Doris Lessing's Frame-Shifting in The Memoirs of a Survivor

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第8卷第5期 V01.8 No.5 读与写杂志 Read and、Ⅳrite Periodical 2011年5月 May 2011 

Doris Lessing,s Frame-Shifting in The Memoirs 0f a Survivor 

王程 (青岛大学山东青岛266071) Abstract:Through the study of The Memoirs of a Survivor. I1his paper attempts to analyze her magnificent frame-shifting narrative technique,unifying the author’s vision and the real world.Chapter one b ̄efly introduces Lessing’s background,including her scholarship,recent studies on her book and the arguments about it.Chapter two explains the narrative theory of frame—shifting and its application in The Memoirs of a Survivor.Chapter three focuses on the magic gate between the two wor】ds—the“wall”play— ing a space—time medium.This internationally renowned writer,with her amazing words and dramatic writing skills,brings us into her imaginative world and imbues us with her glamorous thoughts. Key words:frame shifting;narrative technique;The Memoirs of a Survivor 中图分类号:I1O6 文献标识码:A 文章编号:1672—1578(2011)05—0010—02 

1 Introduction Doris Lessing is one of the best known British novelists of her generation.Sirice her first novel The Grass Is Singing was published in 1950.Lessing has written twenty-odd novels. eleven volumes of short stories,six works of nonfiction,six plays,a volume of poetry and two volumes of autobiographies. For her extraordinary achievements in 1iterature.Lessing has won various prizes and awards:the Somerset Maugham Award in 1954.the Booker Prize in 1971.the Austrian State Prize for European Literature in 198 1.the Alfred Toepfer Stiftung F.V.S. Foundation Shakespeare Prize in 1982.the W.H.Smith Literarv Award in 1986.the Palermo Prize in 1987,the James Tait Black Memorial Prize for Biography and the Los Angeles Timeg Book Prize in 1995.the Priace of Austrias Prize in Literature and the David Cohen British Literary Prize in 2001, the S.T.Dupont Golden PEN Award in 2002 and the Nobel Prize in literature in 2007. The Memoirs of a Survivor demonstrates Lessing’s persistent interest in familial alternatives to the nuclear family groups and collectives as Gmups of people,disparate survivors of one kind and another,band together for seIf— protection. Feral children。 selfish,primitive and lacking articulate language,are also forced to join together for survival fHosni). Since its publication,Lessing critics have been engaged in a heated debate concerning the change in her techniques and in the vision that gives rise to them.Some critics have attempted to evaluate Lessing’s different style,but most of them concentrate their attention on ideology,not form. IJike Michael L.Magie who mistakes her deserting rationalism and realism for irrationalism and mystical fantasy.His critique is essentially a moral objection to the mystical content of the noveIs: “Lessing offers what is likely to be.culturally.for all of us.the least helpful model and exhortation imaginable,being not only delusive but indulgent and a spur to self—indulgence. She portrays our collective situation as hopeless,lightened only by the adoption of illusion(Magic 552).”What Magic deplores i8 exactly what Nancy Hardin praises also on moral grounds in her The Slm Teaching Story and Doris Lessing.The significant characteristics of Lessing’s later novels,she argues, are the 1OCU¥of a saving vision that will teach us to“break out and away from contemporary conditioning”so that“we can awaken from the roles to which we have been so skillfully programmed fHardin 324).” However,when we try to apply these arguments to read a particular text such as The Memoirs of a Survivor,we find their value is limited.Lessing’s later nonrealistic novels are much sparer than her earlier realistic work they are more difficult to grasp according to formal structures.Even Malcolm Cowley.who is an astute critic.admitted in an early review of The Memoirs of a Survivor that “It was all confusing to this reader.”Thus it would be reasonable to approach the problem of reading Lessing’s novel and seek the reasons for our confusions. 2 Narrative strategy of making shift forms The novel presents a fully realized world in which a social dilemma confronts the main characters,the reader begins to setde into a “realistic”flame--the same kind that applied in the first four books of the Children of Violence series. However,she soon applies an alternative frame,a mystic or mythic dimension in which the laws of time and space are suspended.Throughout the novel,the narrator negotiates frequent shifts between these two radically incompatible