Introduction: Feminism in Doris Lessing’s Short Stories
Feminism in Doris Lessing’s Short Stories illuminates the subtle experiences of women navigating societal expectations, gender roles, and power dynamics in diverse contexts depicted throughout her literary works. The world has undergone significant changes since the introduction of feminist theory, leading to transformations in social, financial, psychological, and relational structures, resulting in complexities in various aspects of life. The concepts of freedom and liberation, once central to feminism, have evolved to encompass broader themes of identity, recognition, social perspectives, and power dynamics. Postmodernism has given rise to a new feminist theory, with postmodernism serving as a significant prefix. However, before delving deeper into postmodern feminism, it’s crucial to understand postmodernism itself, distinct from postmodernity. Tim Woods, in “Beginning Postmodernism,” contends that knowledge is partial, fragmented, and subject to change, rejecting the notion of absolute truth. This new form of epistemological freedom challenges overarching patterns that disregard individual experiences and differences. Marianne Hirsch and Evelyn Fox Keller’s “Conflicts in Feminism” aligns postmodern thought with feminism, emphasizing interpretative multiplicity and cultural indeterminacy. Somer Brobdribb’s “Nothing Matters: Feminist Critique of Postmodernism” attempts to ally feminism with this new theory, celebrating feminist narratives as grand narratives of the past. Jane Flax highlights the central issues of self, gender, power, and knowledge in “Transitional Thinking: Psychoanalytic, Feminist, and Postmodern Theorist,” noting the ambivalence of knowledge in the modern world. Postmodern feminism moves beyond traditional notions of women’s liberation, equality, and political freedom, focusing instead on how relations of domination intersect with the self and intertwine with desire. As feminist sensitivity evolves, new social issues emerge, challenging dominant male perspectives within feminist discourse. Female minds now explore bewildering questions about identity, gender, sexuality, and social relations, while theories like psychodynamic theory offer insights into the psychological forces shaping women’s behavior, feelings, and relationships, extending the understanding of feminine psyche.
Feminism in Doris Lessing’s Short Stories
As for Doris Lessing, she perceives feminism not merely as political discourse concerning women’s independence or rights in literature, but rather as a novel psychoanalytical approach to understanding women. In an interview with Johan Raskhin published in The Progress in June 1999, she remarked that “feminism has been turned into a religion,” though she quickly added, “It can’t go much longer,” suggesting that this phase has run its course. Lessing views feminism as primarily championed by the elite class, asserting that it has failed to impact the lives of impoverished and working women in the Third World. Her writings exemplify postmodern feminism, wherein female characters grapple with issues of identity, recognition, sexuality, power dynamics, and self-actualization. In “To Room Nineteen,” the character Susan navigates modern-day depression, self-realization, identity crises, and gender recognition, while “Notes for a Case History” delves into object-relations theory through the lens of mother-daughter dynamics and the influence of social relationships on gender identity and sexual power dynamics. Conversely, “A Woman on a Roof” explores the wielding of sexual power and its manipulation to exert influence over male counterparts, as observed by Jane Flax in terms of self-recognition and the power dynamics at play.
Postmodern Feminism in Doris Lessing’s Short Stories
The signs of postmodern feminist issues are glaringly evident in Doris Lessing’s story “To Room Nineteen,” which depicts the marriage of Susan and Matthew Rawlings, a rational couple who believe their union is proof of sensible discrimination, as Lessing notes “That they had waited so long (but not too long) for this real thing was to them a proof of their sensible discrimination,” a notion underscored by Jane Flax’s observation of gender differences. However, Susan soon realizes that their marriage is not founded on sensible discrimination but rather on the capitalist mode of living, which exacts a psychological toll on her, as argued by Wang Ningchuan and Wen Yiping in their paper “In Room Nineteen, Why Did Susan Commit Suicide? Reconsidering Gender Relations from Doris Lessing’s Novel.” They suggest that Susan’s suicide can be understood through Karen Horney and Lacan’s theories of self, indicating a conflict between her social status and self as well as a contradiction between her ideas and her gender identity and patriarchal domination. Susan grapples with the conflict between her desire for freedom and her reality of being imprisoned at home, symbolized by her waiting for the demon to claim her in the garden, a manifestation of her acute depression. This conflict deepens as she acknowledges the word ‘bondage’ in relation to her marriage for the first time, signifying her loss of identity in her roles as wife and mother. Wang Ningchuan and Wen Yiping suggest that Susan’s reconciliation toward marriage leads to her acceptance of patriarchal domination, resulting in economic oppression and a loss of financial stability and identity. Susan’s resentment of never being alone, even when her house is empty of children, underscores the suffocating nature of her situation within the patriarchal structure.
Domestic Issues and Postmodern Feminism in Doris Lessing’s Short Stories
This exacerbates her depression as she grapples with the loss of independence due to her work and domestic responsibilities, revealing deeper psychological issues. According to Jane Flax, this internal struggle impacts not only feminism but also fundamental aspects of self, including the actual self and idealized self. Susan has idealized a version of herself that contrasts sharply with her current roles as a responsible wife and mother, leading to a sense of disillusionment. Wang Ningchuan and Wen Yiping note that Susan struggles to actualize her true self, likening it to a sensitive plant in need of nurturing. This dissatisfaction with her circumstances contributes to her depression, while her husband Matthew remains content with their life together. Susan unconsciously compares herself to Matthew, perceiving his independence and responsibility, which she feels she lacks. Despite moments of solitude in a hotel room, where she experiences fleeting self-realization, Susan falls short of self-actualization, unlike the woman in “A Woman on the Roof” who asserts control over her sexuality. Unlike the confident woman on the roof, Susan remains unaware of the power her gender holds over men, leading to a loss of confidence and a sense of irrationality.
Interpretations of Feminism in Doris Lessing’s Short Stories
Kun Zhau offers another feminist interpretation, suggesting that Lessing uses various objects—such as the river, the garden, the demon, and Susan’s reflection—to portray Susan’s search for identity, indicating an identity crisis. Each object symbolizes identity in some way, yet Susan finds herself devoid of any. Zhau further asserts that Susan harbors a fear stemming from the realization that she has been confined by her familial responsibilities; her husband and four children seem to suffocate her, akin to a snake devouring its own tail, with Susan herself being the serpent’s victim. Zhau posits that Susan perceives even her soul as not her own, feeling imprisoned within her own home, which she escapes only through suicide, achieving a semblance of freedom. Zhau suggests that Susan’s mental and spiritual growth have been stunted, leading to her identity crisis and subsequent quest for freedom. Seeking refuge in Fred’s Hotel in Paddington, Susan adopts the identity of Mrs. Jones, yet this newfound independence is short-lived as her husband’s intrusion exposes her true identity, leading to her suicide. The symbolism runs deep; the river represents the flow of life, while the hotel room symbolizes both the stifling responsibilities of domestic life and a fleeting sense of freedom. Susan’s physical escape to the hotel exacerbates her spiritual and mental turmoil, ultimately culminating in her suicide. Furthermore, the hotel room, initially seen as Susan’s sanctuary and new identity as Mrs. Jones, reflects the transient nature of identity for a working woman who often loses herself upon becoming a mother. Despite her efforts to excel as a wife and mother, Susan loses her true self in the process, seeking solace in her newfound identity as Mrs. Jones. However, this identity proves ephemeral as her husband’s discovery prompts her tragic demise, highlighting the fleeting nature of freedom and identity.
Oppression and Feminism in Doris Lessing’s Short Stories
Seher Ozsert, a lecturer at Zirve University, Turkey, offers a similar interpretation of the hotel room, positing that Susan finds liberation within its confines, escaping the oppressive routine of domestic life that she finds suffocating compared to the idyllic future she once envisioned. Ozsert draws parallels to Virginia Woolf’s assertion that “a woman must have money and a room of her own” to attain independence, suggesting that Lessing may have been inspired by Woolf’s ideas in crafting this story’s conclusion. While Susan may not have fully discovered her authentic self, Ozsert echoes her sense of artifice, noting Susan’s inner conflict between fulfilling her roles as wife and mother and her desire for genuine self-expression. Susan’s inner turmoil manifests as a feeling of impostorship, prompting her to seek refuge in the hotel room where she can shed the societal masks she wears. Rula Quawas further explores this theme, observing Susan’s struggle to break free from societal expectations and uncover her autonomous self, a common motif in literature. However, Susan’s newfound peace is shattered when she learns that someone has come looking for her, prompting her to end her life, symbolizing her inability to exist authentically in a world that stifles her true identity. Quawas delves into various post-structuralist perspectives to elucidate Susan’s quest for self-discovery, ultimately concluding that societal constructs hinder rather than facilitate her journey toward authenticity. For Susan, these constructs serve as barriers to self-realization, compelling her to seek solace in solitude before succumbing to the pressures of societal expectations.
Gender Identity and Feminism in Doris Lessing’s Short Stories
The theme of postmodern feminism’s exploration of gender identity is also evident in another of Lessing’s short stories, “Notes for a Case History.” This narrative resonates with the sentiments expressed in Lessing’s interview, where she suggests that feminism is not solely a theory of the oppressed but rather serves the agenda of elite-class women. “Notes for a Case History” delves into the object-relations theory, particularly in the context of mother-daughter relationships and the influence of social dynamics on gender identity and sexual power. While Chodorow and Dinnerstein, proponents of this theory, offer differing perspectives on mother-daughter relationships, there are parallels between Chodorow and Irigaray’s views, as noted by Jane Flax. Both suggest a unique level of mutual identification between mothers and their infant daughters, shaping the daughter’s gender identity from an early age. Maureen’s mother, for example, instills in her the belief that she is more beautiful than her friend Shirley, fostering a sense of confidence and entitlement in Maureen’s future. This maternal influence extends to Maureen’s perception of her own attractiveness, as evident in the attention she receives from men and her internalized belief in her beauty. This mother-daughter dynamic profoundly impacts Maureen’s identity, influencing her decisions and shaping her perception of herself well into adulthood. However, Chodorow and Irigaray diverge in their conceptualizations of self and language within this framework, a discrepancy attributed by Jane Flax to their differing theoretical and social backgrounds.
Identity and Feminism in Doris Lessing’s Short Stories
One other key aspect of Nancy Chodorow’s theory is the notion that feminine or masculine identity is shaped by social relations within the family. Jane Flax contends that while patriarchy can theoretically be dismantled, there’s a significant challenge in disentangling the psyche from its deeply ingrained social ties. Children’s behavior, she argues, is profoundly influenced by their mothers’ behavior, which is determined by societal norms and expectations.
Maureen’s behavior reflects this dynamic. She consistently displays deference to her mother while receiving less frequent reprimands from her father, indicating an unconscious effort within the family to subvert patriarchy. The family’s concerted effort to secure a glamorous future for Maureen originates from her mother, not her father, underscoring the unconscious nature of this phenomenon.
Flax emphasizes two critical points: first, the tangible impact of mother-daughter relations on behavior, and second, the symbolic significance of behavioral changes. Maureen’s relationship with her mother significantly shapes her outlook and future prospects. Conversely, Shirley’s relationship with her mother fosters more modest aspirations.
Maureen’s mother instills in her a sense of entitlement and ambition, while Shirley’s mother encourages a more resigned attitude. Maureen’s resistance to undervaluation and her aspiration for a grander future stem from her mother’s influence. This familial capital, transmitted through identity and reinforced by societal expectations, informs Maureen’s understanding of her potential.
As Maureen navigates her relationships with Stanley and Tony, she grapples with conflicting desires and societal expectations. Her mother’s deference to her father’s decisions influences Maureen’s struggle to assert her own agency. Flax’s interpretation of Chodorow’s theory suggests that Maureen’s turn to men reflects not only a desire to escape her mother but also a deep-seated need for acceptance and love. Stanley represents a failed attempt at finding this acceptance, as evidenced by his rejection of Maureen’s joke, while Tony symbolizes a potential successor lover who might offer the validation she seeks.
Sexuality and Feminism in Doris Lessing’s Short Stories
Although Maureen possesses knowledge of the power of her sexuality, its influence is inherently limited by her middle-class background and social circle. This constraint becomes evident as she moves from one company to another, realizing the boundaries of her impact. In contrast, Shirley, aware of her comparatively lower effectiveness in wielding sexual power, navigates her interactions with a pragmatic understanding of her social standing. She recognizes herself as the “pretty girl’s plainer girlfriend,” acknowledging her position relative to Maureen and the limitations of her allure. Unlike Maureen, who absorbs the fantasies of others through her readings and exploits her sexuality with different boyfriends, Shirley operates within the confines of her perceived limitations. Stanley, perceptive of Maureen’s power and his own influence, manipulates the dynamic between them, exploiting both Maureen’s sexuality and his own financial status to assert control.
Social Contexts and Feminism in Doris Lessing’s Short Stories
In their shared social context, both Maureen and Shirley hail from relatively affluent households in impoverished neighborhoods. Doris Lessing illustrates this by describing them as “two pretty little girls in smart mother-made dresses, [who] were children of plenty” (Lessing 381). While Maureen’s family may have greater financial resources compared to Shirley’s, this discrepancy does not significantly alter their social circumstances. However, their physical appearance does influence their social interactions and perceptions. According to Jane Flax, gender identity is shaped not only by individual autonomy but also by factors such as race and economic status (25). These factors play a crucial role in reshaping the girls’ understanding of their gender identities. Maureen’s awareness of her own attractiveness compared to Shirley reflects a deeper understanding of gender consciousness and selfhood. As Flax suggests, an adequate examination of subjectivity must consider the impact of gender on the formation and expression of identity (26). Maureen’s recognition of her beauty and its implications on her interactions with others highlights her heightened consciousness of her gender and its significance in shaping social dynamics. This awareness is evident in Maureen’s realization that she is perceived as the more attractive of the two girls, influencing the behavior of boys who seek her out for dates (Lessing 385). Lessing portrays Maureen’s experience within her social context to underscore the modern complexities of feminist themes.
However, Lessing presents Stanley as having a similar ambivalence towards Maureen’s sexuality as she does towards his patriarchal domination. It becomes apparent later that both harbor conflicting feelings: Maureen struggles with her power over Stanley, while Stanley grapples with his attraction to Maureen despite feeling threatened by her independence. Stanley’s deeper understanding of Maureen’s sexuality leads to a loss of interest on his part, and consequently, Maureen loses her hold over him. Their relationship remains fraught with ambiguity, exemplified by their reactions to each other’s behavior. Maureen’s playful invitation for Stanley to meet her parents is met with disdain, indicating Stanley’s dismissal of her as a potential partner. This ambiguity persists until the story’s conclusion, as Maureen reflects on her changed circumstances, recognizing that the power dynamic between them has shifted irreversibly. She acknowledges that while she once held sway over Stanley, she is now at his mercy, signaling the end of their relationship. In this way, Maureen concedes defeat in her bid to establish herself as a formidable figure against Stanley’s architectural background and future prospects.
Sex, Power and Feminism in Doris Lessing’s Short Stories
In “A Woman on a Roof,” the power of sexuality and its conscious utilization to challenge patriarchal dominance is vividly portrayed. Jane Flax’s assertion that “Gender also partially structures how each person experiences and expresses herself” holds true in the cases of Maureen, Shirley, and Susan in “To Room Nineteen.” Maureen, for instance, exhibits a freewheeling attitude towards her numerous boyfriends, demonstrating a partial expression of her gender. Conversely, Susan initially suppresses this expression, ultimately surrendering her identity to patriarchal dominance. Her perpetual quest for freedom underscores her internal struggle. However, Maureen’s perceived freedom rings hollow as she repeatedly finds herself drawn back to Stanley.
In contrast, the unnamed woman on the roof unabashedly embraces the power of her sexuality, openly displaying it. Her realization of this power becomes evident when a young man is captivated by her presence on the rooftop. Men of all ages are enthralled by her allure, evident in their whistles and shouts. Yet, she remains indifferent, demonstrating a keen awareness of her sexual power. Despite Tom’s attempts to distance himself from the others, he too falls under her spell, indulging in fantasies about her. His vivid dreams depict the profound impact of her sexuality on his impressionable mind, highlighting the potency of gendered sexual power.
Ultimately, Susan’s tragic demise may stem from her realization that her power has succumbed to patriarchal authority, a fate she could no longer tolerate. This stark contrast illustrates the transformative potential of feminine sexuality in challenging and subverting patriarchal norms.
Ambivalence of Sexuality and Feminism in Doris Lessing’s Short Stories
In “A Woman on a Roof,” the ambivalence in response to sexuality is evident among the male characters, particularly Stanley, Harry, and Tom. Stanley and Harry resort to whistling and shouting, attempting to deflect the impact of the woman’s sexuality, knowing they cannot attain it. Conversely, Tom experiences a different reaction. He senses a connection with the woman but is uncertain about its nature. When he approaches her, he does so with a foolish grin, seeking tenderness but unsure of what to expect. His response is further muddled by stammering dialogue and a sense of panic, reminiscent of his relationship with his mother. This ambiguity reaches a climax when the woman dismisses him, leaving Tom bewildered.
In summary, Doris Lessing’s stories exemplify postmodern feminism and its distinctive characteristics. “To Room Nineteen” delves into themes of depression, self-realization, and identity crisis, while “Notes for a Case History” explores object relations theory in mother-daughter relationships. “A Woman on a Roof” offers a reverse perspective on this theory through Tom’s attraction to the mature woman. Additionally, the impact of social relations on gender identity and the power of sexuality are central themes across these narratives. Lessing’s portrayal aligns with her assertion in the interview with Raskhin that feminism transcends boundaries, addressing the dilemmas faced by modern women from various socio-economic backgrounds.
Works Cited: Feminism in Doris Lessing’s Short Stories
- Flax, Jane. Thinking Fragments: Psychoanalysis, Feminism, and Postmodernism in Contemporary West. Berkley. University of California Press. 2004. pp. 15-285.
- Lessing, Doris. “A Woman on the Roof.” Doris Lessing. A Man with Two Woman and Other Stories. Simon and Schuster. 1963. pp. 2-8.
- —————-. “Notes for a Case History.” Doris Lessing. A Man with Two Woman and Other Stories. Simon and Schuster. 1963. pp. 381-392.
- —————-. “To Room Nineteen.” Doris Lessing. A Man with Two Woman and Other Stories. Simon and Schuster. 1963. pp. 524-549.
- Ningchuan, Wang and Wen Yiping. “In Room Nineteen Why Did Susan Commit Suicide? Reconsidering Gender Relations from Doris Lessing’s Novel.” Studies in Literature and Language 4.1 (2012): 65-75. CSCanada. Web. 16 Apr. 2020.
- Raskhin, Jonah. “Doris Lessing: The Progressive Interview.” The Progressive. Dorrislessing.com. Jun. 1999. Web. 26 Apr. 2020.
- Ozsert, Seher. “The Hotel Room Nineteen: A Passage to Freedom.” The Journal of Language and Literature 11 (2014): 60-68. Web. 16 Apr. 2020.
- Quawas, Rula. “Lessing’s ‘To Room Nineteen’: Susan’s Voyage into the Inner Space of ‘Elsewhere.'” Atlantis. 29.1 (Jun. 2007): 107-122. Web. 26 Apr. 2016.
- Woods, Tim. Beginning Postmodernism. New York. Manchester University Press. 1999. Print. 21-32.
- Zhau, Kun. “An Analysis of Three Images in Doris Lessing’s To Room Nineteen.” Theory and Practice in Language Studies 2.8 (Aug. 2012). 1651-1655. Academy Publishers. Web. 25 Apr. 2020.
Relevant Questions about Feminism in Doris Lessing’s Short Stories
- How does “Feminism in Doris Lessing’s Short Stories” explore the theme of feminism, and what specific techniques does Lessing employ to depict the challenges faced by women in various societal contexts?
- In what ways do the female characters in “Feminism in Doris Lessing’s Short Stories” navigate issues of gender inequality, autonomy, and agency, and how do their experiences contribute to a broader understanding of feminist discourse?
- How does “Feminism in Doris Lessing’s Short Stories” challenge traditional gender roles and expectations through the portrayal of male-female relationships, and what commentary does Lessing offer on the dynamics of power and control within these relationships?
