This chapter offers the first substantial exploration of Doris Lessing’s typescripts, showing how they complicate commonly-held views that she wrote too quickly and edited too little. It reads several sections that Lessing inserted or substantially re-wrote in the typescripts for two of her novels, The Summer Before the Dark (1973) and The Marriages Between Zones Three, Four and Five (1980). The chapter argues that such interruptions are critical for a reading of Lessing’s creative process, but also in understanding how individuals in her work witness - and narrate - historical change.
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