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Having written that, I am astounded. What do I mean? He was capable of great kindness. And now I remember that all those years ago, I discovered that no matter what adjective I applied to Willi, I could always use the opposite. Yes. I have looked in my old papers. I find a list, headed Willi:
And so on, down the page; and underneath I wrote: ‘From the process of writing these words about Willi I have discovered I know nothing about him. About someone one understands, one doesn’t have to make lists of words.’
But really what I discovered, though I didn’t know it then, was that in describing any personality all these words are meaningless. To describe a person one says: ‘Willi, sitting stiffly at the head of the table, allowed his round spectacles to glitter at the people watching him and said, formally, but with a gruff clumsy humour:’ Something like that. But the point is, and it is the point that obsesses me (and how odd this obsession should be showing itself, so long ago, in helpless lists of opposing words, not knowing what it would develop into), once I say that words like good/bad, strong/weak, are irrelevant, I am accepting amorality, and I do accept it the moment I start to write ‘a story’, ‘a novel’, because I simply don’t care. All I care about is that I should describe Willi and Maryrose so that a reader can feel their reality. And after twenty years of living in and around the Left, which means twenty years’ preoccupation with this question of morality in art, that is all I am left with. So what I am saying is, in fact, that the human personality, that unique flame, is so sacred to me, that everything else becomes unimportant. Is that what I am saying? And if so, what does it mean?
But to return to Willi. He was the emotional centre of our subgroup, and had been, before the split, the centre of the big sub-group, and had been, before the split, the centre of the big group — another strong man, similar to Willi, was now leading the other sub-group. Willi was centre because of his absolute certainty that he was right. He was a master of dialectic; could be very subtle and intelligent in diagnosing a social problem, could be, even in the next sentence, stupidly dogmatic. As time went on, he became steadily more heavy-minded. Yet the odd thing was that people continued to revolve around him, people much subtler than he, even when they knew he was talking nonsense. Even when we had reached the stage when we could laugh, in front of him and at him, and at some monstrous bit of logic-chopping, we continued to revolve around and depend on him. It is terrifying that this can be true.
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Page 70
Laura Kipnis November 9th, 2008 at 10:51 pm
Throughout the book–as with here, in her description of Willi, who is composed of a set of opposite traits–Lessing’s descriptions of character psychology are really astounding. It’s the aspect of the book that still seems most shocking and fresh actually, the subtlety of her observations about personality. Also her various observations about her own way of grappling with the question.
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Harriet Rubin November 14th, 2008 at 12:02 am
But this has been the most perplexing thing about growing up! That no sooner have I adjectivized someone or something than I realize the opposite is true, too. Lessing keeps throwing me back on what language cannot do, which seems to me more now than when I first read her nearly 30 years ago.
If we know nothing about anyone, how then do we convince ourselves to write anything?
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Lenelle Moïse November 19th, 2008 at 6:33 pm
Person vs. personality.
Character vs. characteristics.
Knowing vs. understanding.
It seems Anna feels most comfortable and honest when she can PAINT with her words. Listing Willi’s opposing attributes troubles her writer’s mind, but using words to conjure up an image of him relaxes her. Maybe this is why so many good, long novels are turned into quicker films?
“A picture is worth a thousand…”
Willi is STIFF but his ROUND spectacles glitter. He is formal and gruff but there is clumsiness and humor there too. Portraits make room for the ironic details. But lists make complexities read like blunt contradictions.
Kirsten discusses Lessing’s imagistic writing in the Forum (see p. 188).
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