Life and time of Michael K.
Life and Times of Michael K. (English Life & Times of Michael K ) is a novel by the South African author and later Nobel Prize winner J. M. Coetzee , published in 1983. In the same year he was awarded the Booker Prize and in 1984 the CNA Literary Award . From the perspective of the end of apartheid, the novel describes a strongly fictionalized South Africa of the future that is in a civil war, and is one of Coetzee's most widely received texts. The main character is the taciturn gardener Michael K., who is described as simple in spirit, who wants to take his mother through the chaos of war to her birth farm in a handcart. In the course of the plot, the mother dies, which does not prevent Michael K. from continuing the journey with her ashes. The text, which is around 200 pages long, changes the narrative perspective several times. The life and time of Michael K. deals with questions of power relations, political resistance and individuality and is rich in references to other texts . Language, communication and interpersonal understanding are also central issues. The novel was largely positively received by the critics, and a large amount of literary research is also concerned with it. The German translation by Wulf Teichmann was published in 1986.
content
scene of action
The novel is set in partly real locations in South Africa. Published eleven years before the end of apartheid, it describes a future scenario in which racial segregation continues and civil war rages. But it is not clear who exactly the conflicting parties are. Exact times are also not given; From the descriptions of technical achievements, which consistently correspond to the status at the time of the publication of the novel, it can however be deduced that the future is not distant. Sometimes South African events of the past are alluded to, such as the Soweto uprising in 1976 and the subsequent unrest. Conflicts from this time and the associated concerns and fears of the population are projected into the future by Coetzee.
action
The main character Michael K. is a simple and uneducated gardener in a suburb of Cape Town , who is characterized by his harelip in the first sentence of the novel . His skin color is never directly mentioned in the novel; However, based on the entries on an index card that is placed on him at the police station, it can be indirectly concluded that he is colored. The novel begins with the birth of K. He has a strong bond with his mother, a cleaning lady, who, however, already treats him repulsively because of his physical disfigurement. When the civil war escalated and his mother became seriously ill, Michael K. gave up his job to take the mother to her home farm near Prince Albert in the country. Since he cannot get the necessary papers for the trip, he pushes them in a handcart. On the way, the mother dies in a hospital in Stellenbosch . Michael K. wants to bring her ashes to the farm in a plastic bag, but is picked up by government officials on his way and taken to a labor camp. After he managed to escape, he hides on an abandoned farm (it is unclear whether this is really his mother's birth farm) and grows pumpkins. From there, he observed resistance fighters several times, who passed by and partly used his garden. Although this annoys him, he does not leave his hiding place.
After he was picked up again by soldiers, he was sent to a reintegration camp in the Cape region. There a doctor begins to take an interest in him. Michael K. refuses to eat and becomes seriously ill. The doctor tries in vain to understand the motivation behind his behavior and campaigns for his release. Ultimately, however, Michael K. manages to escape again himself. He lived with nomads for a while , but then returned to his old apartment in Cape Town. At the end of the novel, Michael K. draws a teaspoon of water from a well and resolves to elevate this way of life - scooping one tiny portion after the other - to a principle. At the same time, a reference is made to the beginning: The infant Michael was fed a teaspoon by his mother because he could not drink from a bottle because of his harelip.
Narrative
The novel is divided into three sections. The first and by far the longest describes Michael K's story in the third person before his introduction to the camp. Due to its non-communicative nature, dialogues are relatively rare. The narrative is largely limited to plot descriptions and some thoughts of Michael K. The character is not presented completely coherently: While many of his thoughts are on a naive, sometimes child-like level, some reflections also reach a relatively high level, which is considered to be contradicting his other Behavior was read. Derek Attridge saw in this narrative style an attempt to distance the narrative itself from Michael K.: In his opinion, it should be made clear that the narrative does not really capture Michael K's inner life (as suggested in Experienced Speech, for example ), but always one maintains an artificial position outside the real world of thought.
The second part of the novel describes Michael K's time in the reintegration camp and brings with it a radical change of perspective. It consists of the doctor's diary entries written in the first person and reflecting his attempts to understand Michael K. Nothing is told about its inner workings in this part: the reader only experiences the failure of the doctor to understand Michael K's personality. The doctor calls him with a false name, namely "Michaels".
The third and shortest part deals with the time after Michael's escape and, like the first part, is told again in the third person. However, this time Michael K himself has his say: In a passage at the very end of the novel, his own thoughts and philosophy of life are presented in an experienced speech. For Dominic Head, the formal structure of the entire novel is designed to give this part a high priority.
Interpretations
Title and name of the main character
The title Life & Times of Michael K (in the English original, unlike in the German translation, without the abbreviation point ) has been interpreted in different ways. On the one hand, the name of the main character relates to the main characters in Franz Kafka's novels The Trial and The Castle , which share the initial K with Coetzee's main character. Coetzee's direct reference to Kafka is practically consensus in research on the novel. Coetzee himself said that there was “no monopoly on the letter K”. The first name Michael also results in an autobiographical reading: Michael is Coetzee's own middle name, at the same time his family name sometimes appears in variants such as "Kotze" or "Koekemor", from which the K can be derived, which Nadine Gordimer pointed out (the at the same time as practically the only interpreter denied any reference to Kafka). Coetzee himself has repeatedly expressed the view that autobiographical elements cannot be banned from literature and that every text is to a certain extent autobiographical. In several of his works, autobiographical narratives are mixed with fiction, which provoked interpretations that the name Michael K is an allusion that should create confusion in this regard.
(The) Life and Times of ... is a formula that has been in use in the title of biographies , educational novels and historical novels since the 18th century and thus creates a connection to these genres. These traditions were usually aimed at portraying an individual in the context of their society; in Coetzee's novel this is ironically broken when the main character Michael K. tries to cut off all connection to the outside world and to other people. Due to the fictional epoch in which the novel is set, Times cannot be clearly assigned either.
Narration and structure
The changing narrative attitude in the course of the novel raises problems that are directly related to its main themes. Dominic Head points out that the omniscient narrator in the first and third parts of the novel is a convention of literary realism that draws attention to the extent to which Michael K's story is manipulated by the narrative itself. This question is emphasized by the second part, in which the treating doctor makes explicit attempts to interpret the life of his patient and thereby to appropriate his story. This will train the reader to be cautious about this tendency. Although the omniscient narrator makes less obvious attempts at interpretation in the other two parts (and almost entirely abstains from evaluating the figure of Michael K), this caution is also appropriate. The (except for the last passage) almost complete secrecy of the protagonist, which almost never allows an insight into his world of thought, complicates this problem and for Head is also a sign of both his disenfranchisement and at the same time his (political) resistance.
The question of the allegorical content
A typical motif shared by Michael K.'s life and time with many of Coetzee's other novels is the narration of a plot that cannot be clearly assigned historically. One problem that arises from this is whether the novel can be read allegorically . The problem of allegory is also specifically addressed in the novel: The attending physician describes Michael K's stay in the reintegration camp as an allegory that needs to be seen through. Various critics have dealt with the question of whether the novel itself is to be read as an allegory (that is, in its literal meaning implies a different one), including David Attwell, who also asked Coetzee the question directly. However, Coetzee refused to answer on the grounds that he did not want to comment on his own works.
Allegorical readings have led to various accusations against Coetzee (see section Reception ) and represent a problem that is also addressed in various other works by Coetzee. Derek Attridge has dealt extensively with this question. He comes to the conclusion that the novel deliberately raises the question and also addresses it itself, but ultimately has to be read in its literal meaning and specifically excludes excessive generalizations with narrative strategies. An example for him is the narrative situation, which seems to suggest a closeness to Michael K's world of thought, but ultimately creates a distance again through strategies such as renouncing experienced speech and various philosophical considerations that the character Michael K. cannot be trusted with. The voice of Michael K and the narrator are thus interwoven and can no longer be clearly separated for the reader; the narrator intervenes in Michael's train of thought. Because the initial narrative situation cannot be clearly defined, Attridge's must read the novel with specific reference to the wording of its language: generalizing or allegorical interpretations would require a knowledge of who is actually telling the story, which is systematically undermined. The systematic descriptions of apparently unimportant details, Michael's fundamental considerations and the description of physical experiences also focus Attridge more on the wording of the language than on a possible allegorical meaning.
Political and social classification
The attempt to classify the novel politically has led to various interpretations. Michael's role as a gardener plays a special role. Derek Wright sees him as a hero of the ecological movement of the 1980s, other interpreters assumed a connection to the South African situation of the 1970s. The cultivation of pumpkins in the ground on which Michael had scattered his mother's ashes was read either as a propagation of a symbolic new beginning in society or as a ritual cleansing process. On the other hand, the cultivation of food stands in the way of Michael's refusal to eat food in the reintegration camp. Post-colonial approaches see this as a subversive act - the refusal to become dependent on the ruling forces that act as oppressors elsewhere. The incomprehension that the attending physician had towards Michael's behavior was read as a result of this interpretation as the success of the subversion. Other critics, however, tend to see the figure Michael K. as fundamentally apolitical and to interpret his hunger strike as an attempt to stay out of all political and ideological discourses.
Michael K mentioned explains to the treating doctor himself that he was not a participant in the war ("I am not in the war"). Dominic Head sees the figure as the embodiment of apolitical retreat - Michael K opposes absolutely any kind of social or political classification. He sees the fact that the novel itself does not even mention the skin color of the main character (which is actually relevant in the context) as a denial of the apartheid classification system.
Similar debates extend to two other characters from Coetzee's novels, the barbarian girl from Waiting for the Barbarians and Friday from the Robinson Crusoe adaptation Foe (Eng. Mr. Cruso, Mrs. Barton and Mr. Foe ).
Michael K as an independent individual
Derek Attridge sees Michael's most prominent physical feature, the harelip, as evidence that he as a figure stands outside ideological discourse: The psychological imprint he has experienced through this deformation (and the subsequent rejection by his mother) is not based on it its classification in a social group, but on an individual property. For him, the figure of Michael K. is therefore not to be read as a representative of a certain population group, but as an individual who in a certain way stands outside of all possible categorizations - and also strives for this status by trying to evade all interpersonal obligations. Michael K. expressly declares his wish not to have any children to whom he would have responsibility and to disappear after his death without a trace.
References to other texts
Like many of Coetzee's novels, the life and time of Michael K. is rich in intertextual references to various other works. Prominent comparisons that are repeatedly drawn concern works by Franz Kafka and Samuel Beckett . There are many obvious parallels here. Michael shares the initial K with the main characters of Kafka's novels The Trial and The Castle as well as with Kafka himself. Coetzee himself has published several essays about Kafka and in his novel Elizabeth Costello also wrote an episode clearly based on the castle . When asked about Michael K.'s name, he said: “[I] I don't regret having used the letter K in Michael K. , although that looks like overestimating myself. There is no monopoly on the letter K; or, to put it another way, it is equally possible to let the universe revolve around the city of Prince Albert in the Cape Province as to Prague. "In addition to the protagonists of two novels Michael K. also has significant similarities to Kafka's Hunger Artist on which gradually disappears as a result of refusing to eat. While Kafka's hunger artist does this as a public performance, for Coetzee's Michael K it is precisely the withdrawal from society and the denial of its demands that are decisive. Unlike the hunger artist, Michael K. does not have any heroic features. Clear parallels to Kafka can also be found in Coetzee's descriptions of endlessly long and hopeless bureaucratic mechanisms, for example in Michael K's application for a travel permit from the authorities, which is ultimately never issued until he illegally sets out on his own.
Another writer whose work the novel has been repeatedly referred to is Samuel Beckett. Gilbert Yeoh is one of the literary scholars who have dealt intensively with this reference. In Yeoh's view, Coetzee makes use of Beckett's narrative strategies in his oeuvre, but especially in Michael K. , in order to correlate them with the concrete political implications for the situation in South Africa. He makes particular reference to Beckett's novels, especially Molloy ; However, the underlying outsider theme can be traced in Beckett's oeuvre, for example in his most famous play Waiting for Godot . For Yeoh, Beckett's outsider figures are pushed into their positions through general alienation , while Coetzee turns it into a concrete problem of social exclusion. He shows various direct references between Beckett and Coetzee on a linguistic and ideological level, with the inability to tell one's own story playing a special role. While Beckett's characters often address this problem themselves, Michael K usually only perceives it through his fellow human beings (such as the doctor in the reintegration camp). Based on this starting point, Yeoh comes to the view that Coetzee obviously does not feel able to tell a story from a “black” point of view in this novel, but at the same time feels obliged to do so in a certain way - and irretrievably alienated from the white population.
Manfred Loimeier also recognized a poem by the Brazilian poet João Cabral de Melo Neto as a point of reference, which in the English translation by Elizabeth Bishop is called The Death and Life of a Severino and thus already shows parallels in the title. Severino, a name common in Brazil, is, in his opinion, similarly representative of the average person like Michael K. Similar to Michael K., Severino comes from a small family and is confronted with problems such as hunger and illness. The poem describes his way from the inland to the coast, where he meets, among other things, two men who are carrying a corpse in a hammock. Loimeier sees this as a literary model for Coetzee's novel.
A reference can also be made to Heinrich von Kleist's Michael Kohlhaas , not least through the similarity of names. Peter Horn described Michael K. as the inversion of Michael Kohlhaas and stated that while Kleist was clinging to a bourgeois idea of freedom, Coetzee affirmed an ethic of minimalism based on the indestructible obstinacy of an individual. Dimitris Vardoulakis pointed out similarities between the checkpoints that Michael K has to pass and the border between Brandenburg and Saxony, which is an obstacle for Kohlhaas.
reception
Prices
The life and times of Michael K. was awarded the Booker Prize in 1983, the most important British literary prize. The reasoning states:
“This life-affirming novel illuminates the human experience: the need for an interior, spiritual life; for meaningful connections to the world in which we live; and for purity of vision. "
“This life-affirming novel illuminates the human experience: the need for an inner, spiritual life; for meaningful connections to the world we live in; and for a purity of vision. "
When the novel Schande also received the Booker Prize in 1999 , Coetzee became the first author to receive the award twice.
In 1984, the life and time of Michael K. was also awarded the prestigious CNA Literary Award in South Africa , which he shared with Douglas Livingstones Selected Poems .
criticism
The Booker Prize award was the most prestigious to date that Coetzee had received. The novel was received positively by the critics and, in addition to Waiting for the Barbarians and Shame, is still one of Coetzee's best-known and most widely received works, both in the feature pages and in literary studies .
Positive voices
Writer Cynthia Ezick compared the novel in the New York Times to The Adventures of Huckleberry Finn and Robinson Crusoe ; Life and time of Michael K. reworked the insights of Huck Finn, but from the perspective of the escaped slave Jim. Coetzee is an author full of inventiveness and persuasiveness. His muted but urgent complaint is directed at a South Africa that has turned its own (black and white) children into addicts, parasites and prisoners. Michael K.'s revelations and revelations are in no way to be understood as a hidden justification of terrorism - overall, Coetzee did not write a symbolic novel about the inevitability of guerrilla warfare and revolution, but in the language of the imagination disclosed the ponderous jokes and self-deception of stupidity. His theme is the wild and merciless power of limitation.
Julia Leigh chose the novel as "Book of a Lifetime" for The Independent . The life and times of Michael K. made a deep impression on her and led her to read as much of Coetzee's work as possible. She praised the change in narrative voices, with which the text cleverly evaded authority, and described Coetzee's style as baroque, dizzying, colorful and picaresque, among other things.
Negative voices
There were also critical and negative voices. The implicit parallels between the reintegration camp in which Michael K. is interned and a concentration camp was perceived by some critics as inappropriate. Such obviously inaccurate classifications would lead to the risk of obscuring the injustice actually committed in South Africa. The myth of the Boer capacity for suffering and inflexibility would be affected. In the secondary literature, however, there is disagreement as to whether Coetzee is vulnerable at this point or "deliberately blasphemous", as Susan VanZanten Gallagher assumes.
Another accusation was that Coetzee was neglecting the concerns of the oppressed black population by using white clichés: Michael K. was the epitome of the nature-loving, uncultivated black who stood outside of history and thus a stereotype of the white ecological movements of the 1980s. Through this figure, myths and prejudices of the white oppressors would ultimately be continued under a sympathetic guise. Ulrich Horstmann countered this by stating that Michael K. was not striving for the continuity of the Boer way of life and that he saw himself as a “gardener” who had to cultivate the landscape.
The Nobel Prize winner for literature, Nadine Gordimer , also expressed reservations about the novel in the New York Review of Books in a widely acclaimed review entitled The Idea of Gardening . She accused Coetzee of failing to recognize the real role of the victims of political oppression with his marginalized, disenfranchised main character: “[He] does not recognize what the victims, seeing themselves as victims no longer, have done, are doing, and believe they must do for themselves ”(“ He does not recognize what the victims, who no longer see themselves as victims, do and believe they have to do for themselves ”). At the same time, based on Georg Lukács , she misses an organicity that defines the central connection between private and social fate and that is more distorted here than the subjectivity of a writer could justify.
In a review in the Guardian in 2009, Sam Jordison criticized the figure Michael K, which he perceived as a “clumsy plot device” rather than a real figure. For Jordan, his lists and successes and his eloquent speeches and searching questions contradict the simplicity of the figure, which the reader is reminded of again and again. He also criticized Coetzee's habit of overemphasizing his didactic statements and of having too little faith in the ability of his readers to understand meaning without constant objections. Jordison sees it as "serious annoyances". Although the life and times of Michael K. is elegantly written, it is a "deeply flawed book" ("a deeply flawed book").
Christopher Lehmann-Haupt made similar allegations in 1983 in the New York Times and also criticized what he believed to be too intrusive allusions to Kafka. For these reasons, the life and times of Michael K. did not manage to develop the same force as the previous novel Waiting for the Barbarians .
Failed film adaptation
The director Cliff Bestall planned a film adaptation of the novel for the British television channel Channel 4 . Coetzee, who insisted on a right of veto , commented on several different versions of the script. The original version, with which he agreed, was rejected by the broadcaster, who wanted a more positive ending - a request that Coetzee, in turn, refused to accept. Bestow tried to find a compromise between the two parties and submitted a second version of the script, which Coetzee flatly rejected. A third version of the script, based on the original, was ultimately no longer made into a film because of changes in the personnel structure of Channel 4 in the meantime.
Bestall was particularly interested in the cinematic implementation of the silence of the figure Michael K, which he wanted to implement with the means of the performance - “A black figure in brilliant sunlight stepping through a crop of pumpkins got me” (“A black figure in glistening sunlight that walking between pumpkins convinced me ”). He named Charlie Chaplin and Buster Keaton as role models for the film adaptation . According to his statement, Coetzee was taken with the idea and described the original version as "better than the book" ("better than the book").
literature
expenditure
- JM Coetzee: Life & Times of Michael K , Secker & Warburg: London (1983) ISBN 0-436-10297-8
- JM Coetzee: Life and Time of Michael K. (German by Wulf Teichmann), Hanser: Munich / Vienna (1986) ISBN 3-596-13252-5
Secondary literature
- Gardening as Resistance: Life and Times of Michael K in: Dominic Head: JM Coetzee , Cambridge University Press: Cambridge (1997) ISBN 0-521-48232-1
- In the penal colony. Life and time of Michael K. in: Manfred Loimeier: JM Coetzee , edition text + kritik: Munich (2008) ISBN 978-3-88377-916-4
- Tamlyn Monson: An Infinite Question: The Paradox of Representation in "Life & Times of Michael K" , in Journal of Commonwealth Literature 38 (2003), 87-106
- Derek Wright: Chthonic Man: Landscape, History and Myth in Coetzee's "Life & Times of Michael K" , in New Literatures Review 21 (1991), 1-15
- Derek Wright: Black Earth, White Myth: Coetzee's "Michael K" , in Modern Fiction Studies 38 (1992), 435-444
- Gilbert Yeoh: JM Coetzee and Samuel Beckett , in: Ariel 41/4 (2004)
Footnotes
- ^ A b Dominic Head: JM Coetzee , Cambridge University Press: Cambridge (1997), p. 93
- ↑ Ulrich Horstmann: JM Coetzee. Vorhaltungen , Peter Lang: Frankfurt am Main (2005), p. 96
- ↑ Manfred Loimeier : JM Coetzee , edition text + kritik: Munich (2008), p. 126
- ^ Derek Attridge: JM Coetzee and the Ethics of Reading , University of Chicago Press: Chicago / London (2004), pp. 49f.
- ^ Dominic Head: The Cambridge Introduction to JM Coetzee , Cambridge University Press: Cambridge (2009), p. 58
- ↑ “There is no monopoly on the letter K”, David Atwell (ed.): Doubling the Point: Essays and Interviews , Harvard University Press: Cambridge, MA (1992) p. 199
- ↑ a b Gilbert Yeoh: JM Coetzee and Samuel Beckett , in: Ariel (41/4, 2004), p. 126
- ↑ Coetzee changed his name himself from John Michael Coetzee to John Maxwell Coetzee, before he finally decided to only appear under his initials; Rory Carroll: Nobel prize for JM Coetzee - secretive author who made the outsider his art form , Guardian on October 3rd, 2003, seen on December 1st, 2017
- ^ Derek Attridge: JM Coetzee and the Ethics of Reading , University of Chicago Press: Chicago / London (2004), p. 51
- ^ Dominic Head: The Cambridge Introduction to JM Coetzee , Cambridge University Press: Cambridge (2009), p. 57f.
- ^ JM Coetzee: Life & Times of Michael K , Vintage: London (2004), p. 166
- ↑ David Atwell (Ed.): Doubling the Point. Essays and Interviews , Harvard University Press (1992), p. 204
- ^ A b Derek Attridge: JM Coetzee and the Ethics of Reading , University of Chicago Press: Chicago / London (2004), p. 53ff.
- ^ Derek Wright: Black Earth, White Myth: Coetzee's Michael K , Modern Fiction Studies 38.2 (1992), p. 440
- ^ A b Laura Wright: Writing "Out of All the Camps" , Routledge: New York / London (2006), pp. 83ff.
- ^ JM Coetzee: Life & Times of Michael K , Secker & Warburg: London (1983), p. 138
- ^ Dominic Head: The Cambridge Introduction to JM Coetzee , Cambridge University Press: Cambridge (2009), p. 56
- ↑ quoted from Manfred Loimeier : JM Coetzee , edition text + kritik: München (2008), p. 134
- ^ Gilbert Yeoh: JM Coetzee and Samuel Beckett , in: Ariel (41/4, 2004), p. 121
- ↑ Ulrich Horstmann: JM Coetzee. Vorhaltungen , Peter Lang: Frankfurt am Main (2005), p. 97
- ↑ Gilbert Yeoh: JM Coetzee: Nothingness, Minimalism and Indeterminacy , in: Ariel: A Review of International English Literature 31: 4, October 2000, pp. 117ff.
- ↑ Manfred Loimeier: JM Coetzee , edition text + kritik: Munich (2008), p. 127ff.
- ↑ Peter Horn: Michael K: Pastiche, Parody or the Inversion of Michael Kohlhaas , Current Writing: Text and Reception in Southern Africa 17 (2), 2005, pp. 56-73
- ↑ Dimitris Vardoulakis: Sovereignty and Its Other: Toward the Dejustification of Violence , Fordham University Press (2013), p. 189
- ↑ The Man Booker Prize 1983 , as viewed December 1, 2017
- ↑ Booker double for Coetzee , BBC October 26, 1999, as viewed December 1, 2017
- ↑ African Book Awards Database , accessed December 1, 2017
- ↑ Cynthia Ezick: A Tale of Heroic Anonymity , New York Times, December 11, 1983, viewed December 1, 2017
- ^ [1] Julia Leigh: Book Of A Lifetime: Life and Times of Michael K, JM Coetzee , independent.co.uk, May 8, 2008, viewed December 1, 2017
- ↑ Susan Gallagher Vanzanten: A Story of South Africa. JM Coetzee's Fiction in Context , Harvard University Press: Cambridge, Mass. (1991), pp. 154f.
- ↑ Ulrich Horstmann: JM Coetzee. Vorhaltungen , Peter Lang: Frankfurt am Main (2005), p. 99f.
- ↑ Ulrich Horstmann: JM Coetzee. Vorhaltungen , Peter Lang: Frankfurt am Main (2005), p. 101f.
- ↑ quoted from: Dominic Head: The Cambridge Introduction to JM Coetzee , Cambridge University Press: Cambridge (2009), p. 57
- ↑ Nadine Gordimer: The Idea of Gardening , New York Review of Books, February 2, 1984, viewed December 1, 2017
- ↑ Sam Jordison: Booker club: Life and Times of Michael K , theguardian.com, June 16, 2009, accessed December 1, 2017
- ↑ Christopher Lehmann-Haupt: Books of The Times , New York Times, December 6, 1983, viewed December 1, 2017
- ↑ Lindiwe Dovey, Teresa Dovey: Coetzee on Film , in: Graham Bradshaw, Michael Neill (eds.): JM Coetzee's Austerities , Ashgate: Farnham / Burlington (2010), p. 58
- ↑ a b Lindiwe Dovey, Teresa Dovey: Coetzee on Film , in: Graham Bradshaw, Michael Neill (eds.): JM Coetzee's Austerities , Ashgate: Farnham / Burlington (2010), p. 73