Cirrus@Austlit

'VICTIM. KIDNAPPER. CRIMINAL. You will become each one. You are now part of the chain. Don't break the chain.

'THE ONLY WAY TO GET YOUR CHILD BACK IS TO KIDNAP ANOTHER.

'Listen carefully ...
Your child has been kidnapped.
You must abduct someone else's child to save your own.
Disobey. Break the rules. Go to the cops. Your child will die.
Your victim's parents must kidnap another child before yours is released.
You are now part of the chain.

'#DONTBREAKTHECHAIN'

Source: Publisher's blurb.

Nadine Gordimer has written of J.M. Coetzee that his “vision goes to the nerve center of being. What he finds there is more than most people will ever know about themselves, and he conveys it with a brilliant writer’s mastery of tension and elegance.” Doubling the Point takes us to the center of that vision. These essays and interviews, documenting Coetzee’s longtime engagement with his own culture, and with modern culture in general, constitute a literary autobiography of striking intellectual, moral, and political force.

Centrally concerned with the form and content of fiction, Doubling the Point provides rigorous insight into the significance of certain writers (particularly modernists such as Kafka, Musil, and Beckett), the value of intellectual movements (from structuralism and structural linguistics on through deconstruction), and the issues of political involvement and responsibility—not only for Coetzee’s own work, but for fiction writing in general. In interviews prefacing each section of the book, Coetzee reflects on the essays to follow and relates them to his life and work. In these interviews editor David Attwell, remarkably well attuned to his subject, prompts from Coetzee answers of extraordinary depth and interest (Harvard University Press).

'A young English biographer is working on a book about the late writer, John Coetzee. He plans to focus on the years from 1972 - 1977 when Coetzee, in his thirties, is sharing a run-down cottage in the suburbs of Cape Town with his widowed father. This, the biographer senses, is the period when he was finding his feet as a writer. Never having met Coetzee, he embarks on a series of interviews with people who were important to him: a married woman with whom he had an affair, his favourite cousin Margot, a Brazilian dancer whose daughter had English lessons with him, former friends and colleagues. From their testimony emerges a portrait of the young Coetzee as an awkward, bookish individual with little talent for opening himself to others. Within the family he is regarded as an outsider, someone who tried to flee the tribe and has now returned, chastened. His insistence on doing manual work, his long hair and beard, rumours that he writes poetry evoke nothing but suspicion in the South Africa of the time.

Sometimes heartbreaking, often very funny, Summertime shows us a great writer as he limbers up for his task. It completes the majestic trilogy of fictionalised memoir begun with Boyhood and Youth.' (Provided by the publisher.)

J.M. Coetzee's first body of criticism is a collection of seven essays focussed around the place of the white writer in South Africa. Surveying a broad swathe of authors including William Burchell, Thomas Pringle, WEG Louw, WC Scully, Roy Campbell, Pauline Smith, Mikro, Alan Paton, and Gertrude Millin, Coetzee examines how European travellers have thought about, and represented, the South African landscape. In this collection, Coetzee incisively articulates the racial concerns of a problematic (post)colonial literature.