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J. M. Coetzee and the Paradox of Postcolonial Authorship

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J. M. Coetzee and the Paradox of Postcolonial Authorship J. M. Coetzee and the Paradox of Postcolonial Authorship Jane Poyner J. M. COETZEE AND THE PARADOX OF POSTCOLONIAL AUTHORSHIP For Mehdi and my mother J. M. Coetzee and the Paradox of Postcolonial Authorship JANE POYNER University of Exeter, UK © Jane Poyner 2009 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Jane Poyner has asserted her right under the Copyright, Designs and Patents Act, 1988, to EHLGHQWL¿HGDVWKHDXWKRURIWKLVZRUN Published by Ashgate Publishing Limited Ashgate Publishing Company Wey Court East Suite 420 Union Road 101 Cherry Street Farnham Burlington Surrey, GU9 7PT VT 05401-4405 England USA www.ashgate.com British Library Cataloguing in Publication Data Poyner, Jane. J. M. Coetzee and the paradox of postcolonial authorship. 1. Coetzee, J. M., 1940– – Criticism and interpretation. 2. Postcolonialism in literature. 3. Politics and literature – South Africa – History – 20th century. 4. South Africa – In literature. I. Title 823.9’14–dc22 Library of Congress Cataloging-in-Publication Data Poyner, Jane. J. M. Coetzee and the paradox of postcolonial authorship / Jane Poyner. p. cm. Includes bibliographical references and index. ,6%1 DONSDSHU 1. Coetzee, J. M., 1940 – Criticism and interpretation. 2. Coetzee, J. M., 1940 – Characters – Authors. 3. Authorship in literature. 4. Postcolonialism in literature. 5. South Africa – In OLWHUDWXUH1DUUDWLRQ 5KHWRULF ±+LVWRU\±WKFHQWXU\,7LWOH PR9369.3.C58Z873 2009 823’.914–dc22 2009011742 ,6%1 KEN ,6%1 HEN.V Contents Abbreviations vii Acknowledgements ix Introduction: Positioning the Writer 1 1 ³)DWKHU0DNHV0HUU\ZLWK&KLOGUHQ´0DGQHVVDQG0\WKRORJ\LQ Dusklands 15 2 5HIXVLQJWR³<LHOGWRWKH6SHFWUHRI5HDVRQ´7KH0DGZRPDQLQWKH Attic in In the Heart of the Country 33 3 Madness and Civilization in Waiting for the Barbarians 53 4 Cultivating the Margins in the Trial of Michael K: “Strategies in the 6HUYLFHRI6NHSWLFLVP´ 9 5 BRG\LQJ)RUWKWKH2WKHU)ULGD\DQGWKH³'LVFXUVLYH6LWXDWLRQ´LQ Foe 91 6 WrLWLQJ LQ WKH )DFH RI 'HDWK ³)DOVH (W\PRORJLHV´ DQG ³+RPH 7UXWKV´LQWKHAge of Iron 111 7 Evading the Censor/Censoring the Self in The Master of Petersburg 129 8 Truth and Reconciliation in Disgrace 149 9 CoetzHH¶V$FWVRI*HQUHLQWKH/DWHU:RUNVTruth-telling, Fiction and the Public Intellectual 167 Works Cited 185 Index 199 This page has been left blank intentionally Abbreviations D Dusklands. 1974. London: Vintage, 1998. HC In the Heart of the Country. 1977. London: Vintage, 1999. WB Waiting for the Barbarians. 1980. London: Minerva, 1997. MK Life & Times of Michael K. 1983. Middlesex: Penguin, 1985. F Foe. 1986. Middlesex: Penguin, 1987. WW White Writing: On the Culture of Letters in South Africa. London & New Haven: Yale University, 1988. 17 ³7KH1RYHO7RGD\´Upstream ± AI Age of Iron. 1990. London: Penguin, 1991. MP The Master of Petersburg. 1994. London: Minerva, 1995. DP Doubling the Point: Essays and Interviews. Ed. David Attwell. Cambridge, Massachusetts and London: Harvard UP, 1992. GO Giving Offense: Essays on Censorship. Chicago: Chicago UP, 1996. B Boyhood: A Memoir. 1997. London: Vintage, 1998. DIS Disgrace. /RQGRQ6HFNHU :DUEXUJ LA The Lives of Animals. Ed. and Intro. Amy Gutmann. Princeton: Princeton UP, 1999. SS Stranger Shores: Essays 1986–1999/RQGRQ6HFNHU :DUEXUJ 2001. Y Youth/RQGRQ6HFNHU :DUEXUJ EC Elizabeth Costello/RQGRQ6HFNHU :DUEXUJ SM Slow Man1HZ<RUN9LNLQJ DBY Diary of a Bad Year/RQGRQ+DUYLOO6HFNHU This page has been left blank intentionally $FNQRZOHGJHPHQWs 7KLVERRNZKLFKH[SORUHVZKDW,FDOOWKH³SDUDGR[RISRVWFRORQLDODXWKRUVKLS´LQ WKH¿FWLRQRIWKH6RXWK$IULFDQZULWHU-0&RHW]HHZRXOGQRWKDYHEHHQSRVVLEOH without the support of the following. My dear friend and mentor, Benita Parry, guided me through my apprenticeship as a doctoral researcher and has remained SHUVSLFDFLRXVLQKHUFULWLFLVPDQGZDUPLQKHUVXSSRUW/LNHZLVH1HLO/D]DUXV KDVEHHQDQLQVSLUDWLRQDQGNLQGO\UHDGVRPHRIWKHHDUO\YHUVLRQVRIWKHFKDSWHUV Other friends and colleagues who generously leant their critical eye to parts of this ERRNRUWRZRUNWKDWIHGLQWRLWLQFOXGH0LFKDHO%HOO6DP'XUUDQW.DL(DVWRQ Regenia Gagnier, Rashmi Varma and Laura Wright. 7KDQNVJRWRWKHWKHQ$UWVDQG+XPDQLWLHV5HVHDUFK%RDUG QRZWKH$+5& which generously provided a full doctoral scholarship, and to the Department RI(QJOLVKDWWKH8QLYHUVLW\RI([HWHUIRUJUDQWLQJP\VDEEDWLFDOZKHQWKH¿QDO revisions were made. 7KDQN\RXWR$QQ'RQDKXHDW$VKJDWHIRUKHUVXSSRUWRIWKHSURMHFWDQGIRU her true professionalism. ,ZRXOGDOVROLNHWRWKDQNFROOHDJXHV QRZIULHQGV DW([HWHUZKRKHOSHGWRPDNH the transition to my new post all the easier, particularly: Julia Copus, Sally Flint, Jo Gill, Helen Hanson, Helen Taylor, Ana Vadillo and Helen Vassallo. Friends at P\$OPD0DWHUWKH8QLYHUVLW\RI:DUZLFNZLWKZKRP,VKDUHGWKHWULDOVDQGWKH thrills of an early research career, are too many to mention here but include Chris &DPSEHOO0DU\'HDQH6KDUDH'HFNDUG/XF\)UDQN3XPOD*TROD-LP*UDKDP Kerstin Oloff, Jenny Terry and Rashmi Varma. $VSHFLDOWKDQNVLVUHVHUYHGIRUP\IDPLO\IRUWKHLUODXJKWHUDQGWKHLUVXSSRUW Liz, John, Cliff, Jill, Cathy, Chris, Ewan, Grace, Esmé, Rory, John, Rach, Anna, ,VREHO-RH0DUN7HUHVD.HUU\-DFN2OOLH6DUDK(OODDQGQRWOHDVW*HRUJH $ERYHDOOWKDQN\RXWRP\GHDUPRWKHUZKRJUDFLRXVO\SURRIUHDGWKHERRNLQDOO its stages and to Mehdi, who weathered the process of my writing and unstintingly gave his moral support. Chapter 8 is a substantially revised version of the following essay, reproduced ZLWK WKH NLQG SHUPLVVLRQ RI Scrutiny2 and Unisa, South Africa: Jane Poyner, “Truth and Reconciliation in J. M. Coetzee’s Disgrace´Scrutiny2 pp. 68–77. 7KDQNVWRWKH8QLWHG1DWLRQVIRUJUDQWLQJSHUPLVVLRQWRUHSURGXFHWKHFRYHU LPDJH³$VHJUHJDWHGEHDFKLQ6RXWK$IULFD´ 813KRWR Jane Poyner. 3 July, 2009. This page has been left blank intentionally Introduction Positioning the Writer 7KDWKHZDVWKH1REHO/DXUHDWHLQ/LWHUDWXUHDQGWKH¿UVWQRYHOLVWWRZLQWKH %RRNHU3UL]HWZLFHZLWKLife & Times of Michael K in 1983 and Disgrace in 1999, DVZHOODVKDYLQJWKHJDPXWRIPDMRU6RXWK$IULFDQDQGLQWHUQDWLRQDOOLWHUDU\SUL]HV conferred upon him, has guaranteed J. M. Coetzee’s reputation as one of the most important writers living today.1 He is also one of South Africa’s most controversial. He was awarded the Order of Mapungubwe in Gold by the ANC-led government LQIRUKLV³H[FHSWLRQDOFRQWULEXWLRQLQWKH¿HOGRIOLWHUDWXUHDQGIRUSXWWLQJ 6RXWK$IULFDRQWKHZRUOGVWDJH´ 7KH3UHVLGHQF\QSDJ GHVSLWHWKHIDFWWKDWRQO\ a few years earlier his eighth novel Disgrace was presented by the African National &RQJUHVV $1& WR WKH 6RXWK $IULFDQ +XPDQ 5LJKWV &RPPLVVLRQ 6$+5& as illustrative of racism in the media, its protagonists deemed representative of ZKLWHV¶DWWLWXGHVWRUDFHLQWKH³QHZ6RXWK$IULFD´2+LV¿FWLRQDQGFULWLFDOHVVD\V have generated a plethora of scholarly research both in South Africa and abroad and have challenged readers globally, not least for the contentious interventions WKHRHXYUHPDNHVWKURXJK&RHW]HH¶VVLQJXODUPRGHUQLVWPRGHLQWR6RXWK$IULFDQ SROLWLFRFXOWXUDOGLVFRXUVHDQGWKH¿HOGRISRVWFRORQLDOVWXGLHV(YHQZLWKRQO\¿YH of the eleven novels being set in South Africa, they all, to a greater or lesser extent, DGGUHVVWKHPHVDQGLVVXHVSHUWLQHQWWRWKH SRVW FRORQLDODQGDSDUWKHLGVLWXDWLRQV colonial discourse, the other, racial segregation, censorship, banning and exile, police brutality and torture, South African liberalism and revolutionary activism, the place of women, the relationship of South Africa’s peoples to the land and, not OHDVWWKHHWKLFRSROLWLFVRIZULWLQJDOO¿JXUHSURPLQHQWO\LQWKHRHXYUH%HFDXVH WKHODWHUZRUNVODUJHO\OHDYHEHKLQGDVSHFL¿FDOO\SRVWFRORQLDOSDUDGLJPPDUNHG 1 Coetzee has been awarded the following literary prizes: South Africa’s prestigious CNA Literary Award for In the Heart of the Country WKH&1$WKH-DPHV7DLW%ODFN Prize and the Geoffrey Faber Memorial Award for Waiting for the Barbarians WKH CNA and the Prix Étranger Femina in 1985 for Life & Times of Michael K WKH Jerusalem Prize in 1987 for Foe WKH6XQGD\([SUHVV$ZDUG for Age of Iron the Irish Times International Fiction Prize in 1995 for The Master of Petersburg and, in DGGLWLRQ WR WKH %RRNHU WKH &RPPRQZHDOWK:ULWHUV 3UL]H 2YHUDOO:LQQHU LQ IRU Disgrace. Slow Man ZDVVKRUWOLVWHGIRUWKH&RPPRQZHDOWK:ULWHUV3UL]H $IULFDQ 5HJLRQ DQGWKH,QWHUQDWLRQDO,03$&'XEOLQ/LWHUDU\$ZDUGDQGKLVPRVWUHFHQWQRYHO Diary of a Bad Year ±HOLJLEOHEHFDXVH&RHW]HHLVQRZDQ$XVWUDOLDQFLWL]HQ±ZDV shortlisted for the Adelaide 2008 Festival Awards for Literature. 2 )RUFRQÀLFWLQJLQWHUSUHWDWLRQVRIWKLVUHSRUWVHH$WWZHOO³5DFHLQDisgrace´DQG McDonald “Disgrace(IIHFWV´ 2 J. M. Coetzee and the Paradox of Postcolonial Authorship coincidentally by Coetzee’s departure from South Africa to another postcolonial ORFDOH$GHODLGH$XVWUDOLDLQLQWKLVSUHVHQWVWXG\,IRFXVRQWKH¿UVWHLJKW novels up to and including Disgrace, and conclude with a chapter that addresses the ODWHUZRUNVElizabeth Costello Slow Man DQGDiary of a Bad Year ZLWKLQDZLGHUIUDPHRILQWHOOHFWXDOLVPDQGDXWKRUVKLSWKDWQRQHWKHOHVV VSHDNVWRWKH¿HOGRISRVWFRORQLDOVWXGLHV These thematic nodes dovetail into what I argue is the premise of all Coetzee’s ¿FWLRQDQGPDQ\RIKLVHVVD\VDQGZKLFKLVDSUREOHPZLWKZKLFKSRVWFRORQLDO critics have grappled, that through the portrayal of a series of writer protagonists, Coetzee stages the paradox of postcolonial authorship: whilst striving symbolically to bring the stories of the marginal and the oppressed to light, stories that heretofore have been suppressed or silenced by oppressive regimes, writers of conscience RU FRQVFLHQFHVWULFNHQ ZULWHUV ULVN UHLPSRVLQJ WKH YHU\ DXWKRULW\ WKH\ VHHN WR FKDOOHQJH7KHWDVNRIWKHSRVWFRORQLDOZULWHUWKHUHIRUHLVH[DFWLQJ,VKRXOGTXDOLI\
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