J.M. Coetzee, página 3 de 12

J.M. Coetzee A 72-year-old Australian writer encounters an alluring woman in his apartment block. When he discovers she is 'between jobs' he claims failing eyesight and offers her work typing up his manuscript. Anya has no interest in politics but the job provides a distraction, as does the writer's evident and not unwelcome attraction toward her. Her boyfriend, Alan, an investment consultant who understands the world in harsh neo-liberal economic terms, has reservations about his trophy girlfriend spending time with this 1960s throwback. Taking a lively interest in his affairs, Alan begins to formulate a plan.

J.M. CoetzeeCoetzee explores the work of twentieth century German literatures greatest writers, an essay on Graham Greenes Brighton Rock and on the short fiction of Samuel Beckett. American literature is also strongly represented and Coetzee rounds off the collection with essays on three fellow Nobel laureates.

Diario de un mal a#o, lleva a cabo, con un tono #ntimo y cargado de veracidad, la disecci#n de las emociones m#s complejas. Con una escritura estimulante y espl#ndida, construye un atlas de las miserias (pero tambi#n de la dignidad) del alma humana. Un eminente escritor australiano es invitado a colaborar en un volumen de ensayos titulado Opiniones contundentes. Esta oportunidad le permite abordar varios temas de su inter#s: los or#genes del Estado, la figura de Maquiavelo, el anarquismo, Al Qaeda, el dise#o inteligente o la m#sica. Mientras redacta los textos, el viejo escritor conoce a Anya, una atractiva joven que vive en el mismo bloque de pisos. Pronto sabe que Anya est# buscando trabajo y le propone que mecanograf#e sus manuscritos. La aparici#n de Alan, el novio de Anya, cambiar# el rumbo de la relaci#n entre la joven y el escritor. Rese#as: "La mente #tica de Coetzee sigue siendo atractiva por lo que tiene de ejemplar en un tiempo despojado de ejemplaridad."Robert Saladrigas, Cultura/s, La Vanguardia "Las luminosas y desconcertantes novelas de J. M. Coetzee revelan que la verdad es siempre extranjera."Javier Mar#as

Meisterhaft und uberraschend erzahlt der Nobelpreistrager J. M.Coetzee in seinem ersten Roman seit dem Welterfolg "Schande" von der Liebe im Zeichen der Reife: Paul Rayments Leben ist aus den Fugen geraten, als sich Elizabeth Costello unverhofft bei ihm einnistet. Seinen Reflexionen stellt sie Lebenspraxis entgegen, seiner Radikalitat liebevollen Spott. Doch um Rettung ist es ihm nicht zu tun ...

In addition to being one of the most acclaimed and accomplished fiction writers in the world, Nobel Prize winner J. M. Coetzee is also a literary critic of the highest caliber. In this collection of twenty essays, Coetzee examines the work of some of the twentieth-century's greatest writers-from Samuel Beckett and Günter Grass to Gabriel García Márquez and Philip Roth. Brilliantly insightful, challenging yet accessible, these pieces demonstrate Coetzee's sharp eye and unwavering critical acumen. Written with great clarity and precision, they offer a window into twenty immortal texts that will be of major interest to all readers of international literature, as well as to Coetzee's many fans.

«Los ensayos aquí recogidos constituyen una tentativa de comprender una pasión con la cual no tengo ninguna afinidad intuitiva, la pasión que se expresa en actos de silenciamiento y censura. También

A fascinating dialogue on the human inclination to make up stories between a Nobel Prize-winning writer and a psychotherapist.The Good Story is an exchange between a writer with a long-standing interest in moral psychology and a psychotherapist with a training in literary studies.Arabella Kurtz and J. M. Coetzee consider psychotherapy and its wider social context from different perspectives, but at the heart of both their approaches is a concern with stories. Working alone, the writer is in sole charge of the story he or she tells. The therapist, on the other hand, collaborates with the patient in telling the story of their life. What kind of truth do the stories created by patient and therapist aim to uncover: objective truth or the shifting and subjective truth of memories explored and re-experienced in the safety of the therapeutic relationship?The authors discuss both individual psychology and the psychology of the group: the school classroom, the gang, the settler nation where the brutal deeds of the ancestors have to be accommodated into a national story. Drawing on great writers like Cervantes and Dostoevsky and on psychoanalysts like Freud and Melanie Klein, they offer illuminating insights into the stories we tell of our lives.

A fascinating dialogue on the human inclination to make up stories between a Nobel Prize-winning writer and a psychotherapist.Arabella Kurtz and J. M. Coetzee consider psychotherapy and its wider social context from different perspectives, but at the heart of both their approaches is a concern with stories. Working alone, the writer is in sole charge of the story he or she tells. The therapist, on the other hand, collaborates with the patient in telling the story of their life. What kind of truth do the stories created by patient and therapist aim to uncover: objective truth or the shifting and subjective truth of memories explored and re-experienced in the safety of the therapeutic relationship?The authors discuss both individual psychology and the psychology of the group: the school classroom, the gang, the settler nation where the brutal deeds of the ancestors have to be accommodated into a national story. Drawing on great writers like Cervantes and Dostoevsky and on psychoanalysts like Freud and Melanie Klein, they offer illuminating insights into the stories we tell of our lives.

Nobel Laureate and two-time Booker prize-winning author of Disgrace and The Life and Times of Michael K, J. M. Coetzee reimagines Daniel DeFoe''s classic novel Robinson Crusoe in Foe. Published as a Penguin Essential for the first time. In an act of breathtaking imagination, J.M Coetzee radically reinvents the story of Robinson Crusoe. In the early eighteenth century, Susan Barton finds herself adrift from a mutinous ship and cast ashore on a remote desert island. There she finds shelter with its only other inhabitants: a man named Cruso and his tongueless slave, Friday. In time, she builds a life for herself as Cruso''s companion and, eventually, his lover. At last they are rescued by a passing ship, but only she and Friday survive the journey back to London. Determined to have her story told, she pursues the eminent man of letters Daniel Foe in the hope that he will relate truthfully her memories to the world. But with Cruso dead, Friday incapable of speech and Foe himself intent on reshaping her narrative, Barton struggles to maintain her grip on the past, only to fall victim to the seduction of storytelling itself. Treacherous, elegant and unexpectedly moving, Foe remains one of the most exquisitely composed of this pre-eminent author''s works. ''A small miracle of a book. . . of marvellous intricacy and overwhelming power'' Washington Post ''A superb novel'' The New York Times

LONGLISTED FOR THE MAN BOOKER PRIZE 2016When 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. Simon and Ines take care of him in their new town Estrella. He is learning the language; he has begun to make friends. He has the big dog Bolivar to watch over him. But he''ll be seven soon and he should be at school. And so, David is enrolled in the Academy of Dance. 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.In this mesmerising allegorical tale, Coetzee deftly grapples with the big questions of growing up, of what it means to be a parent, the constant battle between intellect and emotion, and how we choose to live our lives.

An eminent, seventy-two-year-old Australian writer is invited to contribute to a book entitled "Strong Opinions". He writes short essays on the origins of the state, on Machiavelli, on anarchism, on al Qaida, on intelligent design, on music. What, he asks, is the origin of the state and the nature of the relationship between citizen and state? Un eminente escritor australiano de setenta y dos años es invitado a colaborar en un libro titulado "Strong Opinions". Escribe artículos cortos sobre los orígenes del estado, sobre Maquiavelo, sobre el anarquismo, sobre Al-Quaeda, sobre el diseño inteligente, sobre la música. ¿Cuál, se pregunta, es el origen del estado, y cuál es la naturaleza de la relación entre el ciudadano y el estado?

After years teaching Romantic poetry at the Technical University of Cape Town, David Lurie, middle-aged and twice divorced, has an impulsive affair with a student. The affair sours; he is denounced and summoned before a committee of inquiry. Willing to admit his guilt, but refusing to yield to pressue to repent publicly, he resigns and retreats to his daughter Lucy's isolated small holding. For a time, his daughter's influence and natural rhythms of the farm promise to harmonise his discordant life. But the balance of power in the country is shifting. He and Lucy become victims of a savage and disturbing attack which brings into relief all the faultlines in their relationship.

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.

Incisiva, elegante y sorprendentemente divertida,Verano es la culminación de las memorias noveladas del Nobel sudafricano.Unas memorias que se completan conInfancia yJuventud.Un joven biógrafo inglés prepara un libro sobre el difunto escritor sudafricano John Coetzee. Sus investigaciones se centran en el Coetzee treintañero, en una epoca en la que el escritor compartia una destartalada casa en Ciudad del Cabo con su padre viudo y en la que, en opinion del joven biografo, comenzaba a encontrarse a si mismo como escritor.Sin haberlo conocido personalmente, el biografo se embarca en una serie de entrevistas con personas que fueron importantes en su vida: una mujer casada con la que tuvo una aventura amorosa, su prima Margot y una bailarina brasileña, madre de una de sus alumnas de ingles. De sus testimonios emerge el retrato de un joven Coetzee algo torpe, rodeado de libros, con poca facilidad para abrirse a los demas y entregado a su imperiosa necesidad de escribir.Reseña:Si enInfancia y enJuventudse cuestionaba que significaba escribir unas memorias, Verano revienta la nocion de autobiografia, ya que en este libro todo y nada es, en cierto sentido, estrictamente real.Times Literary Supplement