Monday, September 26, 2011

WAITING for the Barbarians


J. M. Coetzee’s Waiting for the Barbarians isn’t about the barbarians; it’s about the waiting. The concept of waiting with all of the possible variations in the meaning of the word- expecting, anticipating, being ‘ready’ for- is what fascinates me most in this novel.

The residents of a desert outpost are led to believe by officials in the existence of barbarians and the imminent threat of their arrival. ‘Preparations’ are made in anticipation of that arrival – preparations in various forms of injustice- until a state of complete chaos and anarchy is created by the officials of the "Empire".

In this period of waiting, public life transforms from an ordinary state to a state of exceptional circumstances, where panic and confusion reign. Anything is possible in this state- nothing is too precious to give up, as no one is too strong to stand alone against this threat. And so, everyone, in unity, gives all they have to those who can ‘protect’ them against the threat of the unknown enemy. For what is life worth without the feeling of (national) ‘safety’, without the feeling of (national) ‘security’? Nobody really asks, “Who are these barbarians?” “Why would they want to hurt us?”

Nobody notices how that whole time, the barbarians have been right there. They arrived with the Colonel- the head barbarian, to abuse the people and their resources, to take what they could and move to another place, where, fortunately for them, no one knows yet what the enemy really looks like.

Friday, September 16, 2011

In the Heart of the Country


“I am a miserable black virgin, and my story is my story, even if it is a dull black blind stupid miserable story, ignorant of its meaning… I am a I.”

Is the story my story because I am the one living it or is it my story because I am the one telling it. Is the story about me or am I about the story. Does my story begin with me or do I begin with my story.


 “I am hole crying to be a whole”. My present is a sum of absences. I am nameless, yet I have a name. I am homeless, yet I have a home. I am lifeless, yet I have a life. Whose body am I in, and who is this in my body.

I hear a voice (at times, voices) - it cannot be mine because the story is, I have no voice, yet it is coming from me, therefore it must be part of me. It makes my murmurs into words. It is no language, though, as I have no language; it “was subverted by my father and cannot be recovered.”

Who is listening to my story. Who is hearing my story. Did I create my story or did my story create me…


It is easy to get lost in Magda’s heart, a heart with a faint, irregular pulse, a heart withIn the Heart of the Country. Coetzee’s Magda is not a character in this novel, she is the novel. In being that, she embodies what the novel says and what the novel does. She is complex, she is confused and confusing, everything about her existence is questionable- the boundaries between what’s real and what’s story are blurred beyond repair. She has a made-up identity yet she has had little participation in the making of that identity. Her made-up identity begins to make her into a new identity, which at the same time rejects and embraces its maker.