Critical overview and conclusion
in Doris Lessing
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

Before she won the Nobel Prize for Literature in 2007, Doris Lessing's reputation (in the UK at least) was looking rather shaky. Many commentaries on the Nobel Prize focused on The Golden Notebook as Lessing's most important book and included comparatively little about the rest of her literary output in the latter half of the twentieth century and into the twenty-first. Feminist criticism of Lessing's work has, to some extent, followed a trajectory between what we might call gynocriticism and gynesis, even if many critics (feminist and otherwise) still fail to acknowledge the formal innovations of her writing. Gayle Greene's 1994 book, Doris Lessing: The Poetics of Change was written some time after the second wave of feminism in the 1960s and 1970s, but she begins by noting that Lessing's work presented ‘the malaise that produced the second wave of feminism…in political terms’. Lessing's recent writing has clearly concerned itself with the interesting intersections and overlaps between gender and class, sexuality, ‘race’, nation and age.


All Time Past Year Past 30 Days
Abstract Views 108 95 1
Full Text Views 10 1 0
PDF Downloads 7 1 1