The Sweetest Dream
A Novel
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- ¥1,500
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- ¥1,500
発行者による作品情報
“[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.
PUBLISHERS WEEKLY
In lieu of writing volume three of her autobiography ("because of possible hurt to vulnerable people"), the grand dame of English letters delves into the 1960s and beyond, where she left off in her second volume of memoirs, Walking in the Shade. The result is a shimmering, solidly wrought, deeply felt portrait of a divorced "earth" mother and her passel of teenage live-ins. Frances Lennox and her two adolescent sons, Andrew and Colin, and their motley friends have taken over the bottom floors of a rambling house in Hampstead, London. The house is owned by Frances's well-heeled German-born ex-mother-in-law, Julia, who tolerates Frances's slovenly presence out of guilt for past neglect and a shared aversion for Julia's son, Johnny Lennox, deadbeat dad and flamboyant, unregenerate Communist. Frances's first love is the theater, but she must support "the kids," and so she works as a journalist for a left-wing newspaper. Over the roiling years that begin with news of President Kennedy's assassination, a mutable assortment of young habitu s gather around Frances's kitchen table, and Comrade Johnny makes cameo appearances, ever espousing Marxist propaganda to the rapt young dropouts. Johnny is a brilliantly galling character, who pushes both Julia and Frances to the brink of despair (and true affection for each other). Lessing clearly relishes the recalcitrant '60s, yet she follows her characters through the women's movement of the '70s and a lengthy final digression in '90s Africa. Lessing's sage, level gaze is everywhere brought to bear, though she occasionally falls into clucking, I-told-you-so hindsight, especially on the subject of the failed Communist dream. While the last section lacks the intimate presence of long-suffering Frances, the novel is weightily molded by Lessing's rich life experience and comes to a momentous conclusion.
