Abstract

This article examines the complex intertwinements of feminism, anti-colonial Marxism and imperialism in the work of the recent Literature Nobel Prize winner Doris Lessing, particularly in her writings on colonial Africa and the travelogue African Laughter. The article outlines the implications of these intersections for the representation of Zimbabwe against some political, aesthetic and epistemological developments in Lessing's oeuvre. Through a reading of African Laughter, the article argues that a crucial tension is at stake between Lessing's political project of giving voice to black Zimbabweans and the western female protagonist as the authoritative subject of this project. The aim is to render an innovative perspective of Doris Lessing's status as a feminist icon, which she gained in the wake of her acclaimed novel The Golden Notebook, by proceeding from postcolonial feminist scholarship.