logo

68 pages 2 hours read

Doris Lessing

The Golden Notebook

Fiction | Novel | Adult | Published in 1962

A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.

Part 8, Chapters 1-4Chapter Summaries & Analyses

Part 8: “The Notebooks”

Part 8, Chapter 1 Summary: “The Black Notebook”

The black notebook comes to a quick end: The original intention, dividing “Source” and “Money,” has been abandoned in favor of multiple pasted-in articles from the newspapers, dated between 1955 and 1957. The final entry written by Anna notes that she has a dream “that a television film was to be made about the group of people in the Mashopi Hotel” (524). The film crew is all Black, and they are taking apart the cameras, which are also machine guns. Anna scolds the director for changing her story, but the director says that it is, in fact, everything Anna saw and wrote. Anna blames her faulty memory and decides to end the black notebook.

Part 8, Chapter 2 Summary: “The Red Notebook”

Again, the red notebook is also filled with newspaper articles, most of them about war and violence. Anna has marked all 679 mentions of “freedom” with a red pencil.

Again, there is only one entry written by Anna: It tells the story of a comrade from the British Communist Party named Harry. He had fought in the Spanish Civil War for his ideals; had rescued people during the air raids of World War II; kept portraits of Lenin and Trotsky on the walls of his flat; and learned to speak Russian. After Stalin dies, Harry believes that his time has come, that the revolutionary dream will at last be realized. He is invited on a delegation to the Soviet Union, and he thinks he has been summoned to speak to the new leader, that he will be lauded for his staunch beliefs. But, no, he has only been invited by a fellow comrade, and the visit yields nothing. He talks for a very long time to their tour guide, Olga, about his ideas, his views, his hopes; as it turns out, she is merely a tour guide, with no interest in history or politics. When the group returns to England, Harry finally marries, and his wife becomes pregnant.

Part 8, Chapter 3 Summary: “The Yellow Notebook”

The yellow notebook contains no more work on The Shadow of the Third, Anna’s novel-in-progress. Instead, there is a list of 19 different story and novel ideas: an idea for a short story on a woman who falls for a younger man; another about a man who uses adult language to cover his adolescent emotions; one on a woman who betrays her decent husband for an amoral lover; another on a woman who becomes ill because her lover is ill; a story about a woman in love who is suddenly filled with inexplicable fear; and one on a woman who falls in love with a man who only wants “refuge” (533). She has an idea for a story, written from the point of view of the man, wherein his jilted lover either marries or dies by suicide when he leaves. Another story concerns a woman who is an artist; her lover is jealous of her art, so she quits in order to focus on him. Then, he leaves her. She has an idea for a novel about an American who flees to London after being “blacklisted” as a communist; he is ostracized by the communist community in London after it is rumored that he works for the FBI. He dies by suicide.

The stream of ideas is briefly interrupted as Anna recounts meeting a male friend who tells her that Michael was foolish to leave her. The next story idea is based on something her psychoanalyst tells her, that “it’s often the most ‘normal’ member of a family or group who is really sick” (536). There is an idea for a short story about a man who has affairs to assert his independence and one for a novel entitled “The Man Who is Free of Women” (537). There are story ideas about a couple who read each other’s diaries; about an American man and an Englishwoman whose relationship is a commentary on their relative cultures; about a man and a woman who are so much alike they cannot be lovers, but only friends; about a couple who only experience desire for each other when the other is having an affair; and about a woman who has different personalities depending on the mood of her lover. Finally, there is an idea based on “the romantic tough school of writing” (539), about a group of male friends. Anna then concludes this notebook, as well.

Part 8, Chapter 4 Summary: “The Blue Notebook”

The blue notebook resumes Anna’s journal, but without dates. Janet leaves for boarding school, and Molly informs Anna that an American is looking to let a room. Anna is not quite certain that she wants another tenant, but she agrees to meet with him. Saul Green decides to take the room, but his manner with Anna is “jarring, discordant” at first (549). He makes what she sees as a frank sexual assessment of her, but then displays an intelligent sensitivity about women, Molly in particular. His manner changes quickly. Over time, Anna realizes that Saul most likely has a mental illness.

The notebook is then broken up by numbered points with asterisks, as if Anna is making a list of ideas, events, or problems. The first concerns Saul lecturing Anna about her lifestyle, while the second records Anna’s realization that Saul, at some point, is no longer talking to her as an individual. She then understands that she should not sleep with him, as she begins to absorb his anxiety. Yet, she decides to have an affair with him anyway, noting that “I’d forgotten what making love with a real man is like” (561). She records her happiness, observing that Saul is also more relaxed. This state does not last long. He retreats from her, then disappears for days on end; she confronts him, and he claims that she is using him as protection against loneliness. She accuses him of the same.

They talk about politics. Saul has been branded a communist; thus, he leaves America in order to become a writer in England. He tells Anna about his difficult childhood, then immediately forgets having told her. She realizes that he either willfully forgets or has an impaired memory. She becomes affected again by his anxiety, and she realizes that he is having an affair with another woman. She notes that he does not even try to hide it, though he denies it vociferously and blames Anna for her suspicions. Anna finds his diaries and reads them, observing that she is not typically so unethical. These confirm her suspicions, and Saul also writes that “I don’t enjoy sleeping with Anna” (573). He is angry and defensive whenever she tries to broach the subject, and they engage in violent sex which shocks Anna. She begins to realize that whatever mental “instability” Saul is experiencing, she is also experiencing: “I’m conscious that we are both mad” (575). Anna leaves to visit Janet at school, feeling some momentary relief. Coming back to her flat, however, fills her with apprehension.

Anna realizes that the two of them are locked in a pattern of recrimination and reconciliation, but she cannot seem to break the cycle. They again are lulled into a brief period of uninterrupted happiness. When Anna reminds Saul that they have been together, alone, for a week, he becomes angry and denies it. He tells her he hates her because she is a “normal” person (585) and flees the flat. She drinks in order to calm herself, noticing again how connected they are to each other. She becomes obsessed with the news, with the destructive capacities of the war. When Saul returns, they again sleep together, then talk in a jumbled, chaotic way about politics. Anna feels herself dissolving further; she takes on the personality of Charlie Themba. She once again experiences her dream about the embodied imp of destructive malice. She tries to understand the dream in a positive way, as Mother Sugar had urged.

She tries to feel happiness, though the misery comes creeping back in. Still, she has a revelation. Saul leaves again, and she realizes that he is the one denying the joy of life, not her. She dreams again, imagining herself to be different people in dangerous situations: a soldier in Algeria or China, a conscript from Britain, or a student in Eastern Europe. When she awakes, she does not go to Saul. She decides that she will no longer keep four separate notebooks, just one. Still, she cannot yet make herself write. She must dream once again, and she becomes other people once again: “I knew that I had been delivered from disintegration because I could dream it” (600). She awakes, reluctant to be Anna again, but with a better understanding of herself, of what has been happening to her. She and Saul speak honestly to each other, perhaps for the first time: She is suffering from writer’s block, and he admits his resentments over her success as a writer.

Anna goes out to buy groceries and comes across a notebook. It is an expensive one, with “a heavy cover, of dull gold” (605). She buys it; this will be her new notebook, the golden one. Saul asks if he can have it, but she refuses him. She knows that Janet will be coming home soon and that she will again need to be responsible. She sees that Saul has written in the notebook, claiming that it is his, and she almost gives it to him. Her decision not to do so reflects her newfound self-possession. This will be her notebook.

Part 8, Chapters 1-4 Analysis

Thus far, Anna has presented her life in fragments: the (to her) shamefully sentimental recollections of her time in Africa; the experience of her wavering commitment to the British Communist Party and its broken ideals; the novel-in-progress and authorial ideas; and the events of her daily life and psychoanalysis are all presented as different facets of one individual. They are carefully separated into four different notebooks. Anna has been afraid—as Tommy points out in the fictionalized version of Anna’s life, Free Women—of what she imagines will be chaos, should she not separate certain parts of her identity from other parts. Here, though, she brings each notebook to a definitive end.

While it does not become clear until the reader reaches the final section of the blue notebook, Anna must disintegrate completely before she can reintegrate the disparate parts of her various selves into one cohesive whole. She concludes the black notebook after dreaming about a production team making a film out of her novel, Frontiers of War—a possibility that she has viewed with dread or with mockery throughout this notebook. This represents the first step in the process of Anna’s disintegration; it reveals a breakdown of the past, a fundamental mistrust in her own memory: “I realised that he [the director in the dream] was right, that what I ‘remembered’ was probably untrue” (525). It also signals the end of nostalgia, of the gross sentimentality that Anna has grown to despise; she seeks a more authentic authorial self. However, her journey toward that elusive goal is still not complete—she herself interprets the dream as being “about total sterility” (525). She must find the well from which to draw her creative water again. The Portrait of the Artist as a Young Woman is nearly complete.

The red notebook comes to an end as it becomes clear that what Anna is also seeking is “freedom”; this is the word that she highlights in all of the newspaper clippings she has pasted into her notebook—not war or violence or the dishonesty and bad intentions embodied by the post-war Soviet Union. Later, in the blue notebook, she thinks that “very few people really care about freedom, about liberty, about the truth, very few. Very few people have guts, the kind of guts on which a real democracy has to depend” (567). Her retelling of the story of Comrade Harry, a true believer in the communist crusade whose hopes are finally and fully dashed, represents a final break for her, as well. While she was never a full-throated supporter of the Soviet Union and communist ideology, she wants to believe in a better world. Communism will not be the movement to achieve such a dream.

Significantly, the yellow notebook ends as the story ideas devolve into parody. The final story reads like a pastiche of J. D. Salinger or Jack Kerouac:

‘Jeez, Mike,’ he said, ‘you’ll write it someday, for us all.’ He stammered, inarticulate, not-winged-with-words, ‘You’ll write it, hey feller? And how our souls were ruined here on the snow-white Manhattan pavement, the capitalist-money-mammon hound-of-hell hot on our heels?’ (541).

Anna herself identifies that this is mere mimicry; she concludes the yellow notebook here. She has also noticed that her ideas are bleeding together. More than once she worries that what she has written here, in the yellow notebook, actually belongs in the blue notebook. She is slowly working her way toward the golden notebook, wherein all of her selves will be reconciled.

blurred text
blurred text
blurred text
blurred text