J. Coetzee - Slow Man

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Slow Man: краткое содержание, описание и аннотация

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One day while cycling along the Magill road in Adelaide Paul Rayment is knocked down by a car, resulting in the amputation of his leg. Humiliated, he retreats to his flat and a succession of day-care nurses. After a series of carers who are either "unsuitable" or just temporary, he happens upon Marijana, with whom he has a European childhood in common: his in France, hers in Croatia. Marijana nurses him tactfully and efficiently, ministering to his new set of needs. His feelings for her soon become deeper and more complex. He attempts to fund her son Drago's passage through college, a move which meets the refusal of her husband, causing a family rift. Drago moves in with Paul, but not before an entirely different complication steps in, in the form of celebrated Australian novelist Elizabeth Costello, who threatens to take over the direction of Paul's life in ways he's not entirely comfortable with.
Slow Man has to get the award for "hardest novel of the year to unwrap", in that it's actually more like three novels layered variously on top of each other, and all in a mere 263 pages! It is also, without doubt, the most challenging novel of the year. Coetzee having won the thing two times already and being a Nobel laureate, it never stood a chance getting to the Booker shortlist, but that doesn't stop it being possibly the best novel of the year by miles.
The start is relatively easy to get to grips with: Paul is knocked from his bike, has his limb removed, and becomes one of those who must submit to being cared for. Just like David Lurie from his Booker-prize-winning Disgrace, Paul stubbornly refuses the aid which could make his life superficially normal, (an artificial limb,) and surrenders himself stubbornly to his incapacity. So begins a novel that seems to be concerning itself with an analysis of the spirit of care and the psychological effect any severe injury (or, symbolically, any obvious difference to others) has on a person when their life is "truncated" so. And it is a superb beginning, too. The first 100 pages are astounding, presented in Coetzee's trademark analytical prose that manages to be both spare and yet busting with riches.
It's complicated a little by the fact that Rayment is clearly a kind of semi alter-ego for Coetzee, who himself is reputed to be very keen on cycling the streets of Adelaide. Coetzee and his protagonist share a similar history, too: divorced Rayment grew up in France and now lives in a quiet lonely flat in Adelaide, where he feels out of place. He has never, he thinks, felt the sense of having a real "home" that many do. South-African born Coetzee's early fiction focused much on the White "place" in South Africa; he escaped to London in his youth, he has since lived out extended Professorships in the USA, and is now based in Adelaide. Coetzee, too, feels this sense of unbelonging that is rife in Paul. Slow Man is almost claustrophobic in its sense of lives ending and purposes coming to a close: living in Australia and with South Africa mostly stable, Coetzee is having to look elsewhere for his fiction. And he seems to be turning the focus largely onto himself. His 2003 novel was a series of vignettes concerning Coetzee's alter-ego, the famed but fictional elderly Australian novelist Elizabeth Costello.
When the woman in question knocks on Paul's door, then, it becomes clear Coetzee has far more on his mind than a mere novel about growing old and out of place and cared for. There are potential problems with what Coetzee's doing here: by self-consciously bringing Costello (himself) in, it can seem as if he doesn't really know what to do with this fiction he's making, doesn't know where to go with it, so brings her in to play some nice metafictional tricks, to talk about writing and character and their relationship to the author ("you came to me", Costello says to Paul.) instead of getting on with the real business at hand. She pushes Paul to become "more of a main character", as if she's uncertain about him but can't entirely control him herself. (Though in the end we realise that everyone can be a main character, however dull they may seem. Because they are not.) It might also seem a little heavy-handed, an obvious and self-consciously clever trick. It might seem like these things, but for Coetzee's absolute skill at weaving his narrative together seamlessly. Costello never does seem out of place, not really. There's an air of mystery to her and her presence, some things that are never quite clear in the reader's head, but Coetzee handles her appearance so smoothly it's almost dreamlike. He stitches her into the book almost flawlessly. Not only that, but she becomes an entire character herself, rich with her own frailties and concerns. He's got himself a brilliant set-up, then: like an illusion you can only fully glimpse the parts of separately, he's managed to give himself a narrative where he give us a novel about Paul, himself, and the act of creating fictions, without any one getting in the way of another, and without the doing so seeming obvious or contrived. It's a rather remarkable achievement.
Not that all this intelligent manipulation comes without problems. The fact that we have two versions (Paul and Elizabeth) of Coetzee almost set-up against one another allows him to explore lots of interesting philosophical problems, but he's doing so much here that these questions often just end up going in circles and knocking off one another. The attrition between the two characters says something vaguely itchy about Coetzee's own feelings about his acts of artistic creation, though the way the two finally seem to make peace with one another in the end is pleasingly conclusive in a novel where the other remaining aspects are resolved rather ambiguously.
Slow Man, his first book since winning the Nobel in 2003, is a novel that consists of a full internal novel and at least one full external one. Childless Paul's legacy remains uncertain (where will his meddling with Marijana's family get him? will he find an heir in Drago, if only symbolically?) but Coetzee's is not: with his beautifully stark prose he has left us unnerving and important pictures of South Africa and what it means to be an outsider, and is now – perhaps uncertainly; it may be this tremulous uncertainty of purpose that is the only slight stain on Slow Man – moving on to new terrain. His body of work is one of the most impressive of any current writer in English. Anyone who wants to know just how much of a transcendent experience fiction can be needs to read his work.

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First, as regards his condition in general, considering what can and does happen to the human body when it is hit by a car going at speed, he can congratulate himself that it is not serious. In fact, it is so much the reverse of serious that he can count himself lucky, fortunate, blessed. The crash left him concussed, yes, but he was saved by the helmet he was wearing. Monitoring will continue, but there is no sign of intracranial bleeding. As for motor functions, the preliminary indication is that they are unimpaired. He lost some blood, but that has been replaced. If he is wondering about the stiffness of his jaw, the jaw is not broken, merely bruised. The abrasions on his back and arm look worse than they are, they will heal in a week or two.

Turning to the leg now, the leg that took the blow, he (Dr Hansen) and his colleagues were not, it turned out, able to save the knee. They had a thorough discussion, and the decision was unanimous. The impact – he will show him later on the X-ray – was directly to the knee, and there was an added component of rotation, so the joint was shattered and twisted at the same time. In a younger person they might perhaps have gone for a reconstruction, but a reconstruction of the required order would entail a whole series of operations, one after another, extending over a year, even two years, with a success rate of less than fifty per cent, so all in all, considering his age, it was thought best to take the leg off cleanly above the knee, leaving a good length of bone for a prosthesis. He (Dr Hansen) hopes he (Paul Rayment) will come to accept the wisdom of that decision.

'I am sure you have plenty of questions,' he concludes, 'and I will be happy to try to answer them, but perhaps not now, better in the morning, after you have had some sleep.'

'Prosthesis,' he says, another difficult word, though now that he understands about the jaw that is not broken, merely bruised, he is less embarrassed about difficult words.

'Prosthesis. Artificial limb. Once the surgical wound has healed we will be fitting a prosthesis. Four weeks, maybe even sooner. In no time at all you will be walking again. Riding your bicycle too, if you like. After some training. Other questions?'

He shakes his head. Why did you not ask me first? he wants to say; but if he utters the words he will lose control, he will start shouting.

'Then I'll speak to you in the morning,' says Dr Hansen. 'Chin up!'

That is not all, however. That is not the end of it. First the violation, then consent to the violation. There are papers to sign before he will be left alone, and the papers prove surprisingly difficult.

Family, for instance. Who and where are his family, the papers ask, and how should they be informed? And insurance. Who are his insurers? What cover does his policy provide?

Insurance is no problem. He is insured to the hilt, there is a card in his wallet to prove it, he is nothing if not prudent (but where is his wallet, where are his clothes?). Family is a less straightforward matter. Who are his family? What is the right answer? He has a sister. She passed on twelve years ago, but she still lives in him or with him, just as he has a mother who, at the times when she is not in or with him, awaits the angels' clarion from her plot in the cemetery in Ballarat. A father too, doing his waiting farther away, in the cemetery in Pau, from where he rarely pays visits. Are they his family, the three of them? Those into whose lives you are born do not pass away, he would like to inform whoever composed the question. You bear them with you, as you hope to be borne by those who come after you. But there is no space on the form for extended answers.

What he can be altogether more definite about is that he has neither wife nor offspring. He was married once, certainly; but the partner in that enterprise is no longer part of him. She has escaped him, wholly escaped. How she managed the trick he has yet to grasp, but it is so: she has escaped into a life of her own. For all practical purposes, therefore, and certainly for the purposes of the form, he is unmarried: unmarried, single, solitary, alone.

Family: NONE, he writes in block letters, the nurse overseeing, and draws lines through the other questions, and signs the forms, both of them. 'Date?' he demands of the nurse. 'Second of July,' she says. He writes the date. Motor functions unimpaired.

The pills he accepts are meant to blunt the pain and make him sleep, but he does not sleep. This – this strange bed, this bare room, this smell both antiseptic and faintly urinous – this is clearly no dream, it is the real thing, as real as things get. Yet the whole of today, if it is all the same day, if time still means anything, has the feel of a dream. Certainly this thing, which now for the first time he inspects under the sheet, this monstrous object swathed in white and attached to his hip, comes straight out of the land of dreams. And what about the other thing, the thing that the young man with the madly flashing glasses spoke of with such enthusiasm – when will that make its appearance? Not in all his days has he seen a naked prosthesis. The picture that comes to mind is of a wooden shaft with a barb at its head like a harpoon and rubber suckers on its three little feet. It is out of Surrealism. It is out of Dali.

He reaches out a hand (the three middle fingers are strapped together, he notices for the first time) and presses the thing in white. It gives back no sensation at all. It is like a block of wood. Just a dream, he says to himself, and falls into the deepest sleep.

'Today we're going to have you walking,' says young Dr Hansen. 'This afternoon. Not a long walk, just a few steps to give you the feel of it. Elaine and I will be there to lend a hand.' He nods to the nurse. Nurse Elaine. 'Elaine, can you set it up with Orthopaedics?'

'I don't want to walk today,' he says. He is learning to talk through clenched teeth. It is not just that the jaw is bruised, the molars on that side have been loosened too, he cannot chew. 'I don't want to be rushed. I don't want a prosthesis.'

'That's fine,' says Dr Hansen. 'It's not a prosthesis we are talking about anyway, that is still down the line, this is just rehabilitation, the first step in rehabilitation. But we can start tomorrow or the next day. Just so you can see it isn't the end of the world, losing a leg.'

'Let me say it again: I don't want a prosthesis.'

Dr Hansen and Nurse Elaine exchange glances.

'If you don't want a prosthesis, what would you prefer?'

'I would prefer to take care of myself.'

'All right, end of subject, we won't rush you into anything, I promise. Now can I talk to you about your leg? Can I tell you about care of the leg?'

Care of my leg? He is smouldering with anger – can they not see it? You anaesthetised me and hacked off my leg and dropped it in the refuse for someone to collect and toss into the fire. How can you stand there talking about care of my leg?

'We have brought the remaining muscle over the end of the bone,' Dr Hansen is saying, demonstrating with cupped hands how they did it, 'and sewn it there. Once the wound heals we want that muscle to form a pad over the bone. During the next few days, from the trauma and from the bed rest, there will be a tendency to oedema and swelling. We need to do something about that. There will also be a tendency for the muscle to retract towards the hip, like this.' He stands sideways, pokes out his behind. 'We counteract that by stretching. Stretching is very important. Elaine will show you some stretching exercises and help you if you need help.'

Nurse Elaine nods.

'Who did this to me?' he says. He cannot shout because he cannot open his jaws, but that suits him, suits his teeth-grinding rage. 'Who hit me?' There are tears in his eyes.

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