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Early in the careers of most novelists, the critics nag and carp; later, the cold eye of reassessment is cast over their life's work; at the peak of a writing career, which is where Doris Lessing now stands
the years of solid achievement command maximum respect.
A survey of critical responses to Lessing's books might reveal curious strata of social history; it is hard to remember now that she was once considered very daring and very militant [she insisted that relations between the sexes were difficult and unequal]. She has been accused of being a feminist, and then accused by feminists of not being feminist enough. She has been a communist, but then moved on from a belief in simplistic political solutions to interest in deeper psychological change, touching on themes of madness and of mystical and extrasensory states of consciousness.
Lessing has written clearly into all her work the conviction that we are moving blindly and inevitably toward global catastrophe. Her message seems to be out complete moral and social bankruptcy, particularly in the relations between men and women. Hers is not an angry feminism, though her men are rather poor creatures compared to
her bruised but gritty women. Anger may imply a hope that things could be better if only some sense could be knocked into somebody's head, a hope for a time "after the revolution." One does not feel that Lessing sees any hope, only perpetual deadlock.
Certainly Lessing has earned the respect accorded to a writer of her stature and productivity. Doggedly she has been writing into her fiction signposts and warnings that we need desperately to be reminded of, and writing in a way that has been more persuasive and imaginative than if she had been a pure polemicist. But the critic has the problem of distinguishing between what an author says and the way she says it.
The moralist in Lessing, struggling with the very skilled writer, at times has made her writing prolix, clogged, slow -- though in her latest novels she has successfully introduced a leavening of fantasy.
The fact is that there are writers who in an economical page or two can make us feel our dilemmas more piercingly than she does in a leisurely fictional experience. Missing from her work is that sense of time and space gathered up for a moment between the hands, that sudden shift from understanding to seeing directly, that we expect at rare moments from our storytellers.

在大多数小说家的早期事业里，批评家喜欢批评与吹毛求疵；其后，则用重新评估的冷酷眼光来看他们毕生的作品；在写作生涯的颠峰，也就是 DorisLessing 目前的地位，多年来扎实的成就得到最高度的尊敬。
浏览一下对 Lessing 作品的批评反应，就不难发现社会历史奇妙的层次；现在很难记得曾经一度她被认为非常的大胆、非常的激进（她坚持两性间的关系困难而且不公平）。她曾被指责是个女权运动者，后来又被女权运动者指控她的女权扩张观念不够。她曾经一度是共产主义者，但后来从相信简单的政治解决，转移对比较深刻的心理改变感兴趣。作品谈及的是疯狂的、神秘的、和超感觉意识的主题。
Lessing 在她所有的作品中， 很清楚的表明她坚信我们正盲目而无可避免的走向全球性的毁灭。她的信息似乎是我们整个道德以及社会的崩溃，尤其是在男女两性的关系上。她的女权主义并不是愤怒的，虽然她作品里的男性，和受了伤害仍然坚强的女性比起来，显得非常可怜。愤怒可能隐含一种希望；假如能使某些人理性一点的话，事情即会好转；一种在“革命”之后的希望。然而我们没感觉到 Lessing 看到任何希望，只有永久的僵局。
亳无疑问 Lessing 赢得了像她这样地位及产量的作家所应该得到的尊敬。
她固执地把我们急需被提醒的指标和警告写在她的小说里，而且其写作的方式远比她若仅是一个喜欢争论的人所写的，来得更具说服力，更有想像力。可是批评家有困难区分一个作者所说的和她所说的方式。Lessing 作品说教的部份和她是个具高度技巧的作家部份相冲突，有时会使她的作品显得冗长、呆滞、索然无味──虽然在她最近的小说里，她成功的引入想像的调剂。事实上有些作家可以在精简的一两页之间， 比之 Lessing 从容的笔法，更能使我们尖锐的感觉到我们的困境。她的作品里缺乏的就是那种在双手之间握有的片刻之时空感，那种从了解到直接洞悉的突然改变；而这些乃是在某些难得的时刻，我们所期望自我们的小说家处获得的。