
need
fo r
and
W atk in s
C harles’
had
is
voyage
He
have
of
h is
in
has
never
b eco m es
the
sam e
to
be
review ed:
to W atk in s*
of
a
norm al
P o litic s
of
re p re ssio n ,
sp irit
W a tk in s’
the
growth as
and
health y
E x p e rie n c e ,
d e n ia l,
voyage
that
splittin g ,
fo r m s o f d e s t r u c t i v e
be
a
in ,
actio n
it
is
on
true
m atter
by a
of
the
m a n d a la
as
of
the
Crystal
to
reality
What
change
of
h allu c in ate d
sho uld
in
the
be
done
re la tio n
to
among
p s y c h o t h e r a p y w o u ld h a v e b e e n i m p o r t a n t
respected:
e xp erien c e
Laing
has
dev elopm en t.
T h e replacem ent
resp o n sible
fo r
the
w ith in
b e h a v io r.
w o u ld
been
structure
m a n ip u la te d
life ,
sh a rin g
p seu d o - existen ce.
The
transcendental
reality
lo v e,
memory
t h e o r d i n a r y w o r ld d e n i e s h im t h e t r a n s f e r e n c e
th is
p h y sic ia n ’ s
in
C o n sid erin g
d e stru c tiv e
a
the
c o n trib u te d
and other
transparent
thin g s
aspects
of
and
In
if
the
of C lassic s.
has
said ,
product
"n o r m a lc y " i n
as
c h a ra c te ristic s
p ro je c tio n ,
that
ba sic
t o w h ic h c o n fin e m e n t
recovers
"n o r m a l".
r e p e t it iv e and b o rin g p ro fesso r
At
He
W a tk in s Cp. 2 3 0 3
w ith
said ,
of
p a tie n t’ s
h is
is
th is
t im e
the
to
grow
up
and
p sy c h o th e ra p ists.
the b a sis
h is
The
fo r
the
p a tie n t’ s
lo v e by drugs
and
shocks
death
in
the
n o rm alcy
of
is
h is
N o ie s
*D o ug las
B o llin g ,
Descent in t o
H ell,
P r a tt and L. S.
1 0 7 4 3 , p. 1 3 S .
p. 1 3 3 .
aB o l 1 i n g ,
p p .136- 7.
p. 1 9 9 .
5C i r l o t .
p. 2 0 1 .
°C ir 1 o t , p. 7 4 .
in
and
Structure
D o ris L e s s in g :
Dembo C M a d is o n :
2Bol 1 i n g ,
4C i r l o t ,
'T h e m e
in
C ritic a l
U n iv e rsity
of
B rie fin g
S tud ies,
for
ed.
W isc o n sin
a
A nnis
Press,
C O N C L U S !OH
The
Lessing
te rrito rie s,
opens
up
in
the
her
d iffe re n t
no vels
"la n d s "
p ro v id e
a
and
new
spaces
p ersp ec tiv e
w h ic h t o a p p r o a c h t r u e a n d h e a l t h y human r e l a t i o n s h i p s .
that
but
it
is
p o ssib le
frig h te n in g
b asically
to
In
order
central
b asic
to
aspects
of
of
of
the
three
of
co n sider,
areas
in
re latio n
c ity
The
I
a square,
kno w led ge
destroy
we a r e
in
the
c o s m ic
for
co nfro nted
C ity ,
o p p o rtu n itie s
fo r
A
and
I
see
my
the
Anna’ s
the
C ity
in
and a ls o
as
after
the
liv in g
the
the
others
to
a
three
presence
of
as a s ig n
of
and
door
as
as
Desert
an
Then,
w e ll
point
in
as
as
the
lim its
o f d e v e lo p m e n t .
the c ir c l e
w ith in
w h ic h l e a d s
to the
C ry stal,
voyage in .
cap acities
on
o f growth.
places
in to H e ll,
the
Joy.
w ay s
life
nodal
of c le arin g
in sid e
w ay
concentrate
t h e basem ent
a Descent
w ith
show
opposed to a re a s
th e task
b e h av io r
in
the
and
the
The G o lden Notebook,
basem ent
balance
to
F irst,
p oint
a fter
fear
on
ric h
u n d e rta k in g .
and
w an t
the
"la n d s "
of
depends
exp erien ces
and f r a g i l i t y
B rie fin g
of
e x p e rie n c e s
I
in
to explore
These
fr o m
Th ey show
transcendence
a n a ly sis
C o ld ridge’ s
p o te n tia l1y h e alth ie r
n o vels,
and
understand that
in
of
n o vels.
Four- Gated
Mark
betw een s o l i d i t y
F in ally ,
my
of s te rility
betw een
in
nature.
voyage
F re e m a n a n d W u l f ,
in d ic a to r
in n er
the
co n clu sio n s,
te rrito rie s
the
hum an
opposed
s u m m a r iz e
d iffe re n t
I
voyage i n
the e xp erien c e a person i s
"la n d "
t w o women,
the
success
s e e and a n a ly z e
of
a
p o ssib ilitie s
w ith
the
undertake
aspects
the
co n fro n tatio n
B e sid e s,
to
that
of
h a rm o n io u sly
p oints
to
In
three
the
human
w ith
b e in g s
others
a
to
and
122
w ith
t h e cosm os.
u po n
d e stru c tio n
the
w orld.
and
But L e s s i n g i n s i s t s
and
T o our
v ig o ro u s
personal
e le m e n t
m o d ify r e l a t i o n s h i p s
be
a ctiva ted
b e in g
learn
when
offered
of
liv e s»
go i n
we d o
to
d esp ite
not
us.
c o n flic ts
L essing
strength
and
on s h o w in g t h a t
and
search
fa il
Thus
to
the
in tro duces
Our
the
face
life
w ith
hope.
of
we c a n b u i l d
a
self
te n ac io u s
cap acities
m e a n in g o f
the
be c o m es
and
life
to
can
e x p e rie n c e
that
is
a
and
an
voyage
oppor t u n i t y .
A lon g
w ith
c h r o n o lo g ica l
d iv id e d
of
the
and
of
the
the
w orld
of
the 6 0 s .
At
s ig n ifica n c e
of
and
in to
man
th is
tim e,
the
w ay s
frag ility ,
in
The
Four- Gated
in to
L e s s i n g 's
H ell.
three
b e i n g 's
territo rie s
and
are
a
and
Lessing ,
of
N otebook;
m atter"
C ity ;
of
a
threatened
w ill
by
to
the
pow er
of
a
of
so lid ity
B rie fin g
and
of
a
for
a
a bso rp tio n
and
of
and
abso rp tio n
in
exp lo re
in
betw een raw and
the
and
m entor
fic tio n ,
d iv id e d
and
in d ic a te
in
a ck n o w led g in g ,
m e r g in g
C rystal,
the
d isc u ssio n
in
the
m e r g in g
courage
or
b e in g
S e p a ra tio n ,
n o vels
the
"s c h iz o p h r e n ic "
o rg a n izin g ,
a
s c h izo p h r e n ia
the sep a ratio n
G o lden
"s p ir it
tow ard
p re se n tin g
establish es
consequences
They are:
of
re c o g n ize
is
d iv id e d
of
to
R o n ald L a in g
and
The
the
w ay
a ttitu d e
in
Descent
human
of
form s,
by
p o ssib le
re latio n sh ip s.
u n d e r t a k in g a voyage in .
a rtistic
is
Lessing ’ s
b e in g
three d iffe r e n t
sig n ifica n c e
it
movement
d e te rio ratin g
elabo rates
in
change
co un tercultu ral
about
the
m essage,
self
the context
th is
show
such
the
that
in
the
d iffe re n t
sc ie n c e
of
p sy c h ia try .
D e s p ite
she
w rites,
the
A nn a
sterile
W u lf
is
forces
able
that
to
m ake h e r
work
on
the
c ritic ize
b lack
w hatever
notebook
and
123
show th a t i t
the
is
power
of
de stru c tio n .
alon g
w ith
one
to dev elo p in
c re a tio n
the
b lack
and
that
crude
m eans
we c a n
In
exp o sitio n
the
chaos,
a
success
of
w hat
new k in d
of
h er
cap acity
to
say
that
Anna’ s
and
grow th
b e lie v e
of
w e ll
has
the
w rites
betw een
and
the
fo u r
notebook
by
m eans
of
m e a n in g s :
and
is
fifth
the
squares
p. 2 5 3 .
Saul
and
In
W ulf,
e x p e rie n c e s
w ith
such
n e c e ssitie s
and
of
the
in
notebook
t o t h e raw
in
w ith
secure
be
sure
th is
and
the
out
that
also
of
the
on
sense,
in d ic a te
Saul
and
"A n d
but
h er
w hen
te rrito rie s,
k eeping
Anna,
I
ste rility
women t h a t
W ulf
both
and
is
fo r m s w i t h i n
the
sec tio n s
a
F re e m a n
are
a
I
part
balance
p ro tago nist,
c ircle
fo ur
of
also
se c tio n s
Free
w h ic h
The
the
o n ly
of
part
Free
circ le
that
Women.
Women
lin k s
and
the
r e m a in s
The
last
suggested
th e n o vel.
of
co lo ured
the
go lden
sentence
w ith
th e London f l a t "
o u tsid e
s e p a r a tio n
part
by
On t h e o n e
the
p lus
the
" T h e tw o women w e r e a l o n e i n
se c tio n
w ith in
on
life .
fic tio n
tw o d i s t i n c t
encom passes
C p .6 1 3
in
go lden
says
we c a n
liv e
ch a rac teristic s
and
Anna
of
in d ic a te ,
to
voyage
W hen
o n ly
to cope
the
The
of
fo rces
d ed ica ted
c e rtain
F re e m an
d iffe re n t
notebook
d iffe re n t
not
our
in n er
life
C p. 4 5 4 3 ,
m e a n in g
wom en.
who
dark
lig h t,
w orker.
balance
Anna
a
exposed
the p ercep tio n o f
hand,
relies
of
the
h er
is
strength"
as
of
p a in fu l
all
case,
what
strength
Anna
a so c ia l
The
tw o
a ssem ble
frig h te n in g .
fo r
A n n a 's
She
betw een
who i s
as
in
her.
fig h t
the
is
exp erien c es.
of
voyage
to
it
a p erio d i n
is
of
that
A n n a 's
of
abandonm ent
exp lo ratio n
opposed
ones,
"c o m p a r t m e n t ".
the d ir e c t io n
th e re d and th e b lu e notebooks
reproduces and c o n ta in s
and
as
The y ello w ,
c o m p artm e n ts
in
p o ssib le
of
the
c ircle
betw een
a
novel
the
are
124
m e a n in g f u l
in
and W ulf a r e
is
face
other
not
I
see in
hand,
k isse d
is
c o n flic ts
w ith
and
fifth
the
than
to
a
C p .6 3 8 3 .
Free
b e lie f
in
the
the
to p ro te c t
and
the
by a lie n
areas:
d e c ip h e re d
w ith
the
b e in g
Laing ,
grow,
to
human
dev elo p
The p u b lic a tio n
The
lo o k in g
the
unusual
at
of
the
the
exp e rie n c e s.
and
in
to
in
content
not
and
can
the
of
the
able
in
to
order
understand
W ulf
show
The
and
her
in v a s io n s
e xp e rie n c e s
The
women
o p p o sitio n
and
dream s
in
be
tw o
easily
n e c e ssity
of
b u t most i m p o r t a n t l y ,
we
understand
not
aw areness
that
that
forego
o n ly
for
any
h arm o n y
on th e p la n e t .
F o u r - G a ted C i t y
n everth eless
W it h
work
c irc le
m ust
"s c h iz o p h r e n ic ".
The
Anna i s
of
a lw ay s
b e in g s
the
n e c e ssitie s
fo r m
w ith
Thus
on
tw o
and has to f i g h t
W ulf.
hum an.
and l i f e
of
in
o rg an iza tio n
save re la tio n sh ip s
person,
such
of
the
T h e o n l y w ays
F re em an w i l l
"T h e
the
o p p o site s.
and
m ore i m p o r t a n t
fo r m s .
both
e xp e rie n c e s
the
out
p a i n f u l l y w hen n e c e s s a r y ,
fo r
to
is
the
d ig n ity
o p p o rtu n ity
w ay
p ain fu l
whereas
as
F re e m a n .
and
v e r y im p o r t a n t
w ith in
p a r t o f her
F r e e m a n /W u l f
in ten sely ,
Lessing ,
w ill
the
p erso n a litie s
d iffe re n t
liv in g
save
is
d ire c tio n s
so c ia l
says:
p oints
squares
fo r m
se c tio n ,
w ith
is
F re e m a n
T h is
is
fifth
a rtistic
co - existen ce o f
that
and
what
Women i l l u s t r a t e
th e W ulf
The
sentence
or
women.
opposed
w o rrie d
But
u n fin ish e d
a n n ih ila te
d iv isio n s
them .
w ay L e s s i n g
betw een
of
a v o id
c lo sin g
the
part
tw o
w ith in the c ir c le .
o rg a n izin g
p ro tago nist
The
e ith e r
of
the
th e de m o n stratio n th a t i t
is
s e p a r a tio n
the squares
of
it
separated"
a v o id in g
study
w ay
w riting .
and
in
the
a
reveals
G o ld e n Notebook
not
concerns
together
ten ta tiv e ,
feelin g s.
to
w hat
M artha’ s
b rin g s
w ith
C o n s id er e d
suffers
and
a
it
n ew
v isio n ary
in te n s e ly
Lynda’ s
a
w ith
e x p e rie n c e s
123
in
t h e b a s e m e n t ro o m ,
the
"w a lls
de a lin g
of
w ith
the
L e s s i n g o p e n s u p a t e r r i t o r y o f work
m in d ".
o r d in a r y
life
areas o f s e n s it iv it y »
its
p o te n tia litie s.
in n e r
city ,
tra n sfo rm a tio n .
sp iritu al
The
after
m e r g in g
v o y a g in g
w ith
id e n titie s
im p o r t a n t
in
to s t r e s s
o f develo pm ent i s
the
case of
the
We h a v e
to
o n ly
earned,
be
L essing
care
w ill
keep
g iv e s
of
the
have
r e a d y fo r
th is
so ld ie rs
a
in
m in d t h a t
or
the
accepted
fo r m t o
part
the
strength
w h ic h
of
have
center
a d iffe re n t
as
to
lon g
of
the
w alls
c ity ,
of
v ie w
that
a
upon
In
o n ly
k in d
c ity
there is
very
th is
novel,
who
still
we
a lo t
take
p o in t",
m o dify
e g o tism
that
in
"c o u ld
and
on
as
c ity
"n o d a l
ruins
shows
is
tw o
d isa stro u s.
those
of
structured
of
v io le n ce ,
in n er
C p. 1523).
of
p o ssib ilitie s
proves
the
The
im p o r t a n c e
It
The use of
place
fr ag ility .
the
to
cra sh in g
v ie w .
the
w orld and th a t
and
the
of
of
in d ic a te s
common
g ift"
been
room
fu sio n
a
b u ild
M ark’ s
p o ints
the
secret
in n e r
c ity
Lynda’ s
and
settin g
a llo w in g
outer
them selv es,
of
and b e a u ty and g iv e s
fr o m t h e
best
The
of
of
center
of
im m e n se
on t h e s e l f
in n e r
its
and
not e a s i l y a ch ie v e d .
a rtistic
re la tio sh ip s
v io le n ce .
that
the
pow er
the
the
in d ic a te s
and
d ire c tio n
the
be
through
sense,
person
in
the
offer
basem ent
so lid ity
th is
the
in
re- u n ites te rro r
another
in
h er
can
w ill
the
voyage
M artha’ s
C ity ,
p oin t
room
w h ile
the
to
of
w ith
Lynda
room
octogonal
The voyage i n
F o u r - G a ted
n o dal
b a se m e n t
floors.
the
w hereas
the
r e g e n e ra tio n
transcendence
carries
s u p r a n o r m a l i t y a n d t h e work
L ik e
the
M a r th a
w ith in
are
of
and
not
work
t o d o on o u r s e l v e s .
C harles
c le a rin g
the
W a tk in s,
center
in
of
the
B rie fin g ,
stone
kno w s
c ity .
The
the
im p o r t a n c e
im p o rtan ce
of
of
the
126
task,
in
th is
secret of
how ever.
the
W a tk in s
the
he
is
has
body
is
n o tio n of
of
lig h tn e ss
The
in
im p o r t a n c e
the
stone
c o s m ic
in sid e
the
on
They are l i k e
doors
ex p e rie n c e
that
w ith
the
v e r y im p o r t a n t
presupposes
is
the
reality
of
the
That
w ho
voyage
of
m ost
in
the
G olden
Notebook,
F o u r - G a ted
C ity
fr o m
to
and
the
m ind.
h is
he
thoughts
feels
the
a
to
im p o r t a n c e
the p re se n c e
the
of
of
of
the
e v il.
s ig n ifica n c e
g iv e n
to
the
of
m ind
g iv e s a c h a r a c t e r is t ic
substance
thin kin g. . .
the
Crystal
Cp. 0 0 3 .
the
the
w eig h t
new
in
the
of
and
a
Crystal
W atk in s,
the
that
he
in
has
to
w as
a
w ith in
the
to
m ind.
attem p t
and
h as
w a n te d
h is
of
how ever,
c irc le
o rd in ary r e a lit y .
remember
to
remember
But
W a t k in s
transpose
H is
a
Crystal
the
is
by the p s y c h ia t r is t s .
the
fo rm al
the
personal
B rie fin g ,
of
realizes
areas
h e h a s a lw a y s
v io le n t ly broken and d is r e g a rd e d
The chan ge
C h a rles
h e av in e ss
of
knows
fa ils
to the
that m o d ifie s
of
c learin g
he
task
B rie fin g ,
new
im p o r t a n c e
part
w as
in ,
the
th is
in d ic a te
The
of
of
v e r y im p o r t a n t i n
realizes
sp iralled "
keeping
character
he
is
that
In
d im e n s io n
when
the C ry sta l,
I
voyage
thin g .
the
the
areas
w h ic h
He
and
b esid e s
realm ,
h e l p h im u n d e r s t a n d
in sid e
p ulsed
A fter
as
But
d iv isio n .
thought
square.
th is
make h im d i r e c t
isla n d
co n q u erin g
by s i d e w it h o t h e r s a n d t h a t
of
C ry stal,
"T h o u g h t .. .
task
sid e
city
atm osphere:
another
In
im p o r t a n t
W a tk in s.
that
body.
harm ony.
the
and to i n t e g r a t i o n ,
to
as
the
T h e F o ur- G ated C i t y .
and in t e g r a t io n i s
of
d iv in ity
h is
to
absorbed by a Crystal
c o n scio u sn ess
b lo o dy f e a s t s
the
co m p ared
room i n
m in d l i e s
w h o len ess
a tm o s p h e r e .
be
gathered,
not
He knows t h a t h i s
co ldn ess
may
the octogonal
n o tio n
that
n o vel,
s e p a ra tio n
m e r g in g
of
e xp e rie n c e s
in
The
and
a bso rp tio n
in
The
r e s p e c tiv e ly ,
illu s tra te s
D o ris
\
127
L e s s i n g 's
v o y a g in g
in ,
e xp erien c es
and
in
"s c h iz o p h r e n ic "
of
than
the
to
u ltim a te
b e in g
three
or
d iv id e d
60s,
taught
a im
fo r
is
cure
proved
us
and
w ill
p sy c h ia try
is
of
in
a
the
id e a
much
m ore
has
much
Lessin g’ s
the
these
d y n a m ic
three
and
the Id e a ,
m ore
towards
of
of
that
The p ro g r e s sio n o f
not
is
us
and
back
In
enough
are
p ain fu l
is
w ith
seen
the
as
an
to
the
to
teach
n o vels.
The
a bso rp tio n
of
"T h e y "
by
the
the
is
pow er
of
fr o m
fa ilu re,
s t u d y and not a s
of
hope
voyager
W it h h i s
of
w ill
reality
there
how ever,
on t h e p l a n e t .
o b ject
that
prevent
reality
that
o rd in ary
but
B rie fin g ,
to
task
co n fro n ted
L ain g says
re p re ssio n ,
succeed.
strong
go al.
re m e m b e r in g a n im p o r t a n t
th e other
ric h n e ss
th is
b rin g
in d iv id u a lity
"t h e y "
are
d iv id e d ,
b u t a t t h e sam e t im e t h e s c i e n c e o f p s y c h i a t r y w o rk s
try
that
characters
b e in g
The
s u sta in s
s c h izo p h ren ic
L essing
t h e a c h ie v e m e n t
falsity ,
of
sch izo p h ren ic.
no vels
the
a g ain st
to
m e a n in g
"n o r m a l" p eo p le.
that
be
the C r y s t a l,
the
the
courageous than the
d u r in g
of
we
w here
an I n d i v i d u a l
that needs a tt e n t io n and re s p e c t.
The
G o lden
routes
to
Notebook,
a n n ih ila tio n
M other
co n so la tio n o f f e r s
less
Sugar
a
large
co n q u erin g
Lynda,
C ity ,
p ills.
and
alon g
is
am ount
u n d e rs ta n d in g
th eir
in
and
of
a
s u b m itte d
c o n fin e m e n t
of
Anna
o f d r e a m s.
sugar
Dorothy,
co n stan tly
T h e ir
of
w ith
h elp s
d ifferen t
to
feel
w ays.
a g a in .
e n e r g y and ten d s to le a d Anna t o
and e s t a b l i s h e d i n t e r p r e t a t i o n
such
fo llo w
d e c id e s
the
m ino r
to
to
Freem an
character
shock
h o sp ita ls
m ost
A nn a r e f u s e s
in tim a te
is
in
The
treatm ents,
a
s ig n
of
n e c e ssitie s.
The
But
h er
the s a fe
to re c e iv e
fig h t
b esid es
In
fo r
the
the
W ulf.
F o u r - G a te d
drugs
the
lack
M artha
and
of
is
128
in terested
in
a
Lamb b e c a u s e o f
F o rtunately,
on
h er
attem pts
Lynda
gets
telep athic
im portance
p eo p le
of
not
who
exp e r ie n c e d
not
allow
the
most
B ut f a r
h im
im p o sin g
set
In
t im e
are
to
respected
and
and
p artic ip atio n
in
w ith
of
them selv es
g iv e
in te n s e
w ork,
and
a
L essin g
b u ild s
upon
w hat h a s
and
the d ir e c t io n
of
separate in
the
myth
n e w ... ’ "
tim b e r
sin c e
what
CGN,
p. 4 5 9 3 .
the
she
allow
slab
had
the
seen
it,
the
Y.
do
destroy in g
its
h arm o n y .
b e in g s
and
in
a
are
th eir
I
grow th
of
of
feel
w ith
a
tim b e r.
m in u t e
a n d h e a l t h y w ays
co n n o ta tio n
in
in v o lv e m e n t ,
"I
the
w orld.
the psyche
of
our
w an t
and
in
voyages
in
to be
able
to
the rec u rrin g h is to r y ,
or
th in k
d e lig h t
flo w er:
In
of
p erc eiv in g
Anna s a y s :
what
of
and
human
c o n tin u a tio n
sees
a
a
destroyed
M artha
h u lk
Just
w ith th e w orld and w ith
o ld and c y c l i c ,
new,
X.
and
the
has
thus
in d iv id u a lity
w ay
been
harbours.
is
or
w orks
in
m y s e l f w hat i s
fr o m
can
greeted
safe
Doctors
o n ly
c o n flic t
d iffe re n t
b e lie v e s
who
to
c o u n try and p la n e t .
w i t h t h o s e who a r e i n
re la tio n sh ip s
B rie fin g ,
t r u e human r e l a t i o n s h i p s
L essin g ’ s
the
d e v e lo p m e n t I n d i c a t e s
if
th eir
of d e a lin g
to
In
cosm os
work
o b lig a tio n s
Crystal ,
the
that
enhances
sailo r
L e s s i n g 's
t h e c o m m u n ity ,
The n e c e s s i t i e s
the
the
order
in
and
Dr.
d isc o v e rie s.
that
norm s
to
remember
d iffe re n t
d ig n ifie d
work
cata stro p h ic .
e x p e rie n c e
a
is
se e in g
th e ra p ists
d iffe re n tly .
fr o m b e i n g p e s s i m i s t i c ,
t
reality
of
a
q u its
personal
group
of
treatm ent
voyage
im p o rtan t
a
react
shock
the
kn o w a
It
and
of
the
to
but
to d e s t r o y her
a b ilities.
feel
consequences
new
h is
treatm ent
that
that
"T u r n in g
the
less
yello w
flow er
lik e w ise ,
has
had
a
m ig h t
be
h u lk
of
rig h t,
than
tw o
em erged
she
days
fr o m
a
t
c r e v i c e " CFGC,
p .863.
W atk in s,
the aw areness o f
our
129
human
p o ssib ilities:
transcend
the
of
it
in
presence
of
Id e n tific a tio n
in
one
group,
of
the
d ia g n o sed
"s p e c t e r
uses
of
"T h e
of
a
o t h e r 's
by
CT P E ,
the
W atk in s'
whose
E xp erien c e.
over
whereas
Jesse
in d iv id u a ls.
is
V Iasto s
W atk in s
have
recorded
fo rgets
false
p .7 3 ).
the
to
the
of
rig h t
so c ie ty
moment
at
re d e fin itio n
of
They stress
to
large
consequence o f such f a l s i t y
the
that
to
control
them
d ia g n o se
and b l in d n e s s ,
m e a n in g
our
of
eg o tism
h u m a n it y
W a tk in s,
R. D.
an
th is
Lain g :
e x a m p le
than
Jesse
w h ic h
Doctor
alon e.
“less
has
X. ,
and
p riv ile g e d "
how t o
They
human
of
C h arles'
an i n s t i t u t i o n
free.
of
P o litic s
and
in
t im e s
h o sp ital.
p a ir
a d m in iste r,
set
to
a
or
beco m es
and
Y.
a p ro fe ssio n ,
ou r
own
The
is
voyage
la b el
of
m e a n in g f u l
Doctor
the
rig h t
and
is
of
d e stru c tiv e
t h e m ental
there
sense
C harles
Laln g’ s
im p o s e
illu s tra te
and
Lessing
and
of u n re a lity
to
our
W atk in s
in
re a c tio n s,
undertakes
ghost
and
less
that
T h e y kn o w w hat d r u g s
and
id e n titie s.
"D o r is
voyage
state
the
in
to
false
p sy c h ia trists,
C harles
belo n g to a group,
they
endorsem ent
case
h is
C h a r l e s 's
p sy c h ia trists
in
P r o p h e c y ",
co n sid ers
But
control
V Iasto s
a
realities
gods
us"
voyage
re a c tio n s
so c ia l
m u rd ere d
destroy
that
the
"w e ",
tr e m e n d o u s
and
and
She
a
when
W ith
be no need
to a general
of
p. 1 5 ) .
the
w ill
clear
im a g e
the
CB,
know
there
m akes
the
catastrophe
M a rio n
fa ilu re .
fo r
to
o f a m u r d e r e d g o d " when h e l e a v e s
p atien ts
L ain g
"s c h izo p h r e n ic "
To c r i t i c
b e lie v e
He
haunt
as
sailo rs"
others,
I.
specters
to
all
among p e o p l e l e a d s
" t h e m ':
returned
of
control
ghosts,
are
cap acities
favo r
the
take
c la ssify
are
our
r e la tio n sh ip s.
s id e
"W e
cla ssify
have
b e in g s.
the
As
a
L a in g and L e s s in g c a ll
groups,
and
lack
p ro fe ssio n s
of
and
in v o l v e m e n t
In
m atters
that
In e v ita b ly
In c lu d e
lead
to
a
human b e i n g s ,
catastrophe.
ness
there is
a lo t
t o b e rem em bered b u t we h a v e n e v e r
The fe a r
of
to
for
fig h t
the
d isc o v ery
b o n d among o u r s e l v e s .
sense,
is
the
is
no
freedom
sailo rs.
of
in
wo a r e
ruins
true
re la tio n sh ip s
When we t r a n s c e n d
need
of
to
im p o s e
say ing
"O u r
the
presence
nam es
We h a v e a common I n t e r e s t
are
of
not
in
the
M aybe
to s t a r t .
ou r
cap acities
and
favo r
I.
us,
trie d
a
s p a c e and tim e ,
th e voyage in
w ill
m ade
in d iv id u a lly .
in h ib its
The voyage t o in n e r
p lan et
has
t h e b e g i n n i n g o f a n ew u n d e r s t a n d i n g o f our
the u n iv erse.
there
flo w ers
w hat
"I"
the
a fra id
fo r
k n o w in g
Our
and
p ara d o x ic a lly ,
lo o k in g
of
nature
in
th is
presence in
of others,
There
im p o rta n t.
h ealth y
We
a n d a common d e s t i n y " .
is
are
o n ly
all
B IB L IO G R A P H Y
A - P r im a r y
C i r l o t , J u a n - E d u a r d o . A D i c t i o n a r y o f S y m b o ls .
H en ley : R o u tle d g e & Kegan P a u l , 1 9 7 1 .
Lalng,
R o n a l d D.
----------- .
The D iv id e d
S elf.
Sobre Loucos e SSos.
-----------. T h e
Books, 1 9 6 8 .
P o litic s
L e s s in g , D o ris. B r ie fin g
Books, 1 9 86 .
fo r
of
New Y o r k :
SSo P au lo :
E xp erien c e.
2nd ed.
London and
Random H o u s e ,
1969.
B rasilie n se ,
1982.
New
a Descent in to H e ll.
York:
B alla n tin e
London:
G rafto n
T h e F o u r - G a ted C i t y .
London:
G rafto n Books,
1986.
The G o ld e n Notebook.
London:
G rafto n Books,
1986.
B - Secondary
B a r n o u w , Dag m ar. " D i s o r d e l y Com pany: From T h e G o l d e n
T h e F o u r - G a ted C i t y " .
C o n te m p o r a r y L i t e r a t u r e
p p. 4 9 1 - 5 1 4 .
N o te b o o k t o
14 C 19735,
B o l l i n g , D o u g l a s . " S t r u c t u r e a n d Them e i n B r i e f i n g f o r a D e s c e n t
in to H e l l ".
I n D o ris L e s s in g :
C r it ic a l S tu d ies.
E d.
A nnis
Pratt
and
L. S.
Dembo.
M a d is o n :
U n iv e rs ity
of
W isc o n sin
P r e s s , 1 9 7 4 , p p .133- 47.
C h rist,
Carol
S p iritu a l
P.
D iv in g
Deep and Sur f a c i n g
Women W r i t e r s
Q u est. 2n d ed. Boston: Beacon P r e s s , 1 9 8 6 .
on
K a p la n , Ja n e t S id n e y . "T h e L im it s o f C o n s c io u sn e ss i n t h e N o v els
of
D o ris
L e s s in g ".
Contem porary
L ite ra tu re ,
14
C19732>,
pp. 5 3 6 - 4 9 .
132
K arl,
F r e d e r i c k R. " D o r i s L e s s i n g i n t h e S i x t i e s : T h e New A n a to m y
o f M e l a n c h o l y " . C o n t e m p o r a r y L i t e r a t u r e 1 3 C 1 9 7 2 3 , p p. 1 5 - 3 3 .
M ay,
R o llo .
"T h e T h e r a p i s t a n d t h e J o u r n e y i n t o H e l l " .
Q u a r t e r l y R e v i e w 2 5 , No. 4 C F a l l 1 9 8 6 3 , p p. 6 2 9 - 4 1 .
P e rra k is,
P h y llis
Sternberg.
"D o r is
Notebook: S e p a r a t io n and S y m b io s is ".
4 C W in t e r 1 9 8 1 3 , p p . 4 0 7 - 2 8 .
M ic h ig an
L essin g ’ s
The
A m e r ic a n Im a g o
G o lden
3 8 , No.
P ic k e rin g , Jean.
"M a r x i s m a n d M a d n e s s :
T h e Two F a c e s o f D o r i s
L e s s i n g ’ s M y t h ".
M o d e r n F i c t i o n S t u d i e s 2 6 , No.
1 C Sp rlng
1 9 8 0 3 , pp. 1 7 - 3 0 .
Pratt,
A nnis
M a d is o n :
and L. S .
Dembo.
D o ris L e ss in g :
C ritic a l
U n iv e r s it y of W isc o n sin P r e s s , 1 9 7 4 .
S tu d ies.
R ig n e y , B a r b a r a H i l l . Madness and S exu al P o l i t i c s
N o vel. London U n i v e r s i t y o f W is c o n s in P r e s s ,
i n th e F e m in is t
1980.
Sho w alter,
1985.
Pantheon
E lain e.
The
F e m a le
M a la d y .
New
York:
S i n g l e t o n , M a ry A nn . T h e C i t y a n d t h e V elds T h e F i c t i o n
L e s s in g . London: A s s o c ia t e d U n i v e r s it y P r e s s , 1 9 7 7 .
of
Books,
D o ris
Size m o re ,
C h ristin e
W.
"R e a d in g
the C ity
as
P alim p sest:
The
E x p e r ie n t ia l P e rc e p tio n o f the C it y i n D o ris L e s s i n g ’ s The
F o u r - G a ted C i t y " . I n Women W r i t e r s a n d t h e C i t y , E s s a y s i n
F e m i n i s t L i t e r a r y C r i t i c i s m . E d . S u s a n M. S q u i e r . K n o x v i l l e :
U n i v e r s i t y o f T e n n e s s e e P r e s s , 1 9 8 4 , pp. 1 7 6 - 9 0 .
V l a s t o s , M a r lo n .
" D o r i s L e s s i n g a n d R. D.
Lalng:
a n d P r o p h e c y " . PMLA 9 1 , No. 2 C M arch 1 9 7 6 3 , pp. 2 4 5 - 5 8 .
W alk er,
M elissa
G.
"D o r is
L essin g ’ s
The
F o u r - G a te d
C ity :
C o n s c i o u s n e s s a n d C om m unity - A D i f f e r e n t H i s t o r y " . S o u t h e r n
R e v i e w 1 7 , No. 1 C J a n u a r y 1 9 8 1 3 , p p. 9 7 - 1 2 0 .

Doris Lessing`s belief in wholeness of the self and cosmic harmony

Transcription

Similar documents

R - imeko

- Lux - Lawrence University

forward observer - Veterans of the Battle of the Bulge

U ts GROCERY - New Jersey Courier

October 31, 1939 - University at Albany Libraries

Heavy Attendance Marks Opening of Bloys Campmeeting

full issue

OilnCO do Or~siI/U.S. Region

T - IIS Windows Server

M - IIS Windows Server