“[Lessing] is a pro, writing at the top of her powers, realistically, passionately, accessibly…. a stirring novel”—San Francisco Chronicle
Frances Lennox stands at her stove, bringing another feast to readiness before ladling it out to the youthful crew assembled around her hospitable table—her two sons and their friends, girlfriends, ex-friends and new friends fresh off the street. It’s London in the 1960s and everything is being challenged and changed.
But what is being tolerated? Comrade Johnny delivers political tirades, then laps up the adolescent adulation before disappearing into the night to evade the clutches of his responsibilities. Johnny’s mother funds all but finds she can embrace only one lost little girl—Sylvia, who leaves for a South African village dying of AIDS.
These are the people dreaming the Sixties into being and who, on the morning after, woke to find they were the ones taxed with cleaning up and making good.
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Winner of the 2007 Nobel Prize in Literature, Doris Lessing was one of the most celebrated and distinguished writers of our time, the recipient of a host of international awards. She wrote more than thirty books—among them the novels Martha Quest, The Golden Notebook, and The Fifth Child. She died in 2013.
This story of a family, spanning most of the twentieth century, has its fulcrum in the Sixties, that contradictory and embattled decade about which argument becomes louder each day. The youth of that time, bursting old bonds and demanding freedoms, were seen by some of their elders in a manner not at all as they saw themselves, as romantic idealists, but as deeply damaged people. Old Julia, the clan's matriarch, knows why. "You can't have two dreadful wars and then say 'That's it, and now everything will go back to normal.' They're screwed up, our children, they are the children of war."
Remarkable women, Julia and Frances, grandmother and mother, fight for "the kids" against obstacles, the worst being Comrade Johnny. Here is a memorable picture of a character only recently departed from our scene. "The revolution comes before personal matters" is his dictum, as he deposits discarded wives and hurt children in the accommodating house whose emotional center is always the extendable kitchen table, that essential prop of the Sixties, around which the family sits through the evenings, eating, joking, boasting about their shoplifting, debating the violent ideologies of the time that take some of them out to the Third World, another to a South African village dying of AIDS.
This novel reflects our recent history like a many-faceted mirror, and is full of people not easily forgotten, each -- for worse or for better, directly or indirectly -- made by war.
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