J. Coetzee - Waiting For The Barbarians

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"[A] distinguished piece of fiction…[Its] power of historical immediacy gives the novel its thrust, its larger and, if you wish, 'universal' value." The New York Times
"I have known few authors who can evoke such a wilderness in the heart of man. He is an artist of a weight and depth that put him beyond ordinary comparisons…Coetzee knows the elusive terror of Kafka." Bernard Levin, Sunday Times (London)
"The novel moves between claustrophobic enclosures and arid, exquisitely rendered open spaces that reveal treacherous trap-doors…The book keeps us on edge, uneasy." Walter Clemons, Newsweek
"The book makes for compelling reading, largely due to the successful use of the present tense throughout and the vivid presentation of unfolding events." World Literature Today
Moving and powerful, this book presents the dark tale of an aging magistrate in an African frontier settlement, who finds himself becoming increasingly sympathetic toward the indigenous "barbarians" that the colonial empire's forces brutalize.
For decades the Magistrate has been a loyal servant of the Empire, running the affairs of a tiny frontier settlement and ignoring the impending war with the barbarians. When interrogation experts arrive, however, he witnesses the Empire's cruel and unjust treatment of prisoners of war. Jolted into sympathy for their victims, he commits a quixotic act of rebellion that brands him an enemy of the state.
J. M. Coetzee's prize-winning novel is a startling allegory of the war between opressor and opressed. The Magistrate is not simply a man living through a crisis of conscience in an obscure place in remote times; his situation is that of all men living in unbearable complicity with regimes that ignore justice and decency.

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I climb the wall. Among the armed dummies stand people staring out towards the horizon where a great cloud of dust and sand already boils up. No one speaks.

The sun turns coppery. The boats have all left the lake, the birds have stopped singing. There is an interval of utter silence. Then the wind strikes.

In the shelter of our homes, with the windows bolted and bolsters pushed against the doors, with fine grey dust already sifting through roof and ceiling to settle on every uncovered surface, film the drinking water, grate on our teeth, we sit thinking of our fellow-creatures out in the open who at times like this have no recourse but to turn their backs to the wind and endure.

* *

In the evenings, in the hour or two I can afford at the fireplace before my ration of wood gives out and I must creep into bed, I occupy myself in my old hobbies, repairing as best I can the cases of stones I found smashed and tossed away in the courthouse gardens, toying again with the decipherment of the archaic writing on the poplar slips.

It seems right that, as a gesture to the people who inhabited the ruins in the desert, we too ought to set down a record of settlement to be left for posterity buried under the walls of our town; and to write such a history no one would seem to be better fitted than our last magistrate. But when I sit down at my writing-table, wrapped against the cold in my great old bearskin, with a single candle (for tallow too is rationed) and a pile of yellowed documents at my elbow, what I find myself beginning to write is not the annals of an imperial outpost or an account of how the people of that outpost spent their last year composing their souls as they waited for the barbarians.

"No one who paid a visit to this oasis," I write, "failed to be struck by the charm of life here. We lived in the time of the seasons, of the harvests, of the migrations of the waterbirds. We lived with nothing between us and the stars. We would have made any concession, had we only known what, to go on living here. This was paradise on earth."

For a long while I stare at the plea I have written. It would be disappointing to know that the poplar slips I have spent so much time on contain a message as devious, as equivocal, as reprehensible as this.

"Perhaps by the end of the winter," I think, "when hunger truly bites us, when we are cold and starving, or when the barbarian is truly at the gate, perhaps then I will abandon the locutions of a civil servant with literary ambitions and begin to tell the truth."

I think: "I wanted to live outside history. I wanted to live outside the history that Empire imposes on its subjects, even its lost subjects. I never wished it for the barbarians that they should have the history of Empire laid upon them. How can I believe that that is cause for shame?"

I think: "I have lived through an eventful year, yet understand no more of it than a babe in arms. Of all the people of this town I am the one least fitted to write a memorial. Better the blacksmith with his cries of rage and woe."

I think: "But when the barbarians taste bread, new bread and mulberry jam, bread and gooseberry jam, they will be won over to our ways. They will find that they are unable to live without the skills of men who know how to rear the pacific grains, without the arts of women who know how to use the benign fruits."

I think: "When one day people come scratching around in the ruins, they will be more interested in the relics from the desert than in anything I may leave behind. And rightly so." (Thus I spend an evening coating the slips one by one in linseed oil and wrapping them in an oilcloth. When the wind lets up, I promise myself, I will go out and bury them where I found them.)

I think: "There has been something staring me in the face, and still I do not see it."

* *

The wind has dropped, and now the snowflakes come floating down, the first fall of the year, flecking the rooftiles with white. All morning I stand at my window watching the snow fall. When I cross the barracks yard it is already inches deep and my footsteps crunch with an eerie lightness.

In the middle of the square there are children at play building a snowman. Anxious not to alarm them, but inexplicably joyful, I approach them across the snow.

They are not alarmed, they are too busy to cast me a glance. They have completed the great round body, now they are rolling a ball for the head.

"Someone fetch things for the mouth and nose and eyes," says the child who is their leader.

It strikes me that the snowman will need arms too, but I do not want to interfere.

They settle the head on the shoulders and fill it out with pebbles for eyes, ears, nose and mouth. One of them crowns it with his cap.

It is not a bad snowman.

This is not the scene I dreamed of. Like much else nowadays I leave it feeling stupid, like a man who lost his way long ago but presses on along a road that may lead nowhere.

***
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