J.M. Coetzee has managed, as many good authors do, to completely immerse the reader in what goes on in the book and its often uncomfortable surroundings. The characters have depth and are well described and the main character, although potentially unlikeable, seemed to grow ever dearer to my heart the more I read.
Set in a time of unrest and uncertainty, the book deals with many themes that may often not be the most easy to explore. We go deep into David Lurie's (the main character) sense of self and intimate thoughts, and true to life, they are not always easy to accept.
I was both interested and moved by this novel, as one always should be. The writing style, although eloquent, is not over-complicated and therefore ... Read More:
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Some books are just made to be studied in the classroom, where pupils and teachers treat them as a giant puzzle to be solved. Brighton Rock is one of them. The first half of the book shows a good turn of plot but then the book dissolves into thematic development and precious little else. Thus we're created to countless personal morality and catholic references that batter the reader about the head. Theme and plot should work together, with one strengthening the other. What we get with this book is odious intellectualising that clutters up the page.
There are other issues for a contemporary audience. The pre-war Brighton is summarised very effectively, but it's a very alien world to 21st century people -- as alien to us as any world Shakespeare ... Read More:
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Some random observations on the book and reviews of it:
1. Not sure why some people criticise this for not being a proper novel. I don't see where Coetzee ever claimed this to be a novel. Although it's fiction, it's in the form of a diary (which the title makes clear) plus what the auther calls a "miscellany" (the essays grouped as "Strong Opinions" and "Second Diary"). So you're getting two brilliant literary creations for the price of one.
2. I never noticed how many "blank spaces" there were in the book. I was too busy enjoying the content of the non-blank spaces. Criticism that the project is "too short" imply that value for money in literature is quantitative rather than qualitative. Surely you jest. These criticisms bring to mind ... Read More:
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The setting for this outstanding book remains without reference to a specific time and place, with only the knowledge of a distant city and the surrounding desert, and items such as sunglasses, stagecoaches and ancient muskets to steer us one way or another. The result is that the story becomes beautifully universal. I read in other reviews that people related it to (apart from the obvious South Africa) the current situation in Iraq, and it is hard to deny that the picture fits. The fact is that this story has been acted out the world over so many times during history that on reading you get a horrible feeling of familiarity. There is no doubt where the idea has its roots, but refraining from making the story specific to South Africa, Coetzee made it much easier for the reader ... Read More:
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This remarkable short novel has two interlinked levels: the relation fiction (art / writing) - reality and the `meaning / message' of a particular work of art, in our case `Foe'.
J.M. Coetzee uses the Robinson Crusoe story as well as the name of the author (Daniel Defoe, originally Foe) to delve deeply into the real nature of art and the real (hi)story of man (`the heart of man is a dark forest').
A work of fiction is part of reality. It is reality: `We [the novel and its characters] are all alive, part of the world.' But, if fiction (art) is part of the world, what is its function? `By art we have a means of giving voice', for instance to the speechless, who cannot tell the `real' story.
What is the truth in `Foe'? `Since we speak in figures', the truth is that slavers ... Read More:
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Coetzee's writing style is typically lean, uncovoluted, and simple. This particular story is not long. The tone is direct. Not many authors can write about simply living and life itself. What does it mean to be?
I admire everything Coetzee writes, and highly recommend this novel.
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I made two attempts at this book. The first time, I stopped at the grisly murders; the second time, I began after them. I found it an act of perseverence to continue to the end. Much of the time, I did not understand what was happening. Did his father marry a second time? Did she murder her father finally? What did she look like? Did she have hair on her face? Was she black? On and on the questions went. Still, as with all Coetzee's books, I was compelled by his prose. One final point, this woman telling the story, did not sound like a woman at all.
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This book by South African writer J. M. Coetzee is not exactly an autobiography, as it recounts a few years of his life, from about the time he was 19 to his mid 20s, during the early 1960s. Though less than 200 pages long, this is hardly a fast read. Coetzee's writing style is not overly complex, but he packs so many things in it, in terms of ideas and reactions to the world around him, that you have to go slow in order to pay close attention. Not that the life shown here is particularly eventful, since most of the time he finds himself bored and lonely. A familiar theme in autobiographies by writers is growing up alone and with few friends and this book certainly shows this. If his male friends are few, his relationships with women are even worse, sordid and often abusive. The book starts in South Africa ... Read More:
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I was most of the way through this when I learnt that Coetzee's own son died aged Twenty-three shortly before the writing of The Master of Petersburg. The novel's protagonist is Fyodor Dostoyevsky, gone for Petersburg to collect the effects of his son- an apparent suicide. It's a dark novel, written in Coetzee's typically compact, incisive manner. It's not an easy read, simply because Coetzee never lets up: the novel is about a great writer overcome with grief, overcome with a need to assemble some coherence from the conflicting theories surrounding his son's death. As a novel in it's own right it is compelling, deeply moving and indelible. As an essay on the great Russian writer, on the people and the times his works portrayed, it is an exemplary and unforgettable piece of writing. The grief, the compact pain which floods ... Read More:
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This book is aptly titled, for young Torless is certainly confused; confused about personal and institututional power, about the founts of sexual passion and his own orientation. He questions the purpose and meaning of education, his own and in general. He perceives language is inadequate to its task. In his crisis it dissociates from the worlds and states of consciousness which it supposedly describes. He has a beef with academic specialists, as men who have had all the poetry caned out of them. Two pages of Kant make the kid sweat, but he has a fraught and engaging relationship with imaginary numbers.
Trapped in an academy at the bleak and dusty edge of the realm, homesick and morally inept, he falls in with a couple of emotionally and philosophically uncomplicated elder cadets- whose personalities are uncannily ... Read More:
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