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JM Coetzee and Mathematics Peter Johnston

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JM Coetzee and Mathematics Peter Johnston 1 'Presences of the Infinite': J. M. Coetzee and Mathematics Peter Johnston PhD Royal Holloway University of London 2 Declaration of Authorship I, Peter Johnston, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Dated: 3 Abstract This thesis articulates the resonances between J. M. Coetzee's lifelong engagement with mathematics and his practice as a novelist, critic, and poet. Though the critical discourse surrounding Coetzee's literary work continues to flourish, and though the basic details of his background in mathematics are now widely acknowledged, his inheritance from that background has not yet been the subject of a comprehensive and mathematically- literate account. In providing such an account, I propose that these two strands of his intellectual trajectory not only developed in parallel, but together engendered several of the characteristic qualities of his finest work. The structure of the thesis is essentially thematic, but is also broadly chronological. Chapter 1 focuses on Coetzee's poetry, charting the increasing involvement of mathematical concepts and methods in his practice and poetics between 1958 and 1979. Chapter 2 situates his master's thesis alongside archival materials from the early stages of his academic career, and thus traces the development of his philosophical interest in the migration of quantificatory metaphors into other conceptual domains. Concentrating on his doctoral thesis and a series of contemporaneous reviews, essays, and lecture notes, Chapter 3 details the calculated ambivalence with which he therein articulates, adopts, and challenges various statistical methods designed to disclose objective truth. Chapter 4 explores the thematisation of several mathematical concepts in Dusklands and In the Heart of the Country. Chapter Five considers Waiting for the Barbarians and Foe in the context provided by Coetzee's interest in the attempts of Isaac Newton to bridge the gap between natural language and the supposedly transparent language of mathematics. Finally, Chapter 6 locates in Elizabeth Costello and Diary of a Bad Year a cognitive approach to the use of mathematical concepts in ethics, politics, and aesthetics, and, by analogy, a central aspect of the challenge Coetzee's late fiction poses to the contemporary literary landscape. 4 Contents Acknowledgements 6 Introduction 7 1 Mathematics and Poetry 18 1.1 Early Poetry 1.2 Computer Poetry 2 Mathematics and Conceptual Metaphor 61 2.1 London (1962-1965) 2.2 The University of Texas at Austin (1965-1967) 2.3 The State University of New York, Buffalo (1967-1971) 2.4 Imaginary Numbers and Robert Musil 3 Statistics and Samuel Beckett 112 3.1 Stylostatistics and 'Statistical Indices of “Difficulty” ' (1969) 3.2 'The English Fiction of Samuel Beckett' (1969) 3.3 Statistics, Physics, and the 'Samuel Beckett' Seminars (1970) 3.4 Review of Nach allen Regeln der Kunst (1971) 3.5 'Samuel Beckett's Lessness: An Exercise in Decomposition' (1973) 4 Heroes of Enumeration and the Art of Zero 149 4.1 Dusklands (1974) 4.2 In the Heart of the Country (1976/1977) 5 Perfect Numbers and Substantial Ghosts 204 5.1 Mathematics as an Ideal Transparent Language 5.2 Waiting for the Barbarians (1980) 5.3 Foe (1986) 5 6 Vectors of the Matrix: Later Fiction 248 6.1 Reasoned Argument and the 'Cognitive' Account of Mathematics 6.2 Origins, Limits, Continua 6.3 Probability Theory and Authority in Fiction Conclusion 295 Appendix: Selected Poems of J. M. Coetzee 299 Works Consulted 312 6 Acknowledgements During the course of my research I have been constantly grateful for the guidance and support of my supervisor, Andrew Gibson, whose experience, patience, and intellectual rigour have been invaluable resources to me throughout. This study was made possible by the award of departmental funding and a Bradley de Glehn Scholarship, for both of which I am thankful to the Department of English at Royal Holloway, University of London, and particularly to Robert Hampson. A University of London Central Research Fund grant enabled me to travel to South Africa during the summer of 2009, thus providing essential access to the archives and expertise at both the University of Cape Town and the National English Literary Museum in Grahamstown. I would like to thank John Coetzee for granting me permission to quote from these materials, and am also highly grateful to the staff of both institutions for making me feel so welcome and for helping me to develop the archival basis upon which this thesis is largely founded. Finally, I would like to thank the many friends, colleagues, students, and family members without whose support this work simply could not have come into existence. 7 INTRODUCTION Presences of the Infinite, he calls us, and says we make him shudder; and indeed I have felt those shudders, in the throes of my raptures I have felt them, so much that whether they were his or mine I could no longer say. J. M. Coetzee, Elizabeth Costello1 The universe (which others call the Library) is composed of an indefinite and perhaps infinite number of hexagonal galleries, with vast air shafts between, surrounded by very low railings. From any of the hexagons one can see, interminably, the upper and lower floors. […] In the hallway there is a mirror which faithfully duplicates all appearances. Men usually infer from this mirror that the Library is not infinite (if it were, why this illusory duplication?); I prefer to dream that its polished surfaces represent and promise the infinite. […] Light is provided by some spherical fruit which bear the name of lamps. There are two, transversally placed, in each hexagon. The light they emit is insufficient, incessant. Jorge Luis Borges, 'The Library of Babel'2 In J. M. Coetzee's ninth work of extended prose fiction, Elizabeth Costello (2003), his eponymous protagonist begins a lecture on the subject of literary realism by imagining a negative vision of Borges's 'Library of Babel': “Not a library in which all conceivable books, past, present and future, coexist,” she elaborates, “but a library from which books that were really conceived, written and published are absent, absent even from the memory of librarians”.3 Where Borges puzzles out the paradoxes of infinite presence, then, Elizabeth Costello's vision ponders the curious ontological status of that which has been lost, the absolutely absent. 1 J. M. Coetzee, Elizabeth Costello, (London: Vintage, 2003), 230. 2 Jorge Luis Borges, “The Library of Babel,” in Labyrinths, by Jorge Luis Borges, 78-86, edited by Donald A. Yates and James E. Irby. New ed. (London: Penguin, 2000), 78. 3 Coetzee, Elizabeth Costello, 17-18. 8 In the finite human conception of space and time, though, the historical security of a writer's work must fall somewhere along the continuum between these two poles: to persevere for as long as the currents of culture shall permit, approaching asymptotically the infinite limits of conceivable time, or to fade into the distant past, a memory tending ever more to the infinitesimal. Two major events of the past decade suggest that Coetzee's future is more secure than most. First, on 2 October 2003, the Permanent Secretary of the Swedish Academy in Stockholm announced that the South African novelist was to be awarded the Nobel Prize for Literature for that year, joining such intellectual ancestors as T. S. Eliot and Samuel Beckett at literature's highest table. Almost exactly eight years later, on 10 October 2011, the University of Texas at Austin (UTA) published a press release announcing the acquisition of more than fifty years' worth of archival materials relating to Coetzee's life and work. Reported to have cost $1.5 million in private grants and university funds,4 the acquisition meant that his material legacy – including around 155 boxes of documents, five filing cabinet drawers, and a further eight storage boxes containing journals, manuscripts, correspondence, and business papers – would be housed in the University's Harry Ransom Center alongside those not only of Eliot and Beckett, but also such other fellow Nobel laureates as Yeats, Steinbeck, Shaw, Lessing, and Hemingway.5 Thanks in no small part to his first two works of 'fictionalised autobiography' – Boyhood (1997) and Youth (2002) – the basic facts of Coetzee's early years are now widely known. Born in Cape Town in 1940, he spent much of his childhood in the more rural Cape Province town of Worcester. After graduating from the University of Cape 4 Jim Vertuno, "Texan university holds JM Coetzee's past to Ransom." Mail and Guardian, 11 Oct. 2011. Web. 7 July 2012. 5 The research upon which much of this thesis is predicated was carried out at the National English Literary Museum (NELM), in Grahamstown, South Africa. The relevant materials form part of the acquisition by UTA, alongside a further wealth of manuscripts and other materials previously deposited at the Houghton Library at Harvard University. At the time of writing, these materials are still being catalogued at the Harry Ransom Center; as such, all references are to the cataloguing system in place at NELM. 9 Town (UCT) with honours degrees in both English literature and mathematics, he travelled to England, where he put his mathematical skills to work as a computer programmer; his literary ambitions manifested themselves at this time in a master's dissertation on Ford Madox Ford and the search within himself for an authentic poetic voice. Coetzee's fictionalised
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