Doris Lessing was a British novelist whose politically engaged, formally ambitious fiction moved from Marxist realism to feminist consciousness-raising to visionary science fiction.
Born in Persia (now Iran) in 1919 to British parents and raised in Southern Rhodesia (now Zimbabwe), Lessing moved to London in 1949 with a manuscript under her arm and the manuscript of what would become The Grass Is Singing already written. She died in 2013 having received the Nobel Prize in 2007 — at 88, the oldest person ever to receive it at the time — and reportedly greeted the news at her front door with “Oh Christ.” Her career spanned six decades and crossed genre boundaries with a freedom that made her hard to place and impossible to dismiss.
The Golden Notebook (1962) is her most important work and one of the formally radical achievements of postwar British fiction. Anna Wulf, a writer blocked and fragmenting, attempts to hold the disparate parts of her life — political, personal, creative, fictional — in four separately coloured notebooks and a fifth, golden notebook that tries to unify them. The novel’s structure performs what it describes: the difficulty of integrating a life that society insists on fragmenting. Its influence on second-wave feminism was enormous, though Lessing herself was characteristically ambivalent about being read primarily as a feminist text, finding the reduction irritating. Her five-volume Children of Violence sequence — following Martha Quest from Southern Africa to London — is her other major achievement in realism.
Later in her career she turned to science fiction with the Canopus in Argos series, which many of her realist readers found baffling and which her science fiction readers tended to find underrated. She was always more interested in the next thing she was doing than in the reputation of the thing she had already done, which is one definition of a serious writer.