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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Sweet of her to say so, he reflects afterwards. Poor Paul, poor dear, how difficult, what you are having to go through!: that was what she meant, what she knew he would understand her to mean. We all have to go through something of this sort, he would like to remind her, in the end.

What surprises him about the whole hospital business is how swiftly concern passes from patching up his leg ('Excellent!' says Dr Hansen, probing the stump with a handsomely manicured finger. 'It is coming together beautifully. You will soon be yourself again.') to the question of how he will (their word) cope once he is set loose in the world again.

Indecently early, or so it seems to him, a social worker, Mrs Putts or Putz, is brought into the picture. 'You're still a young man, Mr Rayment, Paul,' she informs him in the cheery manner she must have been taught to employ upon the old. 'You will want to remain independent, and of course that's good, but for quite some time you are going to need nursing, specialised nursing, which we can help to arrange. In the longer term, even once you are mobile, you are going to need someone to be there for you, to give you a hand, to do the shopping and cooking and cleaning and so forth. Is there no one?'

He thinks it over, shakes his head. 'No, there is no one,' he says; by which he means – and believes Mrs Putts understands – that there is no one who will conceive it as his or her Confucian duty to devote himself or herself to caring for his wants, his cooking and cleaning and so forth.

What interests him in the question is what it reveals about his condition as viewed by Mrs Putts, who must have had franker exchanges with the medical people than have yet been afforded him, franker and more down-to-earth. From these down-to-earth exchanges she has evidently concluded that even in the longer term he will not get by without being given a hand.

In his own vision of the longer term, the vision he has been fashioning in his more equable moments, his crippled self (stark word, but why equivocate?) will somehow, with the aid of a crutch or some other support, get by in the world, more slowly than before, perhaps, but what do slow and fast matter any more? But that does not appear to be their vision. In their vision, it would seem, he is not the kind of amputee who masters his new, changed circumstances and generally copes, but the crepuscular kind, the kind who, in the absence of professional support, will end up in an institution for the aged and infirm.

If Mrs Putts were prepared to be straight with him he would be straight with her. I have given plenty of thought to coping, he would tell her. I made my preparations long ago; even if the worst comes to the very worst, I will be able to take care of myself. But the rules of the game make it hard for either of them to be straight. If he told Mrs Putts about the cache of Somnex in the cabinet in the bathroom of his flat, for instance, she might feel bound by the rules of the game to consign him to counselling to protect him from himself.

He sighs. 'From your point of view, from a professional point of view, Mrs Putts, Dorianne,' he says, 'what steps would you suggest?'

'You will need to engage a care-giver, that's for sure,' says Mrs Putts, 'preferably a private nurse, someone with experience of frail care. Not that you are frail, of course. But until you are mobile again we would not want to take chances, would we?'

'No, we would not,' he says.

Frail care. Care of the frail. He had never thought of himself as frail until he saw the X-rays. He found it hard to believe that the spider-bones revealed in the plates could keep him upright, that he could totter around without them snapping. The taller the frailer. Too tall for his own good. I've never operated on such a tall man, Dr Hansen had said, with such long legs. And had then flushed at his gaffe.

'Do you know offhand, Paul,' says Mrs Putts, 'whether your insurance stretches to frail care?'

A nurse, yet another nurse. A woman with a little white cap and sensible shoes bustling about his flat, calling out in jolly tones, Time for your pills, Mr R! No, I do not think my insurance will run to that,' he replies.

'Well then you'll have to budget for it, won't you?' says Mrs Putts.

THREE

FRIVOLOUS. HOW HE had strained, that day on Magill Road, to attend the word of the gods, tapped out on their occult typewriter! Looking back, he can only smile. How quaint, how positively antique, to believe one will be advised, when the time comes, to put one's soul in order. What beings could possibly be left, in what corner of the universe, interested in checking all the deathbed accountings that ascend the skies, debits in the one column, credits in the other?

Yet frivolous is not a bad word to sum him up, as he was before the event and may still be. If in the course of a lifetime he has done no significant harm, he has done no good either. He will leave no trace behind, not even an heir to carry on his name. Sliding through the world: that is how, in a bygone age, they used to designate lives like his: looking after his interests, quietly prospering, attracting no attention. If none is left who will pronounce judgment on such a life, if the Great Judge of All has given up judging and withdrawn to pare his nails, then he will pronounce it himself: A wasted chance.

He had never thought he would have a good word to say for war, but here in his hospital bed, consuming time and being consumed, he seems to be revising his opinions. In the razing of cities, the pillage of treasure, the slaughter of innocents, in all that reckless destruction, he begins to detect a certain wisdom, as though at its deepest level history knows what it is doing. Down with the old, make way for the new! What could be more selfish, more miserly – this in specific is what gnaws at him – than dying childless, terminating the line, subtracting oneself from the great work of generation? Worse than miserly, in fact: unnatural.

The day before his discharge he has a surprise visitor: the boy who hit him, Wayne something-or-other, Bright or Blight. Wayne is calling to see how he is getting on, though not, it emerges, to admit to any fault. 'Thought I'd see how you are getting on, Mr Rayment,' says Wayne. 'I'm really sorry for what happened. Real bad luck.' Not an artist in words, young Wayne; yet his every utterance is carefully evasive, as though he has been told the room is bugged. And indeed, as he later learns, Wayne 's father was in the corridor throughout the visit, eavesdropping. No doubt he had coached Wayne beforehand: 'Be respectful to the old bugger, say you're sorry, but at all costs don't admit you did anything wrong.'

What son and father say to each other in private concerning the riding of pushbikes on busy streets he can imagine all too well. But the law is the law: even stupid old buggers on pushbikes have the right not to be ridden down, and Wayne and his father know that. They must be trembling at the thought of a suit, from him or his insurance company. That must be why Wayne picks his words so judiciously.

Real bad luck. There is a range of replies he can think of, starting with Nothing to do with luck, Wayne, just real bad driving. But what use is there in scoring points off a boy who does not have it in his power to fix what he has smashed? Go, and sin no more: that is the best he can think of right now. Just the kind of sententious, old-geezerish pronouncement that the Blights, father and son, would chortle over on the way home. He closes his eyes, wishing Wayne to go away.

An accident: something that befalls one, something unintended, unexpected. By that definition he, Paul Rayment, certainly had an accident. What of Wayne Blight? Did Wayne have an accident too? How did it feel to Wayne, the instant when the missile he was piloting in a haze of loud music dug into the sweet softness of human flesh? A surprise, no doubt, unexpected, unintended; yet not unpleasurable in its way. Could what occurred at the ill-starred crossroads truly be said to have befallen Wayne? If there was any befalling done, it was, in his view, Wayne who befell him.

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