DOCSLIB.ORG

“Castaways in the Very Heart of the City” ] ————————————————— Island and Metropolis in J.M

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
“Castaways in the Very Heart of the City” ] ————————————————— Island and Metropolis in J.M “Castaways in the Very Heart of the City” ] ————————————————— Island and Metropolis in J.M. Coetzee’s Foe MARION FRIES–DIECKMANN Topography and the narrative HE MOST STRIKING DIFFERENCE between Daniel Defoe’s Robinson Crusoe (1719) and its postmodern retelling Foe (1986) by T J.M. Coetzee is the female first-person narrator and protagonist Susan Barton, who is marooned on the island. There she meets Cruso – who obviously had suffered the same fate as her years before – and his servant Friday. In contrast to their literary predecessor, Coetzee’s Cruso is a rather inert atheist, and Coetzee’s Friday an obedient but uncommitted servant. The fourth important character in Coetzee’s novel is the writer Daniel Foe, whom Susan Barton turns to, after her rescue from the island, as soon as she is back in London. She wants him to write her story of the island. Yet there are a number of obstacles she is faced with, and thus the ‘writability’ of her story becomes the central topic of the novel. The key to her story is Friday, whom she takes back with her after Cruso’s death on the island. He does not – or cannot – speak, owing to an alleged mutilation of the tongue. Thus, he repre- sents a “hole in the narrative”1 throughout the novel. As a result, Susan’s story remains untold and unwritten. The reader gains the impression that Susan’s story is the Urtext of Robinson Crusoe,2 as Susan and Foe discuss precisely those modifications which would bring Susan’s story and Defoe’s novel in line. Accordingly, fiction and literary history are constantly blurred in this 1 J.M. Coetzee, Foe (Harmondsworth: Penguin, 1987): 121. Further page references are in the main text. 2 See Dominic Head, J.M. Coetzee (Cambridge: Cambridge UP 1997): 114. 168 M ARION F RIES–DIECKMANN ] piece of work which is as much concerned with postmodern as with postcolo- nial issues.3 This essay aims at analyzing the topographical setting of the plot and the ‘virtual’ setting of narration in Foe. Coetzee puts dichotomies such as peri- phery/centre and nature/culture upside down. He aligns this breakdown of traditional topographical patterns with the narration as such, and he does so by two strategies in particular. The first is the use of different styles and struc- tures of narration in each of the novel’s four chapters. The second is the first- person narrator’s sense perception, the auditory and the olfactory in particular. The first chapter consists of Susan Barton’s ‘travel account’, which is set on the island. Having landed in Bristol after their rescue, Susan and Friday move on to London, which is the main place of action from the second chap- ter onwards. However, life on the island keeps being discussed throughout, so that the island’s setting coexists as a sort of lingering presence alongside the ‘real’ scene of London. There, the setting shifts from Long Acre in central London, which is Susan’s and Friday’s first residence, to the north of central London. In Stoke Newington they live in Foe’s deserted house, which had been occupied by bailiffs in search of Foe. Finally, they travel to Bristol on the west coast, where Susan fails to place Friday on a ship bound for his native land. Chapter three takes them back to London: to Foe’s hiding-place somewhere south of Whitechapel in East Central London. Finally, the plot returns to the island by a surreal slip into the island-narrative or, rather, the sea surrounding the island in chapter four. Once in England, Susan and Friday seem to go round in a circle: from Bristol to different locations within Lon- don, then back to Bristol, and finally back to the capital. However, they do not arrive anywhere in a teleological sense. The symbol of the circle is highly sig- nificant, as it is the only sign Friday notes down later when Susan attempts to teach him to write. Susan and Foe interpret it as the letter O. Calling to mind A(lpha) and O(mega), it could be seen as a symbol of the absence or futility which is at the heart of the story.4 At the same time, it might be interpreted as the number zero.5 Thus, it would even more strongly serve as a metaphor of silence which establishes Friday as a narrative absence and native black ex- pression as something unattainable. 3 See Richard Begam, “Silence and Mut(i)lation: White Writing in J.M. Coetzee’s Foe,” South Atlantic Quarterly 93.1 (1994): 113–29. 4 See Charles W. Pollard, “Teaching Contemporary Responses to Robinson Crusoe: Coetzee, Walcott, and Others in a World Literature Survey,” in Approaches to Teaching Defoe’s Robinson Crusoe, ed. Maximilian E. Novak & Carl Fisher (New York: Modern Language Association of America, 2005): 163. 5 See Begam, “Silence and Mut(i)lation,” 123–24. .
Load more

Recommended publications
  • War of Words: Daniel Defoe and the 1707 Union Anne M
    War of Words: Daniel Defoe and the 1707 Union Anne M. McKim Thus, on both Sides, the case stood between the nations, a Pen and Ink War made a daily Noise in either Kingdom, and this served to Exasperate the People in such a manner, one against another, that never have two Nations Run upon one another in such a manner, and come off without Blows.1 The Union of Scotland and England on 1 May 1707 was – and for some still is – undoubtedly contentious. Polemic and political pamphleteering flourished at the time, reflecting and fanning the debate, while the newssheets and jour- nals of the day provided lively opinion pieces and a good deal of propaganda. Recent commentators have recognised the importance of public discourse and public opinion regarding the Union on the way to the treaty. Leith Davis goes as far as to say that the ‘new British nation was constructed from the dialogue that took place regarding its potential existence’.2 While the treaty articles were still being debated by the last Scottish parlia- ment, Daniel Defoe, who had gone to Scotland specifically to promote the Union, began compiling his monumental History of the Union of Great Britain in Edinburgh.3 He expected to see it published before the end of 1707 although, for reasons that are still not entirely clear, it was not published until late 1709 or early 1710.4 As David Hayton notes, ‘a great deal of it must already have 1 Daniel Defoe, The History of the Union of Great Britain, D. W.
    [Show full text]
  • Daniel Defoe's Robinson Crusoe @300 Grant Glass Over 300 Years
    Daniel Defoe’s Robinson Crusoe @300 Grant Glass Over 300 years ago, Daniel Defoe immortalized the story of Robinson Crusoe with the publication of The Life and Surprising Adventures of Robinson Crusoe—creating long tradition of stories about being marooned in an inhospitable place understood as the Robinsonade genre. While the intimate details of Crusoe’s story might be unfamiliar, many of its adaptations like The Martian or Cast Away still persist. Those are just a few, if you look closely enough, there are religious, survivalist, social gospel, colonizationist and anti-colonial, martially masculine, feminist Robinsonades, in overlapping circles emanating out from this central text. The best estimates place these variants in the hundreds. Yet the original novel provides the reader with a gauntlet of historical baggage ranging from colonialism and slavery to climate change and industrialization—forcing us to confront not only our past, but how we represent it in the present. What, then, is Crusoe’s legacy at 300, and what do its retellings tell us about how we think of our past and our future? When you start to notice the Robinsonade, it appears everywhere, and you start to realize you cannot put the horse back in the stable when it comes to Crusoe. Long before the days of Ta-Nehisi Coates and Lena Dunham, Crusoe became an international phenomenon on the star power of its writer, Daniel Defoe, who much like a prolific Tweeter, “seemed to have strong opinions about everything, and wrote about almost everything in his world and his time,”1 with topics ranging from economics, politics and history to space travel.2 While Defoe wrote over 500 books, pamphlets, addresses and letters in his lifetime, Crusoe became his most well-known and well-read work.3 Crusoe was a major hit right from its first printing, it was so well received that Defoe quickly produced a sequel within only a few months after publication of the first.
    [Show full text]
  • Robinson Crusoe
    READING GROUP GUIDE ROBINSON CRUSOE BY DANIEL DEFOE Restless Classics presents the Three-Hundredth Anniversary Edition of Robinson Crusoe, the classic Caribbean adventure story and foundatio- nal English novel, with new illustrations by Eko and an introduction by Jamaica Kincaid that recontextualizes the book for our globalized, post- colonial era. Three centuries after Daniel Defoe published Robinson Crusoe, this gripping tale of a castaway who spends thirty years on a remote tropical island near Trinidad, encountering cannibals, captives, and mutineers before being ultimately rescued, remains a classic of the adventure genre and is widely considered the first great English novel. But the book also has much to teach us, in retrospect, about entrenched attitudes of coloni- zers toward the colonized that still resound today. As celebrated Caribbean writer Jamaica Kincaid writes in her bold new introduction, “The vivid, vibrant, subtle, important role of the tale of Robinson Crusoe, with his triumph of individual resilience and ingenuity wrapped up in his European, which is to say white, identity, has played in the long, unin- BUY FROM RESTLESS terrupted literature of European conquest of the rest of the world must not be dismissed or Paperback List Price: $19.99 ignored or silenced.” ISBN: 9781632061195 Publication: 8/27/19 Daniel Defoe (c. 1660 - 1731) was an English writer, journalist, and spy, who gained 5.5” x 8.25” • 384 pages enduring fame for his novel Robinson Crusoe. Defoe is notable for being one of the earliest Fiction: Classics/ World Litera- ture / Caribbean/ Adventure/ practitioners of the novel and helped popularize the genre in Britain.
    [Show full text]
  • Polarity Dimensions in Cotzee's
    Polarity Dimensions in Cotzee’s Foe An Analysis of the Reality/Fantasy and Freedom/Captivity Dichotomies Dimensioner av polaritet i Coetzees Foe En analys av dikotomierna verklighet/fantasi och frihet/slaveri Raluka Adlander Faculty: Faculty of Arts and Social Sciences – Karlstad University Subject: English III for teaching in Secondary and Upper Secondary Education Points:15 credits Supervisor : Åke Bergvall Examniner: Johan Wijkmark Date: January 2019 Adlander Abstract This essay examines the literary reasoning behind employing antagonistic themes in J.M. Coetzee’s novel Foe. The emphasis of this analysis is on two of the most predilected of Coetzee’s topics and their antipodes – reality/ fantasy and freedom/ captivity – but references to secondary themes like feminism and colonialism are also included. Analysing dichotomies in Foe aims to demonstrate that a concept could be understood by its opposite and that the boundary between two antagonistic elements could be a matter of perception. Another intention of this analysis is to provide a plausible decoding of Coetzee’s intricate literary message in Foe. The complexity of this narration resides in its ambiguity generated by polarities and in the multitude of cryptic literary, historic and linguistic details, which are obscured to any superficial reader. To fathom the intended meaning in Foe implies a laborious study, and it requires a deep analysis of all its constituent elements. This essay only refers to a few of them and for that reason I consider that this essay should be regarded as a starting point to further in-depth studies concerning Foe. Keywords: Coetzee, dualism, authorship, truth, fiction, slavery, postmodern, paradox, Friday, castaway, desert island, self Sammanfattning Denna uppsats undersöker det litterära resonemanget bakom att använda antagonistiska teman i J.M.
    [Show full text]
  • A Comparative Study of Robinson Crusoe and Foe
    Journal of Foreign Languages, Cultures and Civilizations December 2020, Vol. 8, No. 2, pp. 20-24 ISSN 2333-5882 (Print) 2333-5890 (Online) Copyright © The Author(s). All Rights Reserved. Published by American Research Institute for Policy Development DOI: 10.15640/jflcc.v8n2a3 URL: https://doi.org/10.15640/jflcc.v8n2a3 His-Story and Her-Story: A Comparative Study of Robinson Crusoe and Foe Dr. Shakira Khatoon1, Prof. M. Asim Siddiqui2 & Prof. Nazia Hasan3 Abstract History is often said to be his-story owing to it being exclusively written by men about men. It consists of heroic as well as tragic tales of men, heroic and tragic both terms being exploited by Aristotle in the context of men again. Literature of any nation or language is also History per se as it reflects the ethos of the time in which it is created, and can also be called His-story because of dominant presence of male voices on the literary horizon for centuries. It is only after the surge of movements and theories like Feminism and Postcolonialism, that Her-story started to surface up in literary works. Robinson Crusoe by Daniel Defoe (first published in 1719) and Foe by J. M. Coetzee (rewriting of Robinson Crusoe, first published in 1986) are the two works showcasing this transition in focus from His-story to Her-story. Whereas one tells the story of a male castaway Robinson Crusoe who turns out to be a powerful, colonial patriarch, completely avoiding the existence of woman; the other tells the story of Susan Barton, a female castaway introduced by Coetzee into the world of Crusoe (Cruso here).
    [Show full text]
  • Narratives of the Literary Island: European Poetics of the Social System After 1945
    Narratives of the Literary Island: European Poetics of the Social System after 1945 Ioana Andreescu Abstract In European post-war literature, the topos of the island takes centre stage, as the insular space often narrates a micro-scale society and the reconstruction of its social system. Isolation, semantically derived from ‘island’, characterises a European society radically transformed by the traumatic violence of the twentieth century. In this context, Robinson Crusoe—the ‘rational adult white man’—is recreated and reinvented in a multitude of new meanings, newly significant for understanding a transformed (and in-transformation) European society: he is cruel, he is afraid, he is a child, he is a woman, he is alone among others. The hypothesis of this paper is that the interest in and updating of Robinson Crusoe’s story transform this narrative into a literary myth, invested via intertextual and palimpsestic approaches with “a programme of truth” (Veyne 1983) that reveals a continuous interest in an alternative social system, which is in-the-making, historically, socially, psychologically, geopolitically, and so on. The literary post-war island narratives considered here, The Magus (1965) by John Fowles and Friday, or, the Other Island (1967) by Michel Tournier, highlight the process of the rewriting and rescaling of European history, as well as the essential need for human values in the creation of a society that has economics at its core. Keywords: Robinson Crusoe, myth, power, ideology, capitalism, individualism, palimpsest, postmodernism, postcolonialism Introduction This paper seeks to relate the myth of Robinson Crusoe and that of the desert island to modern European history, in order to apprehend several poetic1 functions of the post-1945 social system, particularly as portrayed in two post-war European novels, namely The Magus (1965) by John Fowles and Friday, or, the Other Island (1967) by Michel Tournier.
    [Show full text]
  • Construction in Robinson Crusoe from Post Colonialism
    Studies in Linguistics and Literature ISSN 2573-6434 (Print) ISSN 2573-6426 (Online) Vol. 2, No. 3, 2018 www.scholink.org/ojs/index.php/sll Original Paper Analyzing “Other” Construction in Robinson Crusoe from Post Colonialism Perspective Li Rui1 & Jiao Dan1* 1 Henan University of Technology, Henan, China * Jiao Dan, Henan University of Technology, Henan, China Received: July 31, 2018 Accepted: August 17, 2018 Online Published: August 24, 2018 doi:10.22158/sll.v2n3p195 URL: http://dx.doi.org/10.22158/sll.v2n3p195 This article was realized with the support of Henan Provincial Philosophy Scientific Planning Project 2015BYY014; Henan Provincial Key Scientific Research Project in Higher Education 17A880006z and Henan Provincial Educational Scientific Planning Key Project [2016]-JKGHA-0015. Abstract This paper uses the theory of post-colonialism to do research on “Robinson Crusoe”, taking the geographical environment (the desert island) and nation (Friday and Robinson) as examples, analyzes the construction of the other. And the characters analyzing reflects colonialism, which leads people to ponder. This paper is divided into four parts. The first part is introduction, in the first part, the author mainly introduces the background of “Robinson Crusoe”, the relevant post-colonialism theory, the theory of “others” proposed by Zhu Yuande (2007), as well as the current situation and purpose of the research. The second part is to analyze the two protagonists, Robinson and Friday, which reflects colonialism thought. The third part analyzes the construction of the other in “Robinson Crusoe” from two aspects: they are the geographical environment and the nation. The last part is conclusion. Keywords Robinson Crusoe, the other, post colonialism, construction, geographic and nation other 1.
    [Show full text]
  • Chen2019.Pdf (1.576Mb)
    This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Daniel Defoe’s Moral and Political Thought in Its Religious Context Chienyuen Chen PhD Thesis The University of Edinburgh 2019 2 Abstract This thesis aims to provide a comprehensive picture of the religious ideas of the famous English journalist and novelist Daniel Defoe. Today, Defoe is best remembered as a novelist, but most of his works are non-fictional works including a sizable number of didactic or supernatural writings. Even though there is a rising scholarly interest in Defoe’s thoughts on subjects such as politics or Puritanism, there is hardly a single monograph devoted to Defoe’s religious ideas. This thesis aims to fill the gap by examining Defoe’s works throughout his career. It demonstrates that Defoe’s Presbyterian upbringing was influential in his emphasis on the ideas of good work, practical godliness, and the development of good habits.
    [Show full text]
  • Islands in the Screen: the Robinsonnade As Television Genre Des Îles À L’Écran : La Robinsonnade Comme Genre Télévisuel Paul Heyer
    Document generated on 09/24/2021 6:24 p.m. Cinémas Revue d'études cinématographiques Journal of Film Studies Islands in the Screen: The Robinsonnade as Television Genre Des îles à l’écran : la robinsonnade comme genre télévisuel Paul Heyer Fictions télévisuelles : approches esthétiques Article abstract Volume 23, Number 2-3, Spring 2013 The island survivor narrative, or robinsonnade, has emerged as a small but significant television genre over the past 50 years. The author considers its URI: https://id.erudit.org/iderudit/1015187ar origins as a literary genre and the screen adaptations that followed. Emphasis DOI: https://doi.org/10.7202/1015187ar is placed on how “island TV” employed a television aesthetic that ranged from an earlier conventional approach, using three cameras, studio locations, and See table of contents narrative resolution in each episode, to open-ended storylines employing a cinematic style that exploits the new generation of widescreen televisions, especially with the advent of HDTV. Two case studies centre the argument: Gilligan’s Island as an example of the former, more conventional aesthetic, and Publisher(s) Lost as an example of the new approach. Although both series became Cinémas exceedingly popular, other notable programs are considered, two of which involved Canadian production teams: Swiss Family Robinson and The Mysterious Island. Finally, connections are drawn between robinsonnades and ISSN the emerging post-apocalyptic genre as it has moved from cinema to television. 1181-6945 (print) 1705-6500 (digital) Explore this journal Cite this article Heyer, P. (2013). Islands in the Screen: The Robinsonnade as Television Genre. Cinémas, 23(2-3), 121–143.
    [Show full text]
  • Robinson Crusoe DANIEL DEFOE
    Cambridge University Press 978-0-521-14083-6 - Selections: From Classic and Modern English Literature Clare West Excerpt More information 1 DANIEL DEFOE Daniel Defoe was born in London, the son of a butcher. As a salesman of tights and stockings, he travelled widely in Europe. Travel was one of his great 1660 – 1731 interests throughout his life. He was also actively interested in politics. He wrote articles and poems attacking people’s prejudices, and so angered Queen Anne that he was sent to prison from 1702-4. He was rescued from prison by a Conservative politician, who employed him as a secret agent, sending him round the country to gather information about people’s political opinions. He was again sent to prison when he wrote articles criticizing King George I, but when he was set free he continued his writing. During his life Defoe wrote over five hundred articles and books, but he is best known for the works he produced in his later years, and especially for Robinson Crusoe, one of the most familiar stories in English literature. This is considered by many to be the first English novel, and is based on the true story of Alexander Selkirk, a Scottish sailor. When it was published it was an immediate success. It was translated into many languages, and influenced many later writers and thinkers. Defoe’s influence on the development of the English novel was enormous. He wrote plainly and clearly, with realistic descriptions of people, places and action. His writing shows a reporter’s love of detail as well as a writer’s powerful imagination.
    [Show full text]
  • The Life and Adventures of Robinson Crusoe, by Daniel Defoe Title
    The Life and Adventures of Robinson Crusoe, by Daniel Defoe Title: The Life and Adventures of Robinson Crusoe Author: Daniel Defoe CHAPTER I—START IN LIFE I was born in the year 1632, in the city of York, of a good family, though not of that country, my father being a foreigner of Bremen, who settled first at Hull. He got a good estate by merchandise, and leaving off his trade, lived afterwards at York, from whence he had married my mother, whose relations were named Robinson, a very good family in that country, and from whom I was called Robinson Kreutznaer; but, by the usual corruption of words in England, we are now called—nay we call ourselves and write our name—Crusoe; and so my companions always called me. I had two elder brothers, one of whom was lieutenant-colonel to an English regiment of foot in Flanders, formerly commanded by the famous Colonel Lockhart, and was killed at the battle near Dunkirk against the Spaniards. What became of my second brother I never knew, any more than my father or mother knew what became of me. Being the third son of the family and not bred to any trade, my head began to be filled very early with rambling thoughts. My father, who was very ancient, had given me a competent share of learning, as far as house-education and a country free school generally go, and designed me for the law; but I would be satisfied with nothing but going to sea; and my inclination to this led me so strongly against the will, nay, the commands of my father, and against all the entreaties and persuasions of my mother and other friends, that there seemed to be something fatal in that propensity of nature, tending directly to the life of misery which was to befall me.
    [Show full text]
  • James, Isaac. Providence Displayed: Or, the Remarkable Adventures of Alexander Selkirk. London, 1800. 148-55. the Celebrity of R
    James, Isaac. Providence Displayed: or, The Remarkable Adventures of Alexander Selkirk. London, 1800. 148-55. The Celebrity of Robinson Crusoe appears to have arisen from two Causes; the affecting Situation in which he is placed, and the lively Fancy of De Foe in delineating the peculiar Difficulties with which it is attended. On the first of these alone, depends the Success of the following Sheets; my Design being to relate nothing but absolute Facts, for which I shall bring my Authorities. Being thus limited, although the Narrative may be less entertaining, it will be valuable, in the same proportion as Truth is preferable to Fiction. I shall, however, be able to exhibit the interesting Circumstances of such a seclusion from the World, in a variety of points of view, by giving not only Mr Selkirk's Adventures, but those of several others, most of whom were by a singular concurrence of causes, left upon the same Island. Their History will be related in order of time, after a general Description of the Theatre of their Adventures : in doing which, it will appear that Sir Richard Steele was mistaken in saying, ‘I do not think it foreign to my Design, to speak of a Man born in her Majesty's Dominions, and relate an Adventure in his Life so uncommon, that it's doubtful whether the like has happened to any other of human Race.’* Perhaps Selkirk's History, which is universally allowed to be the Ground-work of Robinson Crusoe, is the most remarkable, but the Instances I have to produce, are similar and authentic, and not foreign to my general Purpose.
    [Show full text]