Doris Lessing - The Diaries of Jane Somers

‘I had no money, he never gave me any, ever, though I kept the house for him, cleaned it, did it all. I walked out to the village my auntie was in. It’s part of London now, you’d not know it was a village so recently, it was beyond Neasden. I got there as the streets filled with carts and horses and noise. I was nearly falling as I walked. I got to her house and rang and rang and when she came she caught me as I fell. She said I could stay with her, and pay her back when I was well enough to earn. She wrote to my father that Maudie had come to stay with her for a little, that was how she put it. And my father said nothing at all, though I waited and waited for a sign. Not for years did he acknowledge my existence. And my aunt fed me up and made me eat. She was poor herself. She couldn’t give me what she said I should have, cream and wine and stuff, but she did what she could. I was so thin and small I used to start shaking if I walked a few steps, but I got better, and then Auntie apprenticed me to a milliner in the West End. She got the money from my father. I don’t know what she said, but she got it.’

It was nearly ten before I got home. I was full of the strong black tea Maudie drinks and feeling a bit sick myself, and so I couldn’t eat. Sympathy, no doubt with anorexia, for I suppose that was what poor Maudie was suffering from after her mother died. I have had a brief and efficient bath, and have finished writing this, and now I must go to bed. But I really wanted to write down the thoughts I have been having about the office.

I told Maudie that I would not be in tomorrow night, but that I would definitely come and have tea with her Thursday.

Wednesday.

Joyce was not in the office and there was no message. That has never happened. The atmosphere in the office restless, a bit giggly, like school when there’s uncertainty. Phyllis and I worked together all day, and without a word being said how to behave so as to calm things down. We were brisk and efficient and kept at it. We will work easily together. But oh, she is so young , so young, so black and white and either/or and take it or leave it. Her cool crisp little mouth. Her crisp competent little smile. Phyllis has bought her own flat, we – the firm – helped her. She lives for her work, who should know better how than I? She sees herself editing the mag. Why not?

I write that, and wonder at it.

Now I shall write about my career, for I am very clear in my mind about it all because of the shocks and strains of the last few days, with Joyce, and then having to be alert and awake all the time with Phyllis.

I came straight into the office from school. No university, there wasn’t the money; and I wasn’t good enough for university! It just didn’t present itself as a possibility.

When I started work for Little Women – Joyce and I so christened that phase of the mag, a shorthand – I was so pleased and relieved at getting this glamorous job, in journalism, I wasn’t looking for anything higher. 1947, still a war atmosphere. It was a graceless production, bad paper, because of the war: full of how to use cheap cuts of meat and egg powder. How to make anything into something else – Joyce’s description of it. I, like everyone else, was sick sick sick of it all. How we all longed to throw off the aftermath of war, the rationing, the dreariness. There was a woman editor then too. I wasn’t into criticizing my superiors then, my sights went no higher than being secretary to the production manager. I just didn’t think about Nancy Westringham. They were all gods and goddesses up there. Now I see she was just right for that phase of the mag. Old-style, like my mother and my sister, competent, dutiful, nice – but I mean it, nice, kind, and my guess is never an original thought in her life. My guess it has to be: if there is one thing I regret, it is that I wasn’t awake enough during that phase to see what was going on. But of course then I hadn’t learned how to see what was going on: what is developing inside a structure, what to look for, how things work.

They were changing the mag all right, better paper, brighter features, but it wasn’t enough. There had to be a new editor, and I should have seen it, should have been watching. It wasn’t only that I didn’t know how to observe: I was too drunk on being young, attractive and successful. At school no one had ever even suggested I might have capacities, and certainly my parents never did. But in the office, I was able to turn my hand to anything. I was soon just the one person who was able to take over from anyone sick or incapable. I cannot remember any pleasure in my life to match that: the relief of it, the buoyancy, tackling a new job and knowing that I did it well. I was in love with cleverness, with myself. And this business of being good at clothes. Of course, the fifties were not exactly an exciting time for clothes, but even so I was able to interest everyone in what I wore. My style then was sexy, but cool and sexy, just a little bit over the edge into parody: in that I anticipated the sixties and the way we all slightly mocked the styles we wore.

I would give a lot now to know how it happened that Boris became editor. But it is too late now. When I ask the oldies who are still with us, they don’t know what I am asking because they don’t think like that.

At any rate, Boris became editor in 1957, and he represented ‘the new wave’. But he didn’t have it in him. I was by then in the position Phyllis is now: the bright girl everyone expects great things of. The difference is, I didn’t know it. I liked being good at everything, and I didn’t mind working all hours. I adored everything I had to do. I was already doing all kinds of work well beyond what I was paid for, beyond what I was described as being. I was a secretary in Production. By then I had begun to watch what was really happening. The immediately obvious fact was that Boris was not very effective. Amiable, affable, trendy – all that, yes. He had been appointed by the Board when Nancy resigned; was asked to leave. He had the large room that is used now by the photographers, a large desk, a secretary who had a secretary, and a PR girl. He was always in conference, on the telephone, at lunch, giving interviews on the role and function of women’s magazines. ‘Women’s Lib’ hadn’t been born, though not till I came to write this did I remember that.

What was really happening was that other people were doing his work for him, me among them. The formal structure of the office did not correspond at all with what was happening. The mag had brightened up a little, but not much, and Mr Right was implicit in everything. We did not think clearly about it, but carried on much as before, with better paper and some decent photographs.

The moment Joyce arrived, we all became conscious of exactly what we were doing, and for whom. Market Analysis, reports from experts; we certainly took notice of all that, but we had our own ideas. The backbone and foundation of the mag, what interests us most, is information. Birth control, sex, health, social problems generally. Nearly all the articles we have on these topics would have been impossible in Little Women , everything had to be wrapped up. This is the part of the mag I do. As for clothes, food, wine, decor, what has changed is the level of the photography. Not what is said, fashion is fashion is fashion, and food is food, but how it is presented. When I first began working, there were a lot of articles like ‘I Am a Widow: How I Brought Up Two Girls’, or ‘I Am Married to a Paraplegic’, or ‘Alice Is Blind But She Runs a Business School’. All those have gone: too downmarket! Lilith deliberately set out to take a step up in the world, and we made that happen.