J. Coetzee - Elizabeth Costello

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Amazon.com Review
For South African writer J.M. Coetzee, winner of two Booker Prizes and the 2003 Nobel Prize for Literature, the world of receiving literary awards and giving speeches must be such a commonplace that he has put the circuit at the center of his book, Elizabeth Costello. As the work opens, in fact, the eponymous Elizabeth, a fictional novelist, is in Williamstown, Pennsylvania, to receive the Stowe Award. For her speech at the Williamstown's Altona College she chooses the tired topic, "What Is Realism?" and quickly loses her audience in her unfocused discussion of Kafka. From there, readers follow her to a cruise ship where she is virtually imprisoned as a celebrity lecturer to the ship's guests. Next, she is off to Appleton College where she delivers the annual Gates Lecture. Later, she will even attend a graduation speech.
Coetzee has made this project difficult for himself. Occasional writing-writing that includes graduation speeches, acceptance speeches, or even academic lectures-is a less than auspicious form around which to build a long work of fiction. A powerful central character engaged in a challenging stage of life might sustain such a work. Yet, at the start, Coetzee declares that Elizabeth is "old and tired," and her best book, The House on Eccles Street is long in her past. Elizabeth Costello lacks a progressive plot and offers little development over the course of each new performance at the lectern. Readers are given Elizabeth fully formed with only brief glimpses of her past sexual dalliances and literary efforts.
In the end, Elizabeth Costello seems undecided about its own direction. When Elizabeth is brought to a final reckoning at the gates of the afterlife, she begins to suspect that she is actually in hell, "or at least purgatory: a purgatory of clichés." Perhaps Coetzee's Elizabeth Costello, which can be read as an extended critique of clichéd writing, is a portrait of this purgatory. While some readers may find Coetzee's philosophical prose sustenance enough on the journey, some will turn back at the gate. -Patrick O'Kelley
From Publishers Weekly
Even more uncompromising than usual, this latest novel by Coetzee (his first since 1999's Booker Prize-winning Disgrace) blurs the bounds of fiction and nonfiction while furthering the author's exploration of urgent moral and aesthetic questions. Elizabeth Costello, a fictional aging Australian novelist who gained fame for a Ulysses-inspired novel in the 1960s, reveals the workings of her still-formidable mind in a series of formal addresses she either attends or delivers herself (an award acceptance speech, a lecture on a cruise ship, a graduation speech). This ingenious structure allows Coetzee to circle around his protagonist, revealing her preoccupations and contradictions her relationships with her son, John, an academic, and her sister, Blanche, a missionary in Africa; her deep, almost fanatical concern with animal rights; her conflicted views on reason and realism; her grapplings with the human problems of sex and spirituality. The specters of the Holocaust and colonialism, of Greek mythology and Christian morality, and of Franz Kafka and the absurd haunt the novel, as Coetzee deftly weaves the intense contemplation of abstractions with the everyday life of an all-too-human body and mind. The struggle for self-expression comes to a wrenching climax when Elizabeth faces a final reckoning and finds herself at a loss for words. This is a novel of weighty ideas, concerned with what it means to be human and with the difficult and seductive task of making meaning. It is a resounding achievement by Coetzee and one that will linger with the reader long after its reverberating conclusion.

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They meet in the lounge of the hotel. She had thought there had been a relaxation in dress for the sisterhood. But if that is so, it has passed Blanche by. She wears the wimple, the plain white blouse, the grey skirt down to mid-calf, the stubby black shoes that were standard issue decades ago. Her face is seamed, the backs of her hands are mottled with brown; otherwise she has lasted well. The kind of woman, she thinks to herself, who lives to be ninety.

Scrawny is the word that unwillingly comes to mind: scrawny as a hen. As for what Blanche sees before her, as for what has become of the sister who remained in the world, she would rather not dwell on that.

They embrace, order tea. They exchange small talk. Blanche is an aunt, though she has never behaved like one, so she has to hear news of a nephew and niece whom she has rarely laid eyes on and who might as well be strangers. Even as they speak she, Elizabeth, is wondering: Is this what I came for – this brush of lip against cheek, this exchange of tired words, this gesture towards reviving a past almost dwindled away?

Familiarity. Family resemblance. Two old women in a foreign city, sipping tea, hiding their dismay at each other. Something there capable of being worked up, no doubt about that. Some kind of story skulking, inconspicuous as a mouse in a corner. But she is too tired, here and now, to grasp it, pin it down.

'At nine thirty' Blanche is saying.

'What?'

'Nine thirty. We are being fetched at nine thirty. Meet down here.' She sets down her cup. 'You look bushed, Elizabeth. Get some sleep. I have a talk to prepare. They've asked me to give a talk. Sing for my supper.'

'A talk?'

'An address. I am giving an address tomorrow, to the graduands. You will have to sit through it, I am afraid.'

II

She is seated, along with other eminent guests, in the front row. Years since she was last at a graduation ceremony. The end of an academic year: the summer heat as bad here in Africa as back home.

There are, if she is to guess from the block of black-garbed young people behind her, some two hundred degrees in the humanities to be handed out. But first it is the turn of Blanche, the sole honorary graduand. She is introduced to the assembly. Clad in the scarlet gown of a doctor, a teacher, she stands before them, hands clasped, while the university orator reads out the record of a life's achievements. Then she is led to the Chancellor's seat. She bends a knee, and the deed is done. Long applause. Sister Bridget Costello, Bride of Christ and Doctor of Letters, who by her life and works has restored lustre, for a while, to the name of missionary.

She takes her place at the lectern. Time for her to say her piece, Bridget, Blanche.

'Chancellor,' she says, 'respected members of the University:

'You honour me here this morning, and I gratefully acknowledge the honour, which I accept on behalf not of myself but of those scores of people who for the past half-century have dedicated their labour and their love to the children of Marianhill and through those little ones to Our Lord.

'The form in which you have chosen to honour us is the form you are most easy with, the award of an academic degree, specifically what you call a doctorate in litterae humaniores, humane letters or, more loosely, the humanities. At the risk of telling you things you know better than I, I would like to use this opportunity to say something about the humanities, about their history and their present situation; also something about humanity. What I have to say may be relevant, I humbly hope, to the situation in which you as servants of the humanities find yourself, in Africa but in the wider world too, namely an embattled situation.

'We must sometimes be cruel to be kind, so let me begin by reminding you that it was not the university that gave birth to what we today call the humanities but what, to be more historically accurate, I will henceforth call the studia humanitatis or humane studies, studies in man and the nature of man, as distinct from studia divinitatis, studies pertaining to the divine. The university did not give birth to humane studies, nor, when the university eventually accepted humane studies in its scholarly ambit, did it provide a particularly nurturing home to them. On the contrary, the university embraced humane studies only in an arid, narrowed form. That narrowed form was textual scholarship; the history of humane studies in the university from the fifteenth century onwards is so tightly bound up with the history of textual scholarship that they may as well be called the same thing.

'Since I do not have all morning (your Dean asked me to limit myself to fifteen minutes at the utmost – "at the utmost" are his own words), I will say what I want to say without the step-by-step reasoning and the historical evidence to which you, as a gathering of students and scholars, are entitled.

'Textual scholarship, I would want to say if I had more time, was the living breath of humane studies while humane studies were what we can properly call a movement in history, namely the humanist movement. But it did not take long for the living breath in textual scholarship to be snuffed out. The story of textual scholarship since then has been the story of one effort after another to resuscitate that life, in vain.

'The text for the sake of which textual scholarship was invented was the Bible. Textual scholars saw themselves as servants in the recovery of the true message of the Bible, specifically the true teaching of Jesus. The figure they employed to describe their work was the figure of rebirth or resurrection. The reader of the New Testament was to encounter face to face for the first time the risen, reborn Christ, Christus renascens, obscured no longer by a veil of scholastic gloss and commentary. It was with this goal in mind that scholars taught themselves first Greek, then Hebrew, then (later) other languages of the Near East. Textual scholarship meant, first, the recovery of the true text, then the true translation of that text; and true translation turned out to be inseparable from true interpretation, just as true interpretation turned out to be inseparable from true understanding of the cultural and historical matrix from which the text had emerged. That is how linguistic studies, literary studies (as studies in interpretation), cultural studies and historical studies – the studies that form the core of the so-called humanities – came to be bound up together.

'Why, you may justly ask, call this constellation of studies devoted to the recovery of the true word of the Lord studia humcmitatis? Asking this question will, it turns out, be much the same as asking, Why did the studia humanitatis come into flower only in the fifteenth century of our dispensation and not hundreds of years earlier?

'The answer has much to do with historical accident: with the decline and eventual sack of Constantinople and the flight of Byzantine men of learning to Italy. (Observing your Dean's fifteen-minute rule, I will pass over the living presence of Aristotle, Galen and other Greek philosophers in medieval Western Christendom, and the role of Arab Spain in transmitting their teachings.)

' Timeo Danaos et dona ferentes. The gifts brought by the men from the East were not only grammars of the Greek language but texts by authors from Greek antiquity. The linguistic command that was intended to be applied to the Greek New Testament could be perfected only by immersing oneself in these seductive pre-Christian texts. In no time, as one might expect, the study of these texts, later to be called the classics, had become an end in itself.

'More than that: the study of the texts of antiquity came to be justified not only on linguistic grounds but on philosophical grounds too. Jesus was sent to redeem mankind, the argument went. To redeem mankind from what? From an unredeemed state, of course. But what do we know of mankind in an unredeemed state? The only substantial record that covers all aspects of life is the record of antiquity. So to grasp the purpose behind the Incarnation – that is to say, to grasp the meaning of redemption – we must embark, through the classics, on studia humanitatis.

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