Hello everyone, here I’m writing this blog on J.M. Coetzee’s Foe. In this blog I try to give comparative and critical analysis of Daniel Defoe’s ‘Robinson Crusoe’ and J. M. Coetzee’s ‘Foe’
About the author :
J. M. Coetzee is a South African-Australian novelist, essayist, linguist, translator and recipient of the 2003 Nobel Prize in Literature. He is one of the most critically acclaimed and decorated authors in the English language. He has won the Booker Prize, the CNA Literary Award, the Jerusalem Prize and The Irish Times International Fiction Prize, and holds a number of other awards and honorary doctorates.
Coetzee was born in Cape Town, South Africa, to Afrikaner parents. He studied at the University of Cape Town and the University of Texas at Austin, where he received a PhD in English. Coetzee taught English literature at the University of Cape Town for many years, and was a vocal critic of the apartheid regime. He moved to Australia in 2002 and became an Australian citizen in 2006.
Coetzee's novels are known for their exploration of complex themes such as colonialism, power, language, and the human condition. His writing is often characterized by its spare and elegant prose, its moral seriousness, and its psychological insights.
Some of Coetzee's most notable works include:
- Dusklands (1974)
- In the Heart of the Country (1977)
- Waiting for the Barbarians (1980)
- Foe (1986)
- Age of Iron (1990)
- Elizabeth Costello (2003)
Coetzee is one of the most important and influential writers of our time. His work has been translated into over 30 languages and has won numerous awards. He is a true literary giant.
Foe is a 1986 novel by J. M. Coetzee, a reworking of Daniel Defoe's Robinson Crusoe. The novel is set in the early 18th century and tells the story of Susan Barton, an Englishwoman who is shipwrecked on an island with Cruso, a white man, and Friday, a black slave.
Susan is initially taken in by Cruso and Friday, but she soon begins to question their relationship. Cruso claims to have rescued Friday from cannibals, but Friday is mute and unable to tell his own story. Susan also begins to suspect that Cruso is not being entirely truthful about his past.
One day, a ship arrives on the island and a man named Foe disembarks. Foe is a writer who has come to hear Susan's story and write it as a book. Susan is initially reluctant to agree, but she eventually agrees in the hope that the book will help her to find her lost daughter.
As Foe begins to write Susan's story, he begins to take liberties with the truth. He embellishes the story and adds his own inventions. Susan is frustrated by Foe's version of her story, but she is powerless to stop him.
In the end, Susan realizes that she cannot control how her story is told. She is trapped in Foe's narrative, just as Friday is trapped in Cruso's.
Foe is a complex and multi-layered novel that explores themes of colonialism, power, and language. It is a meditation on the nature of storytelling and the ways in which stories can be used to control and manipulate others.
Literature has a unique ability to evolve and respond to changing cultural and historical contexts. J.M. Coetzee's "Foe" is a perfect example of such a response. Published in 1986, it is a reimagining of Daniel Defoe's classic novel "Robinson Crusoe," originally published in 1719. These two works, while sharing a common narrative foundation, represent distinct periods in literary and historical development and provide a fascinating opportunity for a comparative and critical analysis.
Narrative Perspective:
One of the most evident differences between the two novels lies in their narrative perspectives. "Robinson Crusoe" is primarily a first-person narrative, presented in the form of an autobiographical account by the protagonist, Robinson Crusoe. The story unfolds through Crusoe's personal journal, which he keeps while marooned on the deserted island. This perspective is straightforward and direct, reflecting Crusoe's isolation and his effort to document his experiences.
On the other hand, "Foe" adopts a more complex and multi-layered narrative perspective. It is narrated by Susan Barton, a castaway who finds herself washed ashore on the same island as Crusoe. However, the novel deviates significantly from Crusoe's perspective. While Crusoe is a character in the story, Susan Barton becomes the central character through whose eyes the reader perceives the events. She becomes increasingly frustrated with Crusoe's control over her narrative and the story itself.
Coetzee introduces the character of the author Daniel Foe (the historical Defoe) into the narrative, who takes charge of shaping Barton's story and her experiences on the island. This adds layers of complexity, as Foe becomes a character within the story, introducing metafictional elements that challenge the traditional narrative.
Colonialism and Postcolonialism:
Robinson Crusoe" is often considered a quintessential colonial narrative. It reflects the Eurocentric viewpoint of its time, where European exploration, colonization, and domination of other cultures were seen as natural and morally justifiable. Crusoe's relationship with Friday, a native character whom he initially calls "a savage," is emblematic of the colonial attitudes prevalent during the 18th century. The novel reinforces the idea of European superiority and the civilizing mission.
Foe," in contrast, can be seen as a postcolonial response to "Robinson Crusoe." Coetzee's novel challenges and deconstructs the colonial perspective. It highlights the marginalized voices that were overshadowed in the original novel. Friday, who was largely voiceless in "Robinson Crusoe," becomes a central character with his own perspective in "Foe." Coetzee explores the power dynamics of colonialism, making the reader question the traditional narratives of conquest and dominance.
Susan Barton, while not native to the island, also represents a challenge to colonialism. Her character resists the submissive role often assigned to women in colonial literature. She's not content with being a passive observer; instead, she strives to give voice to the silenced, particularly Friday. This is a key theme in postcolonial literature – the reevaluation and reclamation of suppressed narratives.
Characterization:
Characterization in both novels is another area where significant differences can be observed. In "Robinson Crusoe," the character development is primarily centered around the eponymous character, Robinson Crusoe. His transformation from a castaway to a self-reliant survivor is the central arc of the narrative. The reader witnesses his evolution from a privileged Englishman to a resourceful, self-sufficient man who learns to make tools, tame the land, and ultimately achieve mastery over his environment.
In "Foe," character development takes on a different dimension. Susan Barton is given depth and complexity, and the narrative highlights her agency and struggles. She is not just a passive observer but an active participant in the events on the island. She is also portrayed as a mother figure to the mute and initially "savage" Friday, challenging the colonial notion of European superiority. Friday himself is a more fully realized character, with his thoughts, emotions, and a voice that speaks against the traditional portrayal of native characters.
Language and Communication:
Both novels explore the theme of language and communication, but they do so in markedly different ways. In "Robinson Crusoe," language is a tool of survival. Crusoe's efforts to master the language of the island's native inhabitants and his meticulous journal-keeping are central to the narrative. Language becomes a means of documenting his experiences and asserting his identity as a civilized European.
In "Foe," language is deconstructed and examined more critically. Susan Barton's struggles with language and communication become a central motif. Her inability to communicate with Friday due to their language barrier highlights the complexities of understanding and representing the other. Additionally, the character of Daniel Foe introduces the element of control over language. Foe, as the author, holds the power to shape and manipulate Susan's story, raising questions about the authority of the author and the limits of language.
Metafiction and Deconstruction:
Foe is a metafictional work, which means that it intentionally draws attention to the act of storytelling. Coetzee challenges the conventional structure of storytelling and questions the reliability of narratives. The introduction of Daniel Foe as a character within the story adds layers of complexity. Foe not only shapes the narrative but also raises questions about the ethics of storytelling and the imposition of a colonial narrative on the characters.
In contrast, "Robinson Crusoe" adheres to a more straightforward adventure narrative. The story follows a linear progression of events without self-reflexivity or metafictional elements. Crusoe's journal, while a tool for self-expression and documentation, does not critically engage with the act of storytelling itself
Robinson Crusoe" explores themes of survival, self-reliance, and the triumph of the human spirit over adversity. The novel showcases the individual's ability to adapt and thrive in isolation and harsh conditions. It upholds the values of hard work, resourcefulness, and the European ideal of progress.
Foe" delves into a broader range of themes. It explores power dynamics, voice, and the complexities of colonialism. Friday, as a character, challenges preconceived notions of savagery and civilization. Susan Barton's determination to tell her own story, and the story of others on the island, challenges the traditional narratives of conquest and dominance. The novel also grapples with the complexities of representation and the limits of language, questioning the authority of the author.
Cultural and Historical Context:
The historical and cultural contexts in which these novels were written are vastly different. "Robinson Crusoe" was written in the early 18th century when colonialism and European expansion were at their height. The novel reflects the colonial mindset of the time, where European exploration and domination were seen as natural and morally justified.
In contrast, "Foe" was written in the late 20th century, a time when postcolonial and feminist discourses were prominent. Coetzee's work engages with and challenges colonial literature .
In summary, while "Robinson Crusoe" is a classic adventure narrative with a colonial perspective, "Foe" serves as a postcolonial reimagining that challenges the traditional storytelling format, questions power dynamics, and explores the marginalized voices within the narrative. Coetzee's work engages in a critical dialogue with Defoe's classic, making it a thought-provoking and complex literary reinterpretation.
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