The Childhood of Jesus
Melbourne
:
Text Publishing
,
2013
Z1908494
2013
single work
novel
(taught in 2 units)
''The child is silent. For a while he too is silent. Then he speaks. 'Please believe me—please take it on faith—this is not a simple matter. The boy is without mother. What that means I cannot explain to you because I cannot explain it to myself. Yet I promise you, if you will simply say Yes, without forethought, without afterthought, all will become clear to you, as clear as day, or so I believe. Therefore: will you accept this child as yours?'
The Schooldays of Jesus
Melbourne
:
Text Publishing
,
2016
9704550
2016
single work
single work
novel
'When you travel across the ocean on a boat, all your memories are washed away and you start a completely new life. That is how it is. There is no before. There is no history. The boat docks at the harbour and we climb down the gangplank and we are plunged into the here and now. Time begins.'
'David is the small boy who is always asking questions. Simón and Inés take care of him in their new country. He is learning the language; he has begun to make friends. He has the big dog Bolívar to watch over him. But he’ll be seven soon. He should be at school. And so David is enrolled in the Academy of Dance in Estrella. It’s here, in his new golden dancing slippers, that he learns how to call down the numbers from the sky. But it’s here too that he will make troubling discoveries about what grown-ups are capable of.'
'The Schooldays of Jesus, the startling sequel to J. M. Coetzee’s widely praised The Childhood of Jesus, will beguile its readers. With the mysterious simplicity of a fable, it tells a story that raises the most direct questions about life itself.' (Source: Text Publishing website)
The Death of Jesus
Melbourne
:
Text Publishing
,
2019
17064224
2019
single work
novel
'AFTER The Childhood of Jesus and The Schooldays of Jesus, J. M. Coetzee completes his trilogy with a new masterwork, The Death of Jesus.
'David loves to kick a soccer ball with his friends in Estrella. His father, Simón, and Bolívar the dog usually watch. His mother, Inés, works in a fashion boutique.
'David still asks lots of questions. In dancing class, he dances as he chooses. He refuses to do sums and the only book he will read is Don Quixote.
'One day, Julio Fabricante, the director of a nearby orphanage, invites David and his friends to form a proper soccer team. David decides to leave Simón and Inés and live with Julio. Before long he succumbs to a mysterious illness. Will he have time to deliver his ‘message’?
'In The Death of Jesus, J. M. Coetzee continues to explore the meaning of a world brimming with questions.'
Source: Publisher's blurb.
'This article focuses on the central role of Don Quixote (1605, 1615) in J.M. Coetzee’s Jesus novels, arguing for the relevance of the fact that it is Benengeli, the fictional Moorish historian – and not Cervantes – who is presented as the author of the Spanish novel. This is first explored in relation to the analogy that The Childhood of Jesus (2013) makes between authorship and paternity, along with the depiction of the relationship between authors and characters as one of temporary, non-substantial stepfatherhood. The disruption of Don Quixote’s authorship/paternity also traverses the trilogy’s questioning of linguistic origins, and concern with linguistic processes of estrangement, displacement and irony. Finally, Cervantes’s absence in Coetzee’s novels is examined in relation to David’s act of trust and blind belief in the character of Don Quixote, a response to both the performative power of words and the capacity of literary characters to outstrip their original authors.' (Publication abstract)
'These are the words of Mrs Curren, the elderly narrator of J.M. Coetzee’s under-appreciated mid-period novel Age of Iron (1990), but it would be easy enough to find similarly anguished sentiments being expressed by the Magistrate in Waiting for the Barbarians (1980), or Dostoevsky in The Master of Petersburg (1994), or David Lurie in Disgrace (1996), or the eponymous protagonist of Elizabeth Costello (2003). It has long been apparent that there is a recognisable Coetzeean type, who appears in various guises in his many novels. These characters tend to be educated products of their relatively privileged social positions. They are conscious of the pain and injustice in the world, conscious of their own suffering, and conscious of their impotence in the face of overmastering contexts. Their common instinct is to philosophise about these problems. Many ironies, gruelling and subtle, arise from their desire for redemption and their simultaneous awareness of its impossibility, not least of which is that their penchant for metaphysical high-mindedness has a distinct tendency – on display in Mrs Curren’s lament – to bend back on itself in a way that resembles self-absorption or even self-pity.' (Introduction)
'The 2019 novel by the South African-Australian Nobel laureate, J M Coetzee, The Death of Jesus, is a third book in a sequence that includes Jesus in its title; like its predecessors it follows the lives of a recently constructed family in the dystopian Spanish-speaking towns of Novilla and Estrella. The surreal trilogy, which began with The Childhood of Jesus (2013), and then The Schooldays of Jesus (2016), presents us with unreal worlds, leaving us searching for meaning. This fable-like fantasy, which expands the author’s ‘late style’, challenges the genre of fiction itself. Typical of late style, the trilogy resists closure and resolution. The debated ideas are generated by characters who were forced to forsake their memories and histories. Even though the protagonists begin to embody the very ideas they debate, answers are not forthcoming.' (Publication abstract)
(Publication abstract)
(Publication abstract)
'The 2019 novel by the South African-Australian Nobel laureate, J M Coetzee, The Death of Jesus, is a third book in a sequence that includes Jesus in its title; like its predecessors it follows the lives of a recently constructed family in the dystopian Spanish-speaking towns of Novilla and Estrella. The surreal trilogy, which began with The Childhood of Jesus (2013), and then The Schooldays of Jesus (2016), presents us with unreal worlds, leaving us searching for meaning. This fable-like fantasy, which expands the author’s ‘late style’, challenges the genre of fiction itself. Typical of late style, the trilogy resists closure and resolution. The debated ideas are generated by characters who were forced to forsake their memories and histories. Even though the protagonists begin to embody the very ideas they debate, answers are not forthcoming.' (Publication abstract)
'These are the words of Mrs Curren, the elderly narrator of J.M. Coetzee’s under-appreciated mid-period novel Age of Iron (1990), but it would be easy enough to find similarly anguished sentiments being expressed by the Magistrate in Waiting for the Barbarians (1980), or Dostoevsky in The Master of Petersburg (1994), or David Lurie in Disgrace (1996), or the eponymous protagonist of Elizabeth Costello (2003). It has long been apparent that there is a recognisable Coetzeean type, who appears in various guises in his many novels. These characters tend to be educated products of their relatively privileged social positions. They are conscious of the pain and injustice in the world, conscious of their own suffering, and conscious of their impotence in the face of overmastering contexts. Their common instinct is to philosophise about these problems. Many ironies, gruelling and subtle, arise from their desire for redemption and their simultaneous awareness of its impossibility, not least of which is that their penchant for metaphysical high-mindedness has a distinct tendency – on display in Mrs Curren’s lament – to bend back on itself in a way that resembles self-absorption or even self-pity.' (Introduction)
