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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He ought to write Marijana a letter, at her sister-in-law's or at home or wherever she is. Please do not cut yourself off from me. Whatever I said, I promise never to repeat it. It was a mistake. I will not try to draw you into further intimacy. Even though you have done more for me, a great deal more, than duty requires, I have never been foolish enough to confuse your kindness with love, with the real thing. What I offer to Drago, and to you through Drago, is a token of gratitude, nothing more. Please accept it as such. You have taken care of me; now I want to give something back, if you will let me. I offer to take care of you, or at least to relieve you of some of your burden. I offer to do so because in my heart, in my core, I care for you. You and yours.

Care: he can set the word down on paper but he would be too diffident to mouth it, make it his own speech. Too much an English word, an insider's word. Perhaps Marijana of the Balkans, giver of care, compelled even more than he to conduct her life in a foreign tongue, will share his diffidence. Or perhaps not. Perhaps she has accepted without afterthought what she was told by the accreditation board: that the profession into which she was being initiated was in the English-speaking world known as a caring profession; that her business would henceforth be taking care of people or caring for people; and that such caring should not be assumed to have anything to do with the heart, except of course in heart cases.

Yet is that not precisely what over the past four months he has mutated into – a heart case, un cardiaque? Once upon a time his heart was his strongest organ. Any one of its brother organs might let him down – bowels, spleen, brain – but his heart, tried and tested first on Magill Road and then in the operating theatre, would serve him faithfully to the end.

Then he met Marijana, and his heart suffered a change. No longer is his heart what it used to be. Now it aches to serve Marijana, Marijana and all who belong to her. As she gave to him, so his heart wants to give back. To give back is not the same as to pay back, he should add in a footnote. Excuse the language lesson, I too am feeling my way, I too am on foreign soil.

Dear Marijana, he writes, this time with a real pen on real paper, Do you, or does your husband, truly think that in return for Drago's school fees I would try to inflict myself upon you? I would not dream of it; and anyway, Mrs Costello is always hovering around, making sure I stay in line. 'No woman with two eyes in her head would have a fellow like you,' says Mrs Costello. I could not agree more.

You have had to see a great deal of me in the line of duty, too much perhaps. Let me simply say these words: for the impartial care you have given me I will be thankful to my dying day. If I offer to take care of Drago's education, it is solely as a way of repaying that debt.

Miroslav and I have discussed the matter of a trust fund. If a trust fund is what it takes to make Miroslav feel easy, I will see about setting one up – for Drago, indeed for all three of your children.

I get your address from Mrs Costello, who seems to know everything. Will you and Miroslav please reconsider, and do me the honour of accepting a gift that comes, as they say in English, with no strings attached.

Yours ever,

Paul Rayment

TWENTY-TWO

THE LETTER TO Marijana is addressed care of Mrs Lidija Karadzic, Elizabeth North. He hopes there is only one Karadzic in Elizabeth North; he hopes he has the diacritics right.

Marijana's reply comes two days later, in the form not of a letter – he never expected one, he can guess what a trial it would be for her to write in English – but of a telephone call.

'Sorry I don't come see you, Mr Rayment,' she says, 'but we got all kind of problems. Blanka – you know Blanka? – she get in trouble.' And a long story emerges about a silver chain, a chain that is not even real silver, that you can buy for one dollar fifty in the Chinese market, that some shopkeeper, some Jew, accuses Blanka of taking, though Blanka did not take it, a friend of hers took it and slipped it to her and she wanted to put it back but didn't have time; and the Jew says that the chain that is not real silver costs forty-nine ninety-five and he wants to take her to court for it, to youth court. So now Blanka is refusing to eat, is refusing to go to school, though exams are just a week away, is staying in her room all day except yesterday evening she dressed up and went out she won't say where. And Mel doesn't know what to do and she doesn't know what to do. So does he, Paul Rayment, know someone he can talk to about Blanka, someone who can in turn talk to the Jew and make the charge go away?

'How do you know he is a Jew, Marijana?' he asks.

'OK, he is Jew, he is not Jew, is not important.'

'Perhaps I am a Jew. Are you sure I am not a Jew?'

'OK, forget it. It slip from my tongue. Is nothing. You don't want to talk to me, say so, is finished.'

'Of course I want to talk. Of course I want to help. Why am I on this earth but to help? Give me the particulars. Tell me when and where it happened, this business of the silver chain. And tell me more about Blanka's friend, the one who was with her in the shop.'

'I got it here. Shop is Happenstance' – she spells the word – 'on Rundle Mall, and Mr Matthews is manager.'

'And when did it happen, the business with Happenstance?'

'Friday. Friday afternoon.'

'And her friend?'

'Blanka won't say her friend's name. Maybe Tracy. I don't know.'

'Let me see what I can do, Marijana. I am not the best person for this kind of thing, but I will see what I can do. Where can I reach you?'

'You can phone, you got my number.'

'Phone you at home? I thought you were staying with your sister-in-law. I wrote to you care of your sister-in-law. Didn't you get my letter?'

There is a long silence. 'Is all finished,' says Marijana at last. 'You can phone me.'

What Marijana wants is a man of influence, and he is not a man of influence, he is not even sure he approves of the phenomenon of the man of influence. But this must be how things are done in Croatia, so for Marijana's sake and the sake of her unhappy daughter, who must surely have learned her lesson by now – namely, to be more careful when she steals things – he is prepared to try. Is Marijana wrong, after all, to believe that a man with a smooth name like Rayment and a comfortable home in an eminently comfortable part of the city and money to give away can make things happen in a way that an auto mechanic with a funny name like Jokic cannot?

'Mr Matthews?' he says.

'Yes.'

'May I have a word with you in private?'

Happenstance – which sells what it calls gear – is not, however, the kind of establishment where one can have a word in private. It is, at most, five metres square. There are tightly packed racks of clothing, there is a counter and a till, there is music rattling from somewhere above them, and that is all. So what he has to say to Mr Matthews has to be said in the open.

'A girl was detained here for shoplifting,' he says. 'Last Friday. Blanka Jokic. Do you recall the case?'

Mr Matthews, who either is or is not a Jew, and who has been all affability thus far, stiffens visibly. Mr Matthews is in his twenties; he is tall and slim; he has wide, dark eyebrows and bleached hair that stands up in spikes.

'My name is Paul Rayment,' he presses on. 'I am a friend of the Jokic family. May I tell you something about Blanka?'

The boy – what else is he but a boy? – nods guardedly.

'Blanka has never done anything like this before. Since last Friday she has been through a great deal of torment, self-torment. She is ashamed of what she did. She is reluctant to show her face in public. She has, I would venture to say, learned her lesson. She is just a child; I don't believe any good will be achieved by prosecuting her. So I have come to make a proposal. I want to pay for the item she took, which I understand was a silver chain retailing for fifty dollars.'

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