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Doris Lessing’s early essay “The Small Personal Voice” is often considered the fullest elaboration of her realist aesthetics. Prizing nineteenth-century realism (Tolstoy, Stendhal, Balzac) as “the highest form of prose writing,” she criticizes two dominant trends in contemporary fiction, namely Soviet realism and European modernism: novels about collective farms and five-year plans are “dreadful [and] lifeless,” while the writings of Albert Camus, Jean-Paul Sartre, Jean Genet, and Samuel Beckett...
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