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A Narrative of Forgiveness: South Africa Forgiveness in the Novels of J.M

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A Narrative of Forgiveness: South Africa Forgiveness in the Novels of J.M A narrative of forgiveness: South Africa Forgiveness in the novels of J.M. Coetzee Master Thesis Conflicts, Territories and Identities Written by: Willemijn de Ridder © Supervisors: Bert Bomert and Hans Ester Radboud University Nijmegen August 2010 Storytelling is another, an other mode of thinking. It is more venerable than history, as ancient as the cockroach…. Like cockroaches, stories can be consumed. All you need to do is tear off the wings and sprinkle a little salt on them…. Cockroaches can also be colonized. You can capture them in a cockroach trap, breed them (quite easily), herd them together in cockroach farms… you can do minute dissections of their respiratory systems…. You can, if you wish, dry them and powder them and mix them with high explosives and make bombs of them. You can even make up stories about them, as Kafka did, although this is quite hard. One of the things you cannot -apparently- do is eradicate them. They breed, as the figure, has it, like flies, and under the harshest circumstances…. It is said that they will still be around when we and all our artefacts have disappeared. J.M. Coetzee, 19861 Artworks in and of themselves have a closer relationship to politics than other objects, and their mode of production has a closer relationship to acting than to any other type of occupation. For one thing, it is a fact that only artworks need the public sphere in order to gain recognition; a similar affinity is expressed in the fact that artworks are spiritual- intellectual objects. In Greek terms, Mnēmosynē – remembering and remembrance – is the mother of the muses, which is to say that it is through thinking and remembering that reality is revaluated. This revaluation makes it possible to arrest and objectify the intangible, namely events and deeds and words and stories. Hannah Arendt, 19592 1 Coetzee, J.M. (1988), pp. 2-5. 2 Arendt, Hannah (1959; 2007), pp. 190-191. 2 Abstract The main subject of this master thesis was forgiveness in South Africa. The purpose of this study was to investigate how the novels of the Nobel Prize winner J.M. Coetzee reflect the discourse on forgiveness in South Africa from 1974 (during Apartheid) to 2009 (after Apartheid). Other aims coming from this central question were to find out what forgiveness is, whether it can be stimulated, and how it was stimulated by the Truth and Reconciliation Commission South Africa. Finally, it was studied whether Coetzee reflects whether forgiveness took place or not, and whether he was hopeful for the future. The methods applied were that of close reading and text analysis. The theoretical study examined forgiveness from four perspectives: a. philosophical/critical, b. theological, c. psychological and d. political. The practical study examined and analysed the novels playing in South Africa of J.M. Coetzee. It was found that the novels reflect the discourse on forgiveness and the time frame in which the discourse took place. The novels of Coetzee reflect the discourse by showing the doubts and thoughts about all aspects of forgiveness. The results revealed that the novels are an important historical source for research on forgiveness in South Africa. The principal conclusion was that novels are a good source to study history and the opinion of one person at least, and a specific group of persons at most. 3 Content x Abstract/ Summary 3 xx Preface 6 1. Introduction and Research questions 9 1.1. Relevance/ Central goal 1.1.1. Societal relevance 1.1.2. Scientific relevance 1.2. Research Questions and Concepts 1.2.1. Research Questions 2. Theoretical framework: framing forgiveness 19 2.1 Philosophical/critical perspective on forgiveness 21 2.1.1. Forgiveness 2.1.2. The forgiveness family 2.1.3. Public forgiveness 2.1.4. Transitional justice 2.1.5. Reconciliation 2.2 Theological perspective on forgiveness 29 2.2.1. Forgiving in South Africa 2.2.2. Ubuntu 2.2.3. Christianity 2.3. Psychological perspective on forgiveness 34 2.3.1. Neuropsychology 2.3.2. Freud 2.3.3. Memory 2.4. Political perspective on forgiveness 39 2.4.1. Peacebuilding 2.4.2. Truth and Reconciliation Commission South Africa 2.4.3. Justice 2.4.4. Truth: the road to reconciliation? 2.4.5. Reparation 4 2.5. Conclusion 48 3. Research Methods and Validity 49 3.1. Literature Study: finding forgiveness in narrative art 3.2. Approach 3.2.1. Selection of the novels 3.2.2. Selection of the writer 3.3. Whiteness 3.4. The Narrative 3.5. Validity 4. Results: analysis of the novels 54 4.1. Dusklands 4.2. In the Heart of the Country 4.3. Waiting for the Barbarians 4.4. Life and Times of Michael K 4.5. Age of Iron 4.6. Disgrace 4.7. Boyhood. Scenes from provincial life, Youth, Summertime. Scenes from provincial life 4.8. Confession 4.9. Discussion 91 5. Conclusion & Recommendations 93 5.1. Recommendations Literature 102 5 Preface Of course we are all fictioneers. I do not deny that. Since this is my master thesis, it is me to decide what I will write in the preface. And since I am, like Coetzee, in a way, a rebel and not willing to conform completely to the system – or scared to do so – I will write a very personal preface. Personal and intimate, like Coetzee does in his books. Or aren’t his books personal? Who is who and what is true? What is fiction, what is narrative? What is subjective, what is objective? How does this correspond to the real world? It is the reader who decides. A scientist once said: ‘Sometimes a scream is better than a thesis.’ This thesis is a scream. During the realization of this thesis, there were moments I screamed, or almost screamed. Not because I did not know how to continue (although somewhere on the road I wondered whether I would ever write the last word), but because of the intense books Coetzee writes. None of his books is light, easy or funny, none of them is ridiculous or does not make a point. I read ten of Coetzee’s novels in two weeks, all about South Africa. In the end, there is nothing left than screaming. A friend of mine once told me that writing a thesis is like a journey: you start somewhere and you don’t know where you will end. Writing my thesis made me think about many related topics. The topic of my thesis is forgiveness after violent conflict. So many themes are attached to this: shame, guilt, memory, pain, loss, bitterness, grieve. No easy subjects to be occupied with. Forgiveness in general, however, is not that uncommon, and the themes attached to it are neither. Forgiveness is everywhere. While I was working on this thesis, I wrote some questions that popped up in my head, on the blackboard in our kitchen. One of these was: ‘Is it the will or the soul who forgives?’ The next question could only be: do we have a soul? Influenced by Coetzee’s (disturbed?) way of picturing man-woman relationships, I wrote down: ‘Can penetration be compared with colonisation?’ Maybe I should explain this one (I had to explain my flatmates, at least, before they agreed). What I mean is this: penetration is, in a way, taking or capering of something/someone. A synonym for penetration is entering. Moreover, there is a shared connotation of power between penetration and colonisation. One of the sections that hit me most is: 6 ‘I behave in some ways like a lover – I undress her, I bathe her, I stroke her, I sleep beside her – but I might equally tie her to a chair and beat her, it would be no less intimate.’3 I read ten books of Coetzee in two weeks. It did not make me happy. It did not make me smile. It made me scared and sad. At bad days I concluded: the world is lost, we’ll all go to hell. Males first. The male Coetzee is able to depress me, to make me think, wonder, observe, philosophize, cry, scream. Is that a feature of a virtuous writer? Another section goes without explanation: ‘Maybe, for men, hating the woman makes sex more exciting. You are a man, you ought to know. When you have sex with someone strange – when you trap her, hold her down, get her under you, put all your weight on her – isn’t it a bit like killing? Pushing the knife in; exiting afterward, leaving the body behind covered in blood – doesn’t it feel like murder, like getting away with murder?’4 Not the best thing to think about when a guy is laying on top of you. The contents of my thesis appears to be twofold: one is forgiveness; the other is the author J.M. Coetzee. So where did this journey of writing and reading take me? To love and to hate and to love the novels of Coetzee. To love and to hate South Africa. To love and to hate men. To understand South Africa, to understand forgiveness and to understand Coetzee. More or less. ‘To explain is to forgive,’ Coetzee writes in In the Heart of the Darkness. To understand to a certain extent. To forgive is to remain human. The best thing that can be reached is awareness: Coetzee made me aware. Did I dramatize? Maybe I did, maybe I did not. I just told a narrative. In the end, we are all fictioneers.5 There are two ways to find out: read ten Coetzee’s in two weeks or read my thesis and draw your own conclusion.
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