Helen J. Millar Doris Lessing's Short Stories: the Male's

HELEN J. MILLAR

DORIS LESSING'S SHORT STORIES: THE MALE'S POINT OF VIEW

In a previous article, "Doris Lessing's Short Stories: A Woman's Right to Choose?",' attention was focussed on her female characters and their reactions to the roles they played in society. To balance this study, this article will look at the male characters in Lessing's short stories, and especially their attitudes towards women. Ellen Brooks, a critic of Lessing's fiction, has this to say in general of her characters: In Lessing's view,men and women do not really confront each other, for they define each other according to vastly different needs, shaping reality to fit the pattern of their desires. Women, depending on men for their hapiness, deny their men's deficiencies. Men, in contrast, do not spare their women, using them as sexual scapegoats and viewing them as threatening, dominating mother figures, separating them into categories of conventional wife or sexual playmate . . . both men and women share in the violence of the modern world by playing their opposing roles of oppressor and oppressed. 2 While this generalisation may be true of the male characters in The Go/den Notebook, it is not accurate for all those men who appear in the short stories. For their attitudes towards women depend on many factors; their age, status and class, environment and the nature of the relationship. The stories to be discussed in this article concern men in social situations which reflect on both their private and public relationships with women. In "A Woman on a Roof" 3 Lessing explores the reactions of three men to a woman with whom they essentially have no association. Although the men share a similar social background, their behaviour is a result of their personal opinions, beliefs and experiences. In "The Woman" 4 two older men, sharing similar sentiments about women from their past, make sure their presence is felt by the young waitress serving them. When she doesn't show them the "respect" they think they deserve, whether for their age or sex, the young girl is subjected to their snide comments. In "The Witness", "The Habit of Loving" and "Flight" (all from The Habit of Loving collection) Lessing again shows older men in relationships with younger women. In the final two stories, "The De Wets Come to Kloof Grange" 5 and "The Story of a Non-Marrying Man", 6 the male characters are seen in conflict not just with women, but with their environment and work, which can have tragic effects on personal relationships. Within the framework of "A Woman on a Roof" Lessing shows how the attitudes and age of the three men mending the roof affect the way they react to the woman they see sunbathing. Stanley, married for three

42 months, stands stands between between Harry, Harry, a man a man of about of about forty-five forty.five and Tom, and Tom,seven- seven- teen. Stanley'sStanley's resentment resentment of theof the woman woman is the is mostthe most deeply deeply felt. For felt. him For him she representsrepresents all all that that is unattainableis unattainable to him. to him.She standsShe stands for wealth for wealthand and leisure;leisure; she she is is relaxing relaxing totally totally while while he hemust must suffer suffer physical physical strain; strain;while while he he labours in in excessively excessively uncomfortable uncomfortable conditions conditions she liesshe asleep lies asleep or reads; or reads; she worshipsworships the the sun sun and and heat, heat, the the very very thing thing that thatis tormenting is tormenting him. him. Her indifferenceindifference to to the the men men is especiallyis especially hurtful hurtful for Stanleyfor Stanley because because itit accentuatesaccentuates the the gap gap between between her herworld world and his.and Her his. absence Her absence from the from the roof oneone day day prompts prompts his his bitter bitter comment: comment: "I bet "1 herbet oldher man old manhas put has his put his foot down"down" (p. (p. 68), 68), but but the the other other two two men, men, smiling smiling behind behind his back, his back, know know that itit isis merely merely Stanley's Stanley's attempt attempt to includeto include the thewoman woman in his in view his viewof his of his working class class world. world. He He resents resents the the woman's woman's freedom: freedom: he likes he likesto think to think that somewheresomewhere there there is isa mana man who who can can put herput inher her in place. her place. After allAfter men all men should controlcontrol women. women. Tom andand Harry, Harry, meanwhile, meanwhile, can can stand stand back back from from the situation the situation and and not letlet themselves themselves become become so soemotionally emotionally involved. involved. As far As as far Tom's as Tom's inin- volvement goes goes it itis is completely completely in thein the realms realms of fantasy of fantasy and is,and therefore, is, therefore, relatively harmless. harmless. He He does does not not continually continually whistle whistle and stampand stamp at the at the woman as as Stanley Stanley does. does. Although Although he too he seestoo seesher as her something as something unattainable unattainable he prefersprefers to to daydream daydream about about his his conquest conquest of her: of her:"He knew"He knew from hisfrom his nightly dreams dreams of of her her that that she she was was kind kind and and friendly. friendly. Perhaps Perhaps she would she would ask himhim down down to to her her flat" flat" (p. (p. 70) 70) where where there there were were fitted fitted "white "white carpets carpets and aa bedbed with with a apadded padded white white leather leather top" top" (p. 71). (p. 71).He knows He knows his own his own limitations, accepts accepts them them and, and, therefore, therefore, slips slips into intohis ownhis ownimaginative imaginative world awayaway from from the the harsh harsh realities realities of ofhis his real real workaday workaday world. world. If Tom If Tom then isis absorbed absorbed by by fantasy, fantasy, Harry Harry faces faces up to up the to facts the factsand accepts and accepts his lot. his lot. When StanleyStanley comments, comments, "She's "She's on onher her back", back", Harry Harry "smiles "smiles tolerantly" tolerantly" while TomTom snickers. snickers. When When the the younger younger men men shout shout and whistle,and whistle, Harry Harry parodies them, them, "making "making fun fun of ofthem" them" (p. (p.68). 68). If he If ishe resentful is resentful of the of the woman's indifference indifference he he does does not not openly openly show show it and it whenand whenhe sees he the sees the situation getting getting out out of of control control he hecommands commands Stanley Stanley to pack to packup. His up. res- His res- traint isis probably probably due due to tohis his age age and and his hisown own understanding understanding of the of ways the ways and inequalitiesinequalities in in society. society. He, He, unlike unlike the theothers, others, does does not see not the see woman the woman as anyany kindkind of of "sexual "sexual playmate". playmate". How differentdifferent he he is is too too from from the the two two older older men, men, Herr Herr Scholtz Scholtz and and Captain Forster Forster in in "The "The Woman", Woman", who who "might "might continually continually be observed be observed ob- ob- serving the the social social scene scene of offlirtations flirtations and and failures failures and successesand successes with the with the calm authorityauthority of of those those qualified qualified by by long long familiarity familiarity with with it to itassess to assess and and make judgements.judgements. Men Men of ofweight, weight, they they were: were: men men of substance; of substance; men who men who expected deference" deference" (p. (p. 50). 50). The The "woman" "woman" of this of thisstory, story, Rosa, Rosa, the wait- the waitress, whomwhom they they both both eye, eye, will will have have little little to doto withdo with them— them— "and "and surely surely they werewere entitled entitled to to feel feel aggrieved?" aggrieved?" Rosa's Rosa's behaviour, behaviour, her "cruelty", her "cruelty", makes the the men men resentful resentful and and the the relationship relationship between between the two the is twostreng- is strengthened because because of of this: this: "When "When she she reappeared reappeared with thewith wine the they wine were they so were so deep inin good good fellowship fellowship they they might might have have been been saying saying aloud aloud how howfoolish foolish it it was toto allow allow the the sound sound companionship companionship of men of men to be to spoiled, be spoiled, even foreven a for a week, onon account account of of the the silly silly charm charm of women"of women" (p. 52).(p. 52).

43 What followsfollows is is a alittle little game game designed designed by the by menthe mento weaken to weaken Rosa's Rosa's harmless self-confidence self-confidence and and hurt hurt her herunnecessarily. unnecessarily. They Theyare both are "fatally both "fatally attracted" to to her, her, yet yet she she chooses chooses to flirtto flirtnot notwith with them them but with but awith hand- a hand- some youngyoung man, man, "as "as if sheif she were were taking taking a pleasure a pleasure in the in cruelty" the cruelty" (p. 51). (p. 51). InIn retaliationretaliation the the two two men men talk talk loudly loudly about about their their youthful youthful gallantry. gallantry. The The captain boasts boasts of of his his affair affair of oflong long ago ago at that at that same same hotel: hotel: 'She'She waswas tall, tall, very very slim, slim, with with a abeautiful beautiful body—beautiful! body—beautiful! And And black black eyes, and and beautiful beautiful teeth'. teeth'. He He added added loud loud and andspitefully spitefully towards towards Rosa:Rosa: 'She 'She was was not not the the country country bumpkin bumpkin type, type, not at not all. at One all. has One has some taste' taste' (p. (p. 58). 58). The jibejibe is is aimed aimed deliberately deliberately at at"the "the plump plump village village Rosa." Rosa." To match To match the the captain, HerrHerr Scholtz Scholtz claims: claims: " "'Mine 'Mine was was fair. fair. Tall Tall and and fair. fair. A lovelyA lovely girl girl .. Might havehave been been an an English English girl' girl' " (p. " (p.59). 59). Rosa, Rosa, the Swissthe Swiss serving serving girl, girl, however, parries parries the the attack attack on onher her appearance appearance and nationalityand nationality well. Her well. Her final comment,comment, "Perhaps "Perhaps the the lady lady changed changed the colourthe colour of her of hair her to hair suit to suit what youyou both both like like best" best" (p. (p. 60), 60), gives gives her her the the final final victory. victory. Still LessingLessing has has shown shown in thisin this vignette vignette a situation a situation that demonstratesthat demonstrates not soso much much an an inequality inequality between between men men and andwomen, women, but an but undermining an undermining of thethe femalefemale character character by by the the two two male male characters. characters. Like theLike woman the woman on on the roof,roof, Rosa Rosa is is made made to feelto feel ill at ill ease at ease and, and, uncomfortable uncomfortable because because of her of her lacklack ofof attention attention and and casual casual air air towards towards the thetwo twomen men "who "who expected expected dede- ference." They They use use her her in intheir their game game of one-upmanship, of one-upmanship, having having little care little care or thoughtthought for for her her feelings, feelings, merely merely because because she isshe young, is young, attractive attractive and, of and, of course, a a woman. woman. Rosa, Rosa, nevertheless, nevertheless, rises rises above above them, them,laughing laughing at their at their attempts "with "with a afinal final swish swish of ofher her dress". dress". One One may may ask whyaskwhy the twotwo gentlemen chose chose to toact act this this way way — do - dothey they do itdo for it pleasure, for pleasure, or is there or is athere a real intentionintention to to humiliate humiliate the the woman woman because because she isshe young is young and free? and Here, free? Here, perhaps, is is an an example example of "oppressorof "oppressor and andoppressed" oppressed" (to use (to Brooks's use Brooks's termsterms).►. Rosa Rosa is isnot not seen seen by bythe thetwo twomen men as a aswoman, a woman, but as buta "sexual as a "sexualplay- play- mate" categorised categorised because because of herof hersocial social position, position, age and age occupation. and occupation. InIn manymany of of Lessing's Lessing's short short stories stories young young women women are seen are caughtseen caught in in situations with with men men much much older older than than themselves themselves — or is- or it theis it men the whomen are who are caught? MrMr Brooke Brooke in in "The "The Witness" Witness" (The(The HabitHabit of Loving) isis a patheticpathetic old manman who who falls falls for for the the scatty scatty little little eighteen-year eighteen-year old Marnie,old Marnie, who comeswho comes to workwork inin his his office. office. Lessing Lessing builds builds up upthe the reader's reader's sympathy sympathy for him for in him in the openingopening scenes scenes of ofthe the story. story. He livesHe lives alone alone and fantasizes and fantasizes about re- about re- ceiving somesome trace trace of of attention attention from from his his workmates. workmates. While While training training his dog, his dog, alone inin his his rented rented room, room, he he thinks: thinks: 'It'It willwill makemake them them sit sit up up when when I tell I tell them them he hecan can keep keep perfectly perfectly still still for tenten minutesminutes by by the the watch watch the the office office gave gave me whenme when I had I workedhad worked for themthem twenty twenty years.' years.' He He used used to sayto say things things like thatlike tothat himself to himself longlong afterafter he he had had given given up up trying trying to attractto attract their their notice notice (p. 101). (p. 101). The officeoffice means means everything everything to tohim him in hisin hisempty empty lonely lonely life. Helife. doesn't He doesn't want toto retire retire for for financial financial reasons reasons but butMarnie's Marnie's appearance appearance in his inlife his des- life des- troys everythingeverything for for him. him. His His attempts attempts to comfortto comfort the thegirl whengirl when she isshe re- is re- primanded for for her her inefficiency inefficiency are are cruelly cruelly derided. derided. He is He accused is accused of being of beinga a

44 "dirty oldold man" man" when when he he shyly shyly and and innocently innocently shows shows her hisher pictures his pictures and and room. AndAnd his his final final humiliation humiliation comes comes when when he ishe dismissed is dismissed from fromhis job, his job, after thirtythirty years' years' service, service, because because he catches he catches his boss his andboss Marnie and Marnie em- em- bracing. Lessing has has given given a sensitivea sensitive portrayal portrayal of an of old an man old inman this instory this — story - as thethe witness, witness, he he is isthe the innocent innocent victim victim who who ultimately ultimately suffers suffers because because he he saw somethingsomething he he shouldn't shouldn't have have seen. seen. The The flighty flighty young young girl, obliviousgirl, oblivious to to age andand feeling, feeling, leaves leaves his his little little world world in pieces. in pieces. There There is a strong is a strong sense ofsense of his lonelinessloneliness in in the the story story and and Marnie's Marnie's actions actions make make this more this moreacute. acute.The The final scenescene where where Mr Mr Brooke Brooke waits waits at theat thefoot foot of the of stairsthe stairs so that so he that can he can wave goodbyegoodbye "to "to the the people people he hehad had worked worked with with for so for long" so long" brings brings the the young girl's girl's heartlessness heartlessness and and the theold man'sold man's misguided misguided benevolence benevolence clearly clearly intointo focus.focus. Here Here is isone one male male character character whose whose actions actions and motives and motives are under- are- under stood by by the the reader reader but but misunderstood misunderstood by the by characters the characters he associates he associates with andand it it is is this this that that gives gives the the story story its sadits sad irony. irony. As aa figurefigure lonely lonely and and alone, alone, Mr MrBrooke Brooke bears bears a close a close resemblance resemblance to to George Talbot Talbot in in "The "The Habit Habit of ofLoving", Loving", a story a story that that shows shows more more clearly clearly than anyany other other of of Lessing's Lessing's short short pieces pieces an older an older man's man's attitude attitude towards towards love.love. AgainAgain the the male male is istreated treated sympathetically sympathetically by Lessing by Lessirig and the and reader the reader is is given closeclose insights insights into into his his emotional emotional life —life "He - "He was was becoming becoming conscious, conscious, though, of of a a discrepancy discrepancy between between that that suave suave exterior exterior and whatand hewhat felt. he Be- felt. Be- neath his his ribs ribs his his heart heart had had become become swollen swollen and softand and soft painful, and painful, a mon- a mon- strous areaarea of of sympathy symØathy playing playing enemy enemy to what to what he had he been"had been" (p. 9). (p. 9). George suffers suffers from from a aloss loss of oflove love for forwhich which he canhe canfind nofind compen- no compen- sation afterafter the the "love "love of of his his life" life" leaves leaves him him for forever. ever. He "cameHe "came to under- to understand that that the the phrase, phrase, heart-ache, heart-ache, meant meant that a that person a person could carry could a heartcarry a heart which achedached around around with with him, him, day day and and night, night, for, infor, his in case, his case, months. months. Nearly a a year year now. now. He He would would wake wake in the in night,the night, because because of the ofpressure the pressure of of pain inin his his chest" chest" (p. (p. 9). 9). His His emotional emotional suffering suffering becomes becomes physical; physical; his his heart literallyliterally causes causes him him pain, pain, like like the the woman woman from from Lessing's Lessing's story story "How "How II FinallyFinally LostLost mymy Heart"Heart" (in (in A ManMan andand TwoTwo Women), who confesses:confesses: "When he he left left me me for for new new pastures, pastures, I spent I spent two twoyears, years, or was or it was three? it three? half- half-

dead, and and my my heart heart was was a stone, a stone, impossible impossible to carry to carry about about.. .. ."." (p. 76). George fallsfalls ill ill and and is is nursed nursed by by Bobby Bobby Tippet, Tippet, the the"gamin, "gamin, boy-girl" boy-girl" whom he he eventually eventually marries. marries. He Heboasts boasts to her to howher how"his generation "his generation had had been altogether altogether more more successful successful about about this businessthis business of love of and love sex and than sex than the modernmodern generation" generation" (p. (p. 16). 16). But But she she tells tells him himthat hethat has he "just has got"just got intointo thethe habit habit of of loving". loving". This This shocks shocks George George — for - forthe thefirst firsttime timehe sees he sees her asas emotionless emotionless and and hard, hard, lacking lacking his ownhis own"responsible "responsible experience experience and and the warmthwarmth of of a alife-time's life-time's responses" responses" (p. 20).(p. 20).She cannotShe cannot understand understand or or see lovelove from from his his point point of of view. view. Her Her retort, retort, "You "You just just want want something something in in your arms,arms, that's that's all. all. What What do do you you do dowhen when you're you're alone? alone? Wrap Wrap yourself yourself round a a pillow?", pillow?", makes makes George George realise realise how how great great the gap the isgap in their is in rela- their relationship. Because Because she she has has never never experienced experienced the joy the or joy warmth or warmth of a real of a real lovelove affairaffair she she cannot cannot comprehend comprehend George's George's feelings. feelings. Defeated, Defeated, George George stopsstopssleeping sleeping with with his his new new wife; wife; her herindependence independence and carelessness and carelessness towards towards

45 him make him afraid to relate to her at all: "He could not bear it again, putting himself in a position where he might hear the cold sharp words that showed she had never had an inkling of what he felt, because it was not in her nature to feel it" (p. 22). More and more Bobby comes to repre- sent the modern heartless generation. In a small theatrical production "The Offbeat Revue" George watches her perform a parody of the past, "a sort of potted history, as it were, Noel Coward's falsely heroic view of his time parodied. But it wasn't even that. There was no emotion, nothing" (p. 23). George can make no impression on Bobby's life;he "aches perma- nently with loneliness", until the day he finds out that his wife is in love with Jackie, the other half of her act. And it is her pain at not having her love returned that stirs George into some kind of emotional response. Lessing's comments at this point tell us much about her character and her own attitude towards him: "at last, she had been admitted into the world of emotion and they would learn to be really together. He could feel his strength stirring along his limbs for her. He was still a man, after all" (p. 29). Her unhappiness arouses him and restores his masculine ego. But why must she suffer to be like him and share what is "his world of emotion"? We see at this point that George's emotions have been selfishly expressed. Firmly believing that the modern generation has less experience of "love" or "emotion", George confuses his wife's unhappiness with his own. She is upset because she can't be like those people younger than her - self, who are carefree in their relationships. George refuses to believe that she is older than she looks and in fact a part of his generation. Her final performance (one which he, as a theatrical producer, cannot direct), when she deliberately makes herself look like a forty-year old unattractive and graceless woman, is her definitive act of changing from her imaginary world of youth and beauty (which of course is also a part of the theatrical world) into the harsh world of social reality. George's reaction is to plead for her former appearance, and it woujd seem that it is her appearance only that he really cares for: "I do so love you in your nice clothes. I do so love you being beautiful in your lovely clothes" (p. 31). He doesn't want to know the real Bobby; it is too much for his "world of emotion" to cope with. Bobby, however, refuses to play a part for him any longer: "I haven't got time for all this nonsense any - more" (p. 32). So George is left in the end with "his heart . . . swelling, an enormous soft growth of pain" (p. 32). Was Bobbyright after all about his "habit of loving"? He could love only on his own terms and felt lost when he had nothing to love. The story demonstrates then both the obsessive nature of love and the misunderstanding of emotion between people, and more simply the delicate and painful emotional dilemma in which a lonely old man constantly finds himself. Ellen Brooks's claim then, about Lessing's characters in general, has little relevance in this instance.

46 The oldold grandfathergrandfather in in the the story story "Flight" "Flight" (from (from TheThe HabitHabit of of Loving) Loving) isis likelike George,George, old old and and misunderstood, misunderstood, yet yethe finallyhe finally but painfullybut painfully accepts accepts the realisationrealisation that that he he cannot cannot change change the thecourse cOurse of nature of nature to suit to himself. suit himself. As anan imperiousimperious King King Lear-like Lear-like character character the theold manold man rails railsagainst against his his daughter for for allowing allowing her her young young daughter daughter to marry. to marry. He does He does not want not wantto to see hishis granddaughter granddaughter caught caught in an in earlyan early marriage marriage like her like sisters: her sisters: "He "He thought of of the the other other three three girls, girls, transformed transformed inside inside a few a monthsfew months from from charming, petulant, petulant, spoiled spoiled children children into into serious serious young young matrons" matrons" (p. 150). (p. 150). His daughter'sdaughter's children children are are symbolised symbolised in the in storythe story by the by birds the birdsthat the that the old manman keeps. keeps. InIn thethe opening opening scene scene he he is contentis content playing playing with with the doves,the doves, his "strut- his "strut- ting, preeningpreening birds". birds". However, However, his hismood mood changes changes when when he sees he hissees grand- his granddaughter swinging swinging on on the the gate gate waiting waiting for thefor postmaster'sthe postmaster's son. As son. he As he watches the the girl girl he he takes takes his his favourite favourite bird, bird, "a homing "a homing pigeon". pigeon". He holds He holds the birdbird beforebefore it itcan can take take flight: flight: "He "He felt felt the the plump plump shape shape strive strive and and strain under under his his fingers; fingers; and and in a in sudden a sudden access access of troubled of troubled spite, shutspite, the shut the bird intointo a a small small box box and and fastened fastened the the bolt" bolt" (p. 147).(p. 147). As he As stalks he stalks the girl, the girl, her singingsinging — - "a light happyhappy sound sound mingled mingled with with the the crooning crooning of the of birds"the birds" -— angers angers him.him. When he he knows knows she she is goingis going "courting" "courting" he turns he turns towards towards his his dovecote, "which "which was was his his refuge refuge from from the housethe house he shared he shared with his with daughter his daughter and herher husband husband and and their their children", children", mutters mutters at the at cooing the cooing birds, birds,and fears and fears for hishis ownown future: future: "But "But now now the the house house would would be empty.be empty. Gone Gone all the all the young girlsgirls with with their their laughter laughter and and their their squabbling squabbling and andtheir theirteasing. teasing. He He would bebe left left uncherished uncherished and and alone" alone" (p. (p.148). 148). Yet Yetthe youngthe young girl's girl'sloss, loss, we know,know, will will be be greater greater than than his; his; he hemourns mourns that thatshe shewill lose will herlose freedom her freedom inin anotheranother way, way, in in marriage, marriage, "caught "caught and and finished" finished" like likeher mother,her mother, his his daughter. The oldold man'sman's conflict conflict then then is istwo-fold. two-fold. "Flight" "Flight" is about is about experience experience and innocence,innocence, freedom freedom and and captivity. captivity. The The analogy analogy with thewith birds, the birds, however, however, takes anan ironic ironic turn turn at at the the end end of theof the story. story. As theAs girlthe chooses girl chooses her kind her of kind of captivity (in (in the the old old man's man's eyes), eyes), the the birds birds are setare free.set free.And theAnd old the man's old man's sacrifice gives gives the the girl girl a ahorrifying horrifying glimpse glimpse of the of themeaning meaning of her of decision.her decision. While the the birds birds return return to to"the "the shadowed shadowed earth earth over overtrees treesand grass and andgrass and field", thethe granddaughter granddaughter stands stands "pale "pale in the in coldthe coldshadow, shadow, and he and saw he the saw the tears runrun shivering shivering off off her her face" face" (p. (p.152). 152). The The closing closing scene scene is ominous, is ominous, hinting atat the the dark dark and and serious serious life life facing facing the the girl, girl, no longerno longer "running "running free". free". "Flight" isis reminiscent reminiscent of of the the many many African African stories stories that that form form a large a large part ofof Lessing's Lessing's short short story story repertoire repertoire — the - the stories stories in which in which women women are are controlled by by their their man, man, subservient subservient to them:to them: they they must must learn learn to live to in live the in the man's environment, environment, the the great great velds velds of Africa of Africa where where man andman nature and nature are the are the only protagonists.protagonists. In In this this environment environment the themen's men's attitudes attitudes to their to worktheir work are reflectedreflected in in their their relationships relationships with with their their women. women. (This (This theme theme is dealt is dealt with atat lengthlength in in Lessing's Lessing's novel novel TheThe GrassGrass is is Singing.) Singing.) Long strenuous strenuous days spentspent on on the the lonely lonely expanses expanses of Africanof African land land give givemen menlittle timelittle ortime or inclination to to relate relate to to personal personal matters matters concerning concerning family family and friends.and friends.

47 "The De Wets come to Kloof Grange" tells of two men, one a retired major, the other his assistant who brings his "child bride" to the vast lonely outbacks, expecting her to settle down to a life of child bearing. While the men devote their lives to the grange, their wives struggle to keep feelings of panic and loneliness at bay, and the story reaches its climax with De Wet beating his pregnant wife because of her attempted escape. The young girl's despairing query, "Who would be a woman, eh7" (p. 52), echoes an older woman's statement from "The Traitors" 7 : " It's no life for a woman, this" (p. 82). It is no life for a woman in all the African stories - but then it's not much of a life for the men either. The young De Wet at Kloof Grange, misunderstanding his wife's behaviour, beats her as a result of his own frustrations; his problems with his work and life are intolerable. The land and the farm are a kind of hell over which he can exert no control. Lessing is able to sum up the great complexity of the problem, because Of her own experiences in African territory: "In a civilised sort of place, the girl would have caught the train to her mother, and a wire would have put everything right. Here, she might have killed herself, simply because of a passing fit of despair" (p. 59). Communication breaks down on all levels here; the women learn not to worry their men with their problems. The major's wife, Mrs Gale, however, shocked at seeing De Wet's treatment of his wife, attempts a change: "Then she interjected a remark (a thing she never did, as a rule, for women get used to sitting silent when men discuss farming)" (p. 48). Her husband's absent-minded reply, "Yes dear", which does not at all fit her remark fills her with anger and resentment. The bitterness grows inside her, and later she becomes hysterical. But the major knows her anger must be mollified - what is the use of railing against overwhelming odds? He has learnt to accept defeat, to swallow his bitterness and struggle to cope. The nature of his work has taught him this. He stoically tolerates his wife's outbursts, sees her despair, but knows he can do nothing to help. He cannot tell De Wet to stop mal- treating his young wife; experience will be the young farmer's only teacher. In time he too will understand that to make life tolerable in this environment he has to withdraw from open human conflict, and to ignore the woman's hatred of her lot (tragically all too often at the expense of female sanity, as Lessing frequently shows). But for the sake of his own sanity he cannot bring out his own frustrations on another person. AsMrs Gale comments: "These might be savages, the way they behave" (p.62). She is right about De Wet, but as Lessirig has shown in this story, uncivilised irrational behaviour must not be allowed to take over from normal "civilised" reactions of showing respect and giving consolation, or the consequences can be disastrous (as in The Grass is Singing). In "The De Wets come to Kloof Grange" Major Gale's final comment to his distraughtwife is an innocuous and hopefully pacifying remark about the weather, "A lovely morning". But the final scene, one of resignation, indicates the futility of the wife's outbursts. She will simmer quietly as she drifts mentally further from her husband. He remains helpless, unable to

48 comfort his his wife wife (beyond (beyond pleasantries pleasantries about about the theweather), weather), yet is yet held is cul-held cul- pable forfor their their drifting drifting apart. apart. But But he he just just cannot cannot cope cope with with his wife'shis wife's emo- emo- tional criescries of of despair, despair, and and although although he ishe blamed, is blamed, he is henot is responsible. not responsible. Lessing's own own comment comment to Florenceto Florence Howe Howe about about the relationships the relationships she she writes aboutabout in in her her stories stories throws throws light light on onthis this problem: problem: The relationshiprelationship between between the the sexes sexes everywhere everywhere . . . is . so. . muchis so muchof a of a melting pot pot — - all kindskinds of of emotions emotions that that don't don't belong be'ong get suckedget sucked in in .- .. .. SimilarlySimilarly with with men men and and women, women, any any sort sort of loaded of loaded point point sucks sucks in angeranger or or fear fear . .. .. I .don't I don't think think we weunderstand understand about about what whatgoes goes 8 on.8 InIn thisthis story story Lessing Lessing has has shown shown the the difficulties difficulties and and frustrations frustrations that boththat both men andand women women must must live live with with in inthe the African African environment. environment. The Themen, men, however, have have their their work work to toimmerse immerse themselves themselves in when in when relationships relationships are are strained. They They can, can, therefore, therefore, withdraw, withdraw, turning turning their their backs backs on emotional on emotional problems and and refusing refusing to tolet let "emotions "emotions that that don't don't belong belong get sucked get sucked in". in". Maybe it's it's a a technique technique for for survival; survival; men men value value their their independence independence and so and so make sure sure their their lives lives and and their their women's women's lives lives are notare too not closely too closely shared. shared. De De Wet wantswants it it this this way, way, as as do do most most of theof themen men Lessing Lessing writes writes about about in the in the short stories.stories. Johnny Blakeworthy,Blakeworthy, in in "The "The Story Story of ofa Non-Marryinga Non-Marrying Man", Man", wants wants itit thisthis wayway and and gets gets it. it.He He shares shares his his life lifewith with many many women women but leaves but leaves them them when itit suitssuits him. him. He'll He'll commit commit himself himself to no-oneto no-one and and claims: claims: "I like "I tolike be to be my ownown master master . .. .. I. getI get restless, restless, and and I must I must be on be the on move" the move" (p. 224). (p. 224). Three women,women, however, however, claim claim him him as theiras their husband. husband. The accountThe account of Blake- of Blake- worthy's maritalmarital affairs affairs is is a astory story within within a story,a story, deliberately deliberately fictionalized fictionalized by itsits "author","author", Alan Alan McGinnery, MeGinnery, who who did did actually actually marry marry Johnny's Johnny's second second wife. ButBut he he compresses compresses the the story story of Johnny's of Johnny's life, givinglife, giving the reason the reason that that "life isis alwaysalways much much more more lavish lavish with with coincidence coincidence and and drama drama than thanany fic-any fiction writerwriter dares dares to to be" be" (p. (p. 234). 234). The The point point of the of thestory, story, however, however, is not is not lostlost despitedespite its its changes; changes; in factin fact it becomes it becomes clearer. clearer. ItIt tellstells ofof three three different different women, women, all allquite quite dissimilar dissimilar in appearance, in appearance, but withwith a a common common purpose: purpose: to tolimit limit their their man's man's freedom, freedom, control cortroI his his carefree activities, activities, and and make make him him sympathise sympathise with with the thedifficulty difficulty of their of their roles (which(which they they deliberately deliberately choose choose by bymarrying marrying him). him). They They marry marry him, him, though, toto avoid avoid their their society's society's ignominious ignominious labels labels of "spinster" of "spinster" (p. 226) (p. 226) or "scarlet"scarlet woman" woman" (p. (p. 234). 234). The The story story in a in sense a sense is about is about conformity; conformity; in a in a small socialsocial group group isolated isolated from from their their native native England, England, conventions conventions have ahave a stronger appeal. appeal. The The habits habits and and customs customs of living of living set roles set rolesare rigorously are rigorously adhered to to because because this this precludes precludes any any moral moral decline decline while whileliving livingin a less in a less "civilised" area. area. Consequently Consequently Blakeworthy, Blakeworthy, as an as Englishman, an Englishman, is an is an anomaly. He'll He'll commit commit himself himself to noto noone. one. And And he ishe uniquely is uniquely labelled labelled as a as a "non-marrying man" man" because because he heis never is never legally legally married. married. There There is no sug-is no sug- gestion ofof marriage marriage in in the the equivalent equivalent African African term, term, "A Man"A Man who who has nohas no Woman" (p. (p. 236), 236), perhaps perhaps because because marriage marriage is not is a not strict a strictlegal sociallegal socialcon- con- vention forfor AfricanAfrican natives. natives.

49 The three English women who think they are married to Blakeworthy try to change him but fail to understand that his way , of life and ideals are more akin to the natives. Thenarratormeets the first wife, "a plump, dark- haired creature in a pink apron, her hands floury with cooking", who com- plains that Blakeworthy had left her after eleven months, then sent her a letter, "thanking her for all her kindness". The wife considers the letter is like "a slap in the face" (p. .229). By chance the narrator runs into the second wife, attractive and fair-haired, who talks about Blakeworthy "in the same impatient, yearning bitter, urgent voice of her sister of the evening before" (p. 230). She too after her husband's departure had received a letter "saying he would never forget her affectionate kindness". The letter had upset her: "It was a funny thing to say wasn't it?" (p. 231). The "plump, red-haired, voluble" third wife is the narrator's next hostess who happens to still be married to Blakeworthy at that time. When Blakeworthy joins her with their guest, she immediately scolds him for being late and for not having washed, provoking his reply, "Don't try to housetrain me", a remark that indicates he will not stay with this woman for much longer either. The third wife had moaned about her having to "spend her life cooking and slaving for a man", doing exactly what he didn't want her to do, since there was simply no need for it. The way he saw it was "he was invited, three times a day, to sit down at a table crammed with roast beef and chickens and puddings and cakes and biscuits"; he would have been quite happy living off or'ie piece of meat that could last for four days. He tells his wife: "If you don't spend a lot of money, then you don't have to earn it and you are free" (p. 238). His yearning for freedom clashes with his wife's need for cluttering up her life with trivia and mindless hard work (like Annie Blake in "He", The Habit of Loving, pp. 183-90). But the tragedy is that she acts in his interests performing conventional tasks of running a home and feeding her husband because there is nothing else she can do within the confines of her own narrow concept and view of what marriage is. In Blakeworthy's view his "wives" suffer from a misguided sense of duty which prevents them from forming basic humane and understanding relationships based on true feeling. What he values most is "kindness" although he understands it in a ',ery broad sense. He thanks his wives for their "kindness" in so far as they looked after him, while he supported them, but in the end he finds real kindness (as Lessing tells us) among the natives: "he found a life that suited him, and a woman with whom he lived in kindness" (p. 238). "Kindness" is a word that occurs frequently in Les- sing's writings. Tommy in The Go/c/en Notebook makes an observation in a conversation with Anna: 'If people can imagine something, there'll come a time when they'll achieve it.' 'Imagine what?' 'What you said - goodness. Kindness. The end of being animals' (p. 274).

50 There is is the the same same emphasis emphasis on "kindness"on "kindness" in Shakespeare's in Shakespeare's King Lear. Lear tells Goneril,Goneril, his his "unkind" "unkind" daughter, daughter, that that Cordelia Cordelia is "kind is "kind and andcomfor- comfor- table" (1.4.307); Kent Kent calls calls her her a "kinda "kind and and dear dear princess" princess" (4.2.29). (4.2.29). The The sense contained contained in inthe the word word is of is natural of natural affection affection,that , that feeling feeling that binds that binds father toto daughter. daughter. Goneril Goneril and and Regan Regan are are "unkind", "unkind", lacking lacking affection affection in in the "natural""natural" sense. sense. They They are are like like animals animals for fortheir their morality morality is more is more akin akin to bestialbestial behaviour. behaviour. Blakeworthy finds finds true true kindness, kindness, natural natural affection, affection, only only from from an an African woman.woman. With With her her he he can can eat eat his hismaize maize meal meal which which he carries he carries with with him onon his his prospecting prospecting ventures: ventures: The presencepresence of of the the maize maize flour flour was was a statement a statement and probably and probably unam- unam- biguous,biguous,for for thethe Africans Africans ate ate maize-meal maize-meal porridge porridge as their as their staple staple food. food. ItIt waswas cheap, cheap, easily easily obtainable, obtainable, quickly quickly cooked, cooked, nourishing, nourishing, but but white menmen did did not not eat eat it, it,at leastat least not notas the as basisthe basis of their of diet,their because diet, because they diddid not not wish wish to to be be put put on on the the same same level level as Africans as Africans (p. 222). (p. 222). The story,story, then, then, ostensibly ostensibly about about a non-marrying a non-marrying man manexplores explores also the also the strong conventions, conventions, customs customs and and prejudices prejudices that separatethat separate people people of differ- of- differ ent races.races. Blakeworthy, Blakeworthy, however, however, can can live live according according to his to own his needs;own needs; un- un- hindered by by responsibilities responsibilities or orpermanent permanent attachments. attachments. Unlike Unlike the women, the women, he valuesvalues most most of of all all his his independence, independence, non-involvement non-involvement and detachment. and detachment. Like DeDe Wet Wet and and Major Major Gale, Gale, his his work work alone alone provides provides adequate adequate stimulation stimulation and satisfaction.satisfaction. Men andand women, women, therefore, therefore, in thesein these stories stories do confront do confront each eachother other "according to to vastly vastly different different needs". needs". There There is a is gulf a gulfin relationships in relationships made made even widerwider by by misunderstandings misunderstandings and and poor poor judgement judgement on both on sides. both sides.Men Men do notnot needneed marriage marriage for for any any self-identification self-identification or definition.or definition. Lessing, nevertheless, nevertheless, realistically realistically conveys conveys the needthe need that her that older her older male characterscharacters have have for for relationships relationships where where genuine genuine affection affection and concern and concern have mostmost importance. importance. Her Her stories stories about about older older men men ("The ("The Witness", Witness", "The "The Habit ofof Loving"Loving" and and "Flight") "Flight") tend tend to toshow show sympathetic sympathetic glimpses glimpses of of problems faced, faced, especially especially when when changes changes and adjustmentsand adjustments have to have be made. to be made. Lessing's insights insights may may be be a result a result of her of herown own experiences experiences with her with father, her 'lather,a a man whomwhom she she observed observed closely closely as heas became he became increasingly increasingly bitter about bitter his about his own life.life. In In an an essay essay simply simply entitled entitled "My "My Father"' Father" ° 0she she presents presents a sensitivea sensitive portrait ofof how how she she saw saw him, him, his his disillusionment disillusionment after after World World War War1: "the 1: "the anger, the the sense sense of of betrayal, betrayal, strengthened strengthened as he as grew he grewold and old ill" and (p. 87).ill" (p. 87). She maymay even even have have seen seen a part a part of himof him in Major in Major Gale, Gale, for his for experiences his experiences in in Rhodesia led led him him into into a alife life of of"misery" "misery" (p. (p.91) 91) which which his wifehis wife (Lessing's (Lessing's mother) shared shared for for twenty twenty years. years. Lessing's male male characters characters in generalin general are notare "oppressors";not "oppressors"; circum- circum- stance, social social position position and and occupation occupation do stronglydo strongly influence influence their attitudestheir attitudes towards women women but but Ellen Ellen Brooks's Brooks's view view is unduly is unduly limited. limited. She recognisesShe recognises merely one one facet facet of of Lessing's Lessing's multi-faceted multi-faceted presentation, presentation, a presentation a presentation that wewe can can see see stresses stresses more more woman's woman's vulnerability vulnerability than man'sthan man's culpability. culpability. And somesome of of Lessing's Lessing's men men do suffer inin relationships, relationships, as as she she has has shown shown in in "The Witness"Witness" and and "The "The Habit Habit of ofLoving", Loving", yet yetshe she sees sees the sufferingthe suffering

51 as more a result of loneliness and depression, than a yearning for romantic love. What Lessing writes about then is not a battle between the sexes, but a struggle for men and women to understand and communicate the com- plexities and problems that are an integral part of involvement for both parties.

NOTES

Since many hardbound original editions of Lessing's works were in- accessible or in some cases unavailable, paperback reprints have had to be cited.

'In LiNQ, 6, No. 1 (1978), pp. 24-38.

2 "The Image of Women in Lessing's The Go/den Notebook ' Critique: Studies in Modern Fiction, 15 (1973-4), 101-109.

3 1n A Man and Two Women (1963; rpt. London: Panther Books, 1965), pp. 66-75.

4 1n The Habit of Loving (1957; rpt. London: Panther Books, 1966), pp. 48-60.

In Winter in July (originally part of the collection African Stories, 1964; rpt. St. Albans: Panther Books, 1966), pp. 36-62.

6 The Story of a Non-Marrying Man and Other Stories (London: Cape, 1972), pp. 221 -238.

7 ln The Black Madonna (originally part of the collection African Stories, 1964; rpt. St. Albans: Panther Books, 1966).

8 "A Talk with Doris Lessing." Nation, 6 March 1967, p. 312.

9 The Golden Notebook, new ed. (1972; rpt. London: Panther Books, 1973).

10 In A Small Personal Voice... ed. and introd. Paul Schleuter (New York: Vintage Books, 1975), pp. 83-93.