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Produktbeschreibungen
From Library Journal
Cast adrift by a mutinous crew, Susan Barton washes ashore on an isle of classic fiction. For the next year, Robinson Cruso sculpts the land while Friday mutely watches Susan intrude upon their loneliness. Life is mere pattern for the two unquestioning castaways, but Susan is not of their story and she pushes Cruso for rationales that don't exist in a world of imagination. Finally rescued and returned to London, Susan leads Friday to Daniel Foe, the author who will write their tale. Foe, however, sees a different story and seeks "to tell the truth in all its substance." Discovering such truth is Coetzee's aim in Foe, an intriguing novel strikingly different from his earlier works. Here he scrutinizes the gulf between a story and its telling, giving us a thought-provoking text wonderfully rich in meaning and design. Paul E. Hutchison, English Dept., Pennsylvania State Univ., University Park
Copyright 1986 Reed Business Information, Inc. -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
Copyright 1986 Reed Business Information, Inc. -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
Pressestimmen
"A small miracle of a book...of marvelous intricacy and overwhelming power." —The Washington Post Book World
"Foe is a finely honed testament to its author's intelligence, imagination, and skill.... The writing is lucid and precise, the landscape depicted mythic yet specific." —Michiko Kakutani, The New York Times
"Foe is a finely honed testament to its author's intelligence, imagination, and skill.... The writing is lucid and precise, the landscape depicted mythic yet specific." —Michiko Kakutani, The New York Times
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'At last I could row no further. Lesen Sie die erste Seite
Buchdeckel | Copyright | Auszug | Rückseite
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Format:Taschenbuch
Foe begins as a realistic retelling of Daniel Defoe's classic tale, though names and situations have been sufficiently altered make such a retelling in fact a reinvention. What begins as a straightforwardly realistic narration, ostensibly epistolary in form, becomes, in the end, a discursive metaphor for the act of storytelling itself. Susan Barton begins as narrator of the novel but ends it as muse to an author (named Foe) whose own narration has become canonical (even to the point of being widely-known but rarely read). The 1st 40 pages of the book are linear--the shipwreck, the washing-ashore, the meeting of Friday & Cruso (sic), and--finally--rescue. But the subsequent parts of the novel, though no less linear, become less about a tale of shipwreck survival than about a tale of narrative survival. Susan Barton begins battling the punningly-named Foe for the survival of her original conception of herself as Cruso's living successor, while Foe, becoming more authoritative than mere scribe of her exploits, posits such possibilities as her daughter's reunion with Susan and those details which actually appear in the Robinson Crusoe we all know. The tension and focus shift (almost imperceptibly) from what is (in Susan's mind) to what could be (in Foe's). Susan is transmogrified from an actual character to merely the muse--the ennervating inspiration--that drives Foe to write his book. In the end, what we get is the story of how a story shapeshifts into its final form and how its failed possibilities are no less alive than its successful ones. The novel dives into the wreck of Daniel Defoe's failed alternatives and succeeds by plumbing what depths _Robinson Crusoe_ (probably) did not
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I gaurantee that you won't be able to better spend 3-4 hours than to spend it reading this short novel! In this sort-of-retelling of the Robinson Crusoe story in the 'bigger picture', 'as it really happened', Coetzee asks us to think about what storytelling really is-- What liberties can authors take? Who's story can we really trust? Further, who is the real author of any narrative? But his cleverness and insights into his craft should not be the focus of a discussion about this book.. unless you're trying to figure out the mystical ending..
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Format:Taschenbuch
Coetzee's "against the grain"-reading of Defoe's classic "Robinson Crusoe" resulted in a short but brilliant novel about colonial projections, storytelling and the process of turning real events into fictional tales with beginning, middle and ending.
Thus, Robinson's island is a bleak stretch of land rather than a lush paradise. There are no goats to be domesticated, no seeds to grow (which doesn't stop Crusoe from tilling the fields anyway - "for future generations", and Friday is a mute (ex-)slave rather than a tamed cannibal. And then, there's the woman...
Thus, Robinson's island is a bleak stretch of land rather than a lush paradise. There are no goats to be domesticated, no seeds to grow (which doesn't stop Crusoe from tilling the fields anyway - "for future generations", and Friday is a mute (ex-)slave rather than a tamed cannibal. And then, there's the woman...
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