J.M. Coetzee, página 4 de 12

agé de 52 ans et deux fois divorcé, david lurie enseigne à l'université du cap. encore jeune de corps et de coeur, ce don juan du campus se laisse aller à un dernier élan de désir, d'amour peut-être, avec une jeune étudiante. mais l'aventure tourne mal. convaincu de harcèlement sexuel, david lurie démissionne. réfugié auprès de sa fille lucy, dans une ferme isolée, il tente de retrouver un sens au seul lien qui compte encore à ses yeux. mais les temps ont changé. la fracture sociale est arrivée jusqu'au coeur de ce pays et la violence n'épargne pas les campagnes. l'idylle pastorale tourne au cauchemar. aussi sombre que magnifique, l'élégie cynique de j. m. coetzee jette une lumière glacée et crépusculaire sur la nation arc-en-ciel et consigne l'avènement d'un nouvel âge de fer.

depuis la parution, en 1982, d'en attendant les barbares, puis de michael k, sa vie, son temps, john michael coetzee a toujours montré une réticence à sortir de l'ombre. pour la première fois, avec ce récit, le romancier revisite l'afrique du sud d'il y a cinquante ans, à la recherche de la fraîcheur, la spontanéité, mais aussi la fausse naïveté du garçon qu'il a été. l'évocation autobiographique plonge dans les hantises et les secrets d'un enfant - brillant et docile à l'école, despote et irascible à la maison - qui se cherche entre un père qu'il méprise et une mère dont il craint sans cesse de perdre l'amour ; entre deux cultures et deux langues dont les sons rauques et obscurs lui font pressentir un monde troublant. une errance - dans le temps et dans l'espace -, un voyage initiatique aux multiples résonances.

Set in South Africa, this is the story of a retired university teacher who learns, in the same day, that she is dying of cancer and that she has a vagrant in her yard. The story describes the contrast between the dreams of the old woman and the political and social situation around her.

«Desgraça» é o retrato de uma nova África do Sul e dos seus também novos problemas, um retrato que, em última análise, nos fala da beleza e do amor. Um romance inteligente, fértil, calmo e brutal, que confirma Coetzee como um dos grandes romancistas do nosso tempo.

Susan Barton finds herself marooned on an island in the Atlantic with an Englishman named Robinson Cruso and his mute (mutilated) slave, Friday. Rescued after a year of Cruso's company, back in England with Friday in tow, she approaches the author Daniel Foe, offering him the story.

Elizabeth Costello is an Australian writer of international renown; she is feted, studied, honoured. Famous principally for an early novel that established her reputation and from which, it seems, she will never escape, she has reached the stage, late in life, where her remaining function is to be venerated and applauded. One of a new breed of intellectual nomads, her life has become a series of engagements in sterile conference rooms throughout the world - a private consciousness obliged to reveal itself to a curious public: the presentation of a major award at an American college where she is required to deliver a lecture; a sojourn as the writer in residence on a cruise liner during which she encounters a fellow guest lecturer, an African poet also employed to divert the passengers; a visit to her sister, a missionary in Africa, who is receiving an honorary degree, an occasion which both recognise as the final opportunity for effecting some form of reconciliation; and a disquieting appearance at a writers' conference in Amsterdam where she finds the subject of her talk unexpectedly amongst the audience. She has made her life's work the study of other people yet now it is she who is the object of scrutiny. But, for her, what matters is the continuing search for a means of articulating her vision and the verdict of future generations. Elizabeth Costello is a humane, moral, and uncompromising creation; J. M. Coetzee's latest work of fiction offers us a profound and delicate vision of literary celebrity, artistry and the private life of the mind.

Youth's narrator, a student in 1950s South Africa, has long been plotting an escape from his native country. Studying mathematics, reading poetry, saving money, he tries to ensure that when he arrives in the real world he will be prepared to experience life to its full intensity, and transform it into art. Arriving at last in London, however, he finds neither poetry nor romance. Instead he succumbs to the monotony of life as a computer programmer, from which random, loveless affairs offer no relief. Devoid of inspiration, he stops writing and begins a dark pilgrimage in which he is continually tested and continually found wanting. Set against the background of the 1960s, Youth is a remarkable portrait of a consciousness turning in on itself. J. M. Coetzee explores a young man's struggle to find his way in the world with tenderness and a fierce clarity.

«Desde los años sesenta, en que se sirvió de un ordenador Univac 1106 para estudiar la prosa de Samuel Beckett, J. M. Coetzee ha sido un arriesgado explorador del lenguaje. Coetzee ha emprendido una

J. M. Coetzee is, without question, one of the world's greatest novelists. This volume gathers together for the first time in book form twenty-nine pieces on books, writing, photography and the 1995 Rugby World Cup in South Africa. Stranger Shores opens with 'What is a Classic?' in which Coetzee explores the answer to his own question - 'What does it mean in living terms to say that the classic is what survives?' - by way of TS Eliot, JS Bach and Zbigniew Herbert. His subjects range from eighteenth and nineteenth century writers Daniel Defoe, Samuel Richardson and Ivan Turgenev, to the great German modernists Rilke, Kafka, and Musil, to the giants of late twentieth century literature, among them Harry Mulisch, Joseph Brodsky, Jorge Luis Borges, Salman Rushdie, Amos Oz, Naguib Mahfouz, Nadine Gordimer and Doris Lessing.

'Boyhood is a deeply-felt and utterly compelling account of a South African childhood: the narrative style is as spare and lean as the Karoo flatlands which form its backdrop' Daily Telegraph

For decades the Magistrate has been a loyal servant of the Empire, running the affairs of a tiny frontier settlement and ignoring the impending war with the barbarians. When interrogation experts arrive, however, he witnesses the Empire's cruel and unjust treatment of prisoners of war. Jolted into sympathy for their victims, he commits a quixotic act of rebellion that brands him an enemy of the state.

Stifled by the torpor of colonial South Africa, and trapped in a web of reciprocal oppression, a lonely sheep farmer seeks comfort in the arms of a black concubine. But when his embittered spinster daughter Magda feels shamed, this lurch across the racial divide marks the end of a tenuous feudal peace. As she dreams madly of bloody revenge, Magda's consciousnessstarts to drift and the line between fact and theworkings of her excited imagination becomes blurred. What follows is the fable of a woman's passionate, obsessed and violent response to anAfrica that will not heed her.

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 pressure to repent publicly, he resigns and retreats to daughter Lucy's isolated smallholding. For a time, his daughter's influence and the 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.