According to Ivry's article, Lessing's fictional characters were based, she said, on real individuals she had known. He identifies many of them specifically in his article; for example: "In 'Martha Quest,' Lessing writes of Joss and Solly Cohen, a shopkeeper’s sons of a shop-owner who send the heroine books, which help her attain a 'dispassionate eye' on her country’s misfortunes: 'This detached observer, felt perhaps as a clear-lit space situated just behind the forehead, was the gift of the Cohen boys at the station.'"
Even in some of her later fiction, after she broke with the communists and Stalinists, she retained interest in Jews. According to Ivry:
From Communism’s failure, Lessing drew the conclusion: “We need to learn to watch our minds, our behavior. We need to do some rethinking. It is a time, I think, for definitions.”
This prudent, watchful stance was further expressed in a series of futuristic dystopias, five novels grouped as “Canopus in Argos: Archives (1979–1983).” The critic Robert Alter has praised them as a “combination of fantasy and morality.” The first volume, Shikasta, is presented as a documentary account of a planet in danger. In a preface, Lessing describes her inspiration from the Old Testament, adding with understatement: “It is possible we make a mistake when we dismiss the sacred literatures of all races and nations as quaint fossils from a dead past… It is our habit to dismiss the Old Testament altogether because Jehovah, or Jahve, does not think or behave like a social worker.” Such narratives as the Tower of Babel and Sodom and Gomorrah are paralleled, albeit with the addition of spaceships and other sci fi-style paraphernalia.Ivry writes: "Throughout her long life, Lessing maintained a genial bonhomie towards Jews, telling the Associated Press in 2006 that when the American Jewish feminist Betty Friedan visited her in London, Lessing found her to be a 'good Jewish mother, we got on like anything.' She had a more mixed view of Allen Ginsberg and his Beat Poet pals, whom she found 'extremely likable, but this isn’t how they wanted to be seen… they weren’t as frightening and as shocking as they wanted to be. They were mostly middle-class people trying to be annoying.'”