J. Coetzee - Slow Man

Здесь есть возможность читать онлайн «J. Coetzee - Slow Man» весь текст электронной книги совершенно бесплатно (целиком полную версию без сокращений). В некоторых случаях можно слушать аудио, скачать через торрент в формате fb2 и присутствует краткое содержание. Жанр: Современная проза, на английском языке. Описание произведения, (предисловие) а так же отзывы посетителей доступны на портале библиотеки ЛибКат.

Slow Man: краткое содержание, описание и аннотация

Предлагаем к чтению аннотацию, описание, краткое содержание или предисловие (зависит от того, что написал сам автор книги «Slow Man»). Если вы не нашли необходимую информацию о книге — напишите в комментариях, мы постараемся отыскать её.

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.

Slow Man — читать онлайн бесплатно полную книгу (весь текст) целиком

Ниже представлен текст книги, разбитый по страницам. Система сохранения места последней прочитанной страницы, позволяет с удобством читать онлайн бесплатно книгу «Slow Man», без необходимости каждый раз заново искать на чём Вы остановились. Поставьте закладку, и сможете в любой момент перейти на страницу, на которой закончили чтение.

Тёмная тема
Сбросить

Интервал:

Закладка:

Сделать

Yet at the same moment memory throws up again the image of Marijana stretching to dust the top shelves, Marijana with her strong, shapely legs. If his love for Marijana is indeed pure, why did it wait to take up residence in his heart until the instant she flashed him her legs? Why does love, even such love as he claims to practise, need the spectacle of beauty to bring it to life? What, in the abstract, do shapely legs have to do with love, or for that matter with desire? Or is that just the nature of nature, about which one does not ask questions? How does love work among the animals? Among foxes? Among spiders? Are there such things as shapely legs among lady spiders, and does their attractive force puzzle the male spider even as it draws him in? He wonders whether Jokic has an opinion on the subject. But he is certainly not going to ask. He has had enough of Jokic for one day, and Jokic, he suspects, has had enough of him.

'Will you have another beer?' he asks, pro forma.

'No, I must go.'

Jokic must go. He must go. Where must they go, the two of them? The one, to an empty bed in Munno Para; the other, to an empty bed on Coniston Terrace, where he can lie awake all night, if he likes, listening to the ticking of the clock from the living-room. They might as well set up house together. Mutt and Jeff.

TWENTY

IT TAKES HIM the best part of an hour, stumping hither and thither across parkland, to track down Elizabeth Costello. In the end he finds her by the riverside, sitting on a bench, clustered around by ducks that she seems to be feeding. As he approaches, the ducks scatter in alarm and slide clamorously back into the water.

He props himself on the grass before her. Past six, but he can still feel the weight of the summer sun. 'I am looking for Drago,' he says. 'Do you know where he can be found?'

'Drago? No idea. I thought he was staying with you. Aren't you going to ask about me? Are you not curious to hear how I spent the night after you so rudely turned me out?'

He ignores the question. 'I have just had a meeting with Marijana's husband.'

'Miroslav. Yes, poor fellow, he feels so humiliated. First by his own jealousy, and now to discover what sort of man his rival is. What did you say to him?'

'I asked him to think again. I asked him to put Drago's interests first. I repeated that there were no strings attached to my offer.'

'No visible strings, you mean.'

'No strings at all.'

'What about heartstrings, Paul, strings of affection?'

'Strings of affection are beside the point. The money is for Drago's education. It is absurd to suggest that I am trying to buy his mother.'

'Absurd? We should ask Marijana about that. She might have a different view. Tit for tat, she might say. For every tat there is a tit. You have offered the tat. Now the onus is on her to come up with the right tit, the appropriate tit.'

'Don't be obscene.'

'Well, I confess I have yet to appreciate what you see in your Balkan lady. To my eye she is somewhat tubby and rather the worse for wear. I would not have thought you liked your women that way. Tall man and stout woman: a bit of a comedy team. A fellow like you could do better. But chacun ses goûts, I suppose.

'My own opinion, for what it is worth, is that if it is requital you are after, requited love, you should give up on Mrs Jokic. She is not for you. Your best option remains Marianna, Marianna of the two ns. An arrangement with Marianna, or someone like her, would work very well. For a single gentleman of your age, not keen because of his disability to appear in public, it would be quite appropriate to entertain in his home, one afternoon a week, a discreet woman friend like Marianna, someone who in return for favours granted would now and again consent to accept a nice little present.

'Yes, Paul, presents, gifts. You must become accustomed to paying. No more free love.'

'I may not love whom I choose?'

'Of course you may love whom you choose. But maybe from now on you should keep your love to yourself, as one keeps a head cold to oneself, or an attack of herpes, out of consideration for one's neighbours.

'However, if your verdict is that Marianna does not fit the bill, who am I to demur? In that case, why not telephone Mrs Putts? Tell her you are in the market for a new nurse. Say you want someone not too young though not too old, with nice breasts and a well-turned calf, unattached, children no obstacle, preferably a non-smoker. What else? Of an eager temperament, eager and easily pleased.

'Or why bother with Mrs Putts? Why submit to the rigmarole of hiring nurses and falling in love with them? Put an ad in the Advertiser. " Gent, sixtyish, childless, vigorous though of limited mobility, seeks lady, 35-45, with view to love, mystical parenthood. Nice breasts, et cetera. No chancers."

'Don't glare, Paul. I'm just joking, just keeping the conversation going. Be assured, I have learned my lesson. No more matchmaking, I promise. If you have made up your mind that no one can replace Marijana in your affections, that it has to be Marijana or nothing, I yield, I accept. I should inform you, however, that Marianna, poor Marianna, the other one, is deeply hurt at the way she has been treated. Sobs into her handkerchief. Be of good heart, I tell her, there are plenty of fish in the ocean. But she will not be consoled. After what she put herself through for your sake, her pride has taken quite a knock. He finds me too fat! she wails. Nonsense, I say – his heart is elsewhere, that is all.

'But perhaps I misinterpret you entirely. Perhaps it is not requital of love that you are after. Or perhaps your quest for love disguises a quest for something quite different. How much love does someone like you need, after all, Paul, objectively speaking? Or someone like me? None. None at all. We do not need love, old people like us. What we need is care: someone to hold our hand now and then when we get trembly, to make a cup of tea for us, help us down the stairs. Someone to close our eyes for us when the time comes. Care is not love. Care is a service that any nurse worth her salt can provide, as long as we don't ask her for more.'

She pauses for a breath; at last he has a chance to speak. 'I came here looking for Drago,' he says, 'not to listen to you sharpening your wit upon me. I understand perfectly well the difference between love and care. I have never expected Marijana to love me. My hope, as a sixtyish gent, is simply to do what good I can for her and her children. As for my feelings, my feelings are my own business. I will certainly not thrust them on Marijana again.

'One word more, since you are determined to be sceptical. Don't underestimate the desire in each of us, the human desire, to extend a protective wing.'

'In each of us?'

'Yes, in each of us. Even in you. If you are human.'

Enough talk. His arms are aching, he is feeling the heat, he would like to sit. But if he were to settle down beside Mrs Costello, they would look too much like what they are not: an old married couple taking a breather. And there is, after all, one more thing to be said.

'Why pour all this effort into me, Mrs Costello? I am such a small fish, really. Have you never asked yourself whether taking me up might not have been a mistake – whether I might not be a mistake from beginning to end?'

A young couple in a pedal-boat in the shape of a giant swan pass by, smiling cheerily.

'Of course I have asked myself that, Paul. Many times. And of course, by some standards, you are a small fish. The question is, by what standards? The question is, how small? Patience, I tell myself: perhaps there is something yet to be squeezed out of him, like a last drop of juice out of a lemon, or like blood out of a stone. But yes, you may be right, you may indeed be a mistake, I will concede that. If you were not a mistake I would probably not still be here in Adelaide. I stay on because I don't know what to do about you.

Читать дальше
Тёмная тема
Сбросить

Интервал:

Закладка:

Сделать

Похожие книги на «Slow Man»

Представляем Вашему вниманию похожие книги на «Slow Man» списком для выбора. Мы отобрали схожую по названию и смыслу литературу в надежде предоставить читателям больше вариантов отыскать новые, интересные, ещё непрочитанные произведения.


Отзывы о книге «Slow Man»

Обсуждение, отзывы о книге «Slow Man» и просто собственные мнения читателей. Оставьте ваши комментарии, напишите, что Вы думаете о произведении, его смысле или главных героях. Укажите что конкретно понравилось, а что нет, и почему Вы так считаете.

x