Coetzee has been reluctant to talk about himself. Now, revisiting the South Africa of a half century ago, he writes about his childhood and his own interior life. Boyhood 's young narrator grew up in a new development north of Cape Town, tormented by guilt and fear. With a father he did not respect, and a mother he both adored and resented, he led a double life -- at school the brilliant and well-behaved student, at home the princely despot, always terrified of losing his mother's love. His first encounters with literature, the awakenings of sexual desire, and a growing awareness of apartheid left him with baffling questions; and only in his love of the veld ('farms are places of freedom, of life') could he find a sense of belonging. Bold and telling, this masterly evocation of a young boy's life is the book Coetzee's many admirers have been waiting for, but never could have expected.
J.M. Coetzee's full name is John Michael Coetzee. Born in Cape Town, South Africa, in 1940, Coetzee is a writer and critic who uses the political situation in his homeland as a backdrop for many of his novels. Coetzee published his first work of fiction, Dusklands, in 1974.
Another book, Boyhood, loosely chronicles an unhappy time in Coetzee's childhood when his family moved from Cape Town to the more remote and unenlightened city of Worcester. Other Coetzee novels are In the Heart of the Country and Waiting for the Barbarians. Coetzee's critical works include White Writing and Giving Offense: Essays on Censorship.
Coetzee is a two-time recipient of the Booker Prize and in 2003, he won the Nobel Literature Award.
(Bowker Author Biography) J. M. Coetzee's books include "Boyhood", "Dusklands", "In the Heart of the Country", "Waiting for the Barbarians", "Life & Times of Michael K", "Foe", & "The Master of Petersburg". A professor of general literature at the University of Cape Town, Coetzee has won many literary awards, including the CNA Prize (South Africa's premier literary award), the Booker Prize (twice), the Prix Etranger Femina, the Jerusalem Prize, the Lannan Literary Award, & The Irish Times International Fiction Prize.
Two of my all-time favorite books are autobiographies. Of course, The Autobiography of Malcolm X has the contradictory subtitle: “As Told to Alex Haley”. Regardless, it is a powerful work. The insights into the arc of Malcolm’s life, the way his beliefs were formed, and the reasons those beliefs changed over the course of his too-short existence, are fascinating. As the best such works, it uncovers the making of a man, flawed, intelligent, and reflective.
Speak, Memory is even better. Nabokov is undoubtedly one of the most brilliant artists ever to work in the English language. The book is less revealing of the man than his artistry. But this, in itself, is another demonstration of his genius. Even in autobiography, Nabokov is uniquely inventive. And the prose smiles.
Boyhood fits nicely between these two works. Coetzee, like Malcolm (via Alex Haley), tells his story chronologically, but does not write a hagiography. Coetzee, again like Malcolm, discloses in almost frightening frankness some of his formative flaws. We see, as in the Malcolm X work, a progression of character overtime. There is growth, but sometimes it is a twisting, deforming growth.
Boyhood is not a conventional telling. Coetzee writes of himself in the third person. Brilliantly, I think. As intimate as this work is, the third person provides distance, a remove from the subject. We are not shown the author, but a boy the author once was. The effect is to free the reader to judge, to empathize, and to evaluate. And, like Nabokov’s work, the prose of the master is displayed in full. The work is not only the story of the author, but an independent work of art.
What has emerged, both man and book, is something beautiful. Terribly beautiful.
J.M. Coetzee is unflinching in his self-portrait. Always first in his class, the young Coetzee is a brilliant little misfit. The class, caste, and social systems of South Africa parse up the boys until Coetzee is left alone. He has an Afrikaaner surname, an English upbringing, no religion, a bookish disposition, and no interest in the male bonding rituals of youth. When his family moves, he is further isolated in the provincial town of Worcester, not least by the division of school boys according to religion during assembly. As a new student, he and several other boys are taken aside and asked their religion. The young Coetzee is at a loss, so the teacher gives him three choices: Christian, Roman Catholic, or Jew. Amusingly in Coetzee’s telling, he chooses Roman Catholicism.
He chose to be a Roman Catholic, that fateful morning, because of Rome, because of Horatius and his two comrades, swords in their hands, crested helmets on their heads, indomitable courage in their glance, defending the bridge over the Tiber against the Etruscan hordes. [Later], he discovers from the other Catholic boys what a Roman Catholic really is. A Roman Catholic has nothing to do with Rome. Roman Catholics have not even heard of Horatius.
The young Coetzee becomes the target of the Christian boys for being a Catholic and the Catholic boys for being an imposter. Still, he is ultimately satisfied with his choice. Coetzee the man provides this brilliant glimpse into the boy’s mind:
If being a Christian means singing hymns and listening to sermons and then coming out to torment the Jews, he has no wish to be a Christian. The fault is not his if the Catholics of Worcester are Catholic without being Roman, if they know nothing about Horatius and his comrades holding the bridge over the Tiber (‘Tiber, Father Tiber, to whom we Romans pray’), about Leonidas and his Spartans holding the pass at Thermopylae, about Roland holding the pass against the Saracens. He can think of nothing more heroic than holding a pass, nothing nobler than giving up one’s life to save other people, who will afterwards weep over one’s corpse. That is what he would like to be: a hero. That is what proper Roman Catholicism should be about.
The young Coetzee is oblivious to the irony so skillfully deployed by the author Coetzee. I find the quote hilarious and profound. Coetzee manages to unveil the hypocrisy within and the emotional foundation for the sacrificial religions in one breezy memory.
The more frequent target of Coetzee’s penetrating insight is the young Coetzee. The boy can be petulant and cold. His treatment of his mother is atrocious. He covets her love, wants it all for himself:
He wants her to behave toward him as she does toward his brother. But he wants this as a sign, a proof, no more. He knows that he will fly into a rage if she ever begins hovering over him.
At the same time, he returns no affection to her:
His rages against his mother are one of the things he has to keep a careful secret from the world outside. Only the four of them know what torrents of scorn he pours upon her, how much like an inferior he treats her. ‘If you teachers and your friends knew how you spoke to your mother…,’ says his father, wagging a finger meaningfully. He hates his father for seeing so clearly the chink in his armour.
This quality is not endearing. Coetzee has a purpose in showing us this aspect. He is not simply showing us his flaws. His relationship with his mother is borne of his essential character, not only the author suffers for his art:
He is a liar and he is cold-hearted too: a liar to the world in general, cold-hearted toward his mother. It pains his mother, he can see, that he is steadily growing away from her. Nevertheless he hardens his heart and will not relent. His only excuse is that he is merciless to himself too. He lies but he does not lie to himself.
There is much more, and exquisitely written. Coetzee’s dissection of his childhood manages simultaneously to be coldly clinical and warmly touching. We see both the boy and the beast. The reader is shown every facet of the boy who grew into the author Coetzee.
I picked this book up so that I could read Coetzee’s biographical trilogy (Boyhood, Youth, and Summertime) in order. I already admired Coetzee as a writer, but my experience with Boyhood pushes him up my literary rankings. I was already eager to get my hands on Summertime, now I am feverish with booklust. But Youth first.
This entry was posted on Saturday, November 28th, 2009 at 1:18 pm and is filed under 1990s, 1997, Canon worthy, Coetzee J.M.. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.