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Summertime: Fiction by J. M. Coetzee
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Summertime: Fiction (edition 2009)

by J. M. Coetzee

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8243711,042 (3.8)68
Member:gefox
Title:Summertime: Fiction
Authors:J. M. Coetzee
Info:Viking Adult (2009), Hardcover, 272 pages
Collections:Your library
Rating:****
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Summertime: Scenes from Provincial Life by J. M. Coetzee

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English (32)  Spanish (3)  Dutch (2)  English (37)
Showing 1-5 of 32 (next | show all)
'portrait of the author as an outsider'
By sally tarbox on 9 Aug. 2012
Format: Paperback
Set in the future after his death, Coetzee imagines a biographer interviewing a handful of people who figured in his life.( Are they fictional creations or based on real individuals?)
We get an insight into their own lives - the young housewife who has a fling with him to get even with a cheating husband; the cousin living a tough life in the Karroo; the Brazilian mother whose daughter he tutors.
The picture they give of Coetzee is of a melancholy, solitary and gauche character, not outstanding at his teaching work; one is even dismissive of his writing.
The interviews are supplemented by extracts supposedly from Coetzee's own notebooks. There is a gradual build-up, layer on layer, of negative experiences - never loved by Julia; criticized by his favourite cousin for wanting to live apart from his father and for not being married (and soon she forgets his problems altogether when more pressing concerns arise); rejected by Adriana who feels he's stalking her; ex-colleague and lover Sophie says she didn't read all his works ('I lost interest')
By the end when he's living with his sick, elderly father and contemplating methods of suicide, one sees how life has brought him to this.
I didn't ENJOY this book, but it's well written and has an interesting and unique construction. ( )
  starbox | Jul 10, 2016 |
This is a fictional autobiography of author John Coetzee. After his death, a biographer talks to five people who knew him; the novel consists of these interviews and excerpts from Coetzee’s diary. The reader is never given any hint of what is true and what is fiction, but I have to assume that the majority of what was in the book is fiction.

I read my first Coetzee novel, Disgrace, last year, and it was disturbing enough that I wasn’t eager to read any more of his work (although given the nation’s history, how does any South African author write something that isn’t uncomfortable to read?). However, the concept of this novel intrigued me enough to move it to the top of my list. It’s not fun to read (once again, it seems like nothing South African can really be fun), but it’s very well done. I interpret the stories of Coetzee’s life and personality as a metaphor for the politics and culture of South Africa. I think that if I had known more about the country’s history I would have gotten more out of the book. This book is definitely worth reading. ( )
  AmandaL. | Jan 16, 2016 |
What a strange and wandering story, amounting to something both pedestrian and fascinating, and somewhat unnerving. Coetzee's picture of (himself? a fictional version of himself? a writer who only shares his name?) as told through interviews and snippets of events is a balancing act of art and memory and defense.

All told, this isn't as compelling as some of Coetzee's other novels, but it is strangely engaging, and more and more disturbing as it moves forward, amounting to a more and more jarring picture of the disconnect between a writer, a person, and the world that views him up close.

Altogether, I do have to recommend this, especially for fans of Coetzee and for artists or writers. ( )
  whitewavedarling | Dec 21, 2014 |
the author becomes the interviewer reconstructing the life of the author by interviewing lovers, acquaintances and family. An odd twist to memoir. Writing from the vantage point of his lovers who berate his style and intimacy and question his realness as a poet and writer. ( )
  objectplace | Jun 23, 2014 |
I officially don't get what Coetzee's doing anymore. This book is compulsively, beautifully readable, while also being almost completely uninteresting. It seems to be not much more than a congeries of portraits, all but one of women who all - even the Brazilian woman - talk like the narrator of any given Coetzee novel. They're individualized, no doubt, and quite impressive each in their own way. And the obvious point, that this is a kind of autobiography which recognizes the importance of other people to any given life, is a decent enough one in its way. But what's really happened is that Coetzee has given up. He's no longer willing to say "this I wrote, I made it true." Now we need multiple perspectives. There are no more of those moments which strike the character of Boyhood and Youth, when an objectivity is granted to him. Now objectivity is apparently impossible. The strength it must take for a man to dissect himself, as Coetzee did in the earlier 'memoirs' is left behind; now we just have other peoples' opinions on him.

All the old themes are here, it's true: appearance vs essence, the romantic 'inner flame,' desire and art etc... but much less powerfully (either emotionally or intellectually) than in Boyhood or Youth, and far, far, less powerfully than in The Master of Petersburg. Too bad. ( )
  stillatim | Dec 29, 2013 |
Showing 1-5 of 32 (next | show all)
As long as one character speaks, Coetzee's masterful style is on display. But when there is dialogue between investigator and interviewee, the contrivance becomes all too evident: There is no real exchange and no discernable setting.
added by Shortride | editBookforum, Martin Puchner (Dec 1, 2009)
 
Now we have Summertime, the third in Coetzee's ongoing volumes of more or less fictionalised memoir that began with Boyhood, continued with Youth and are subtitled Scenes from Provincial Life.

These volumes are not to be taken as literal truth, a fact underlined by the way in Summertime one John Coetzee, a famous Nobel prize-winning novelist, is dead and an Englishman who never met him is attempting to write a biography of him on the basis of interviews with a number of women who had an effect on his development.

The last part of the book is made up of extracts from his journal entries focused on his ageing and ailing father, who appears intermittently in the preceding pages as a frail and constricting figure. The account of the father has, in a way nothing else in this book does, an overwhelming poignancy.

Much of this weird book is a meditation on the absurdity of the fame that is the surface noise of a hypothetical immortality. Then there's the grief that throws it all away and in doing so throws it into high relief.
added by justjim | editThe Age, Peter Craven (Sep 5, 2009)
 
Who is JM Coetzee? In one sense the answer is obvious: world-famous novelist and writer, twice winner of the Man Booker, winner of the Nobel prize for literature. But in another sense “JM Coetzee” is a persona created by the author, especially in his ­volumes of “fictionalised memoir”. The first of these, Boyhood, describes the character’s upbringing in the 1940s and 1950s on a bleak housing estate east of Cape Town. Top of his class yet fearing failure, he is gawky, unsocial and eccentric. The second, Youth, ­follows his glum fortunes in the early 1960s through a wet, foggy London, where, “dull and ordinary”, he nurtures dreams of ­artistic triumph while toiling as an IBM programmer. Literary success, he believes, will be linked with success as a lover, once he encounters the “Destined One”: the woman to inspire him. But his ­sexual entanglements, though surprisingly frequent, prove messy, sordid, embarrassing or boring. He is not, it seems, “built for fun”.

Now the third volume of the ­trilogy, Summertime, focuses on his return to South Africa, covering 1972 to 1977 when he was “finding his feet as a writer”. Like Boyhood and Youth, it refers to “Coetzee” in the third person (“He is the product of a damaged childhood”), thus distancing the autobiographical element. But it adds a startling new dimension of literary artifice: the deployment of a postmortem biographer. For Coetzee, we learn, has died in Australia. An English researcher, Vincent, who never met him, is interviewing five figures crucial to his life in the years when he started to publish. Four of them are women, including two former lovers. Supposed transcripts of their interviews make up most of the book. The rest ­comprises extracts, real or invented, from Coetzee’s contemporary ­notebooks.
added by kidzdoc | editThe Times, David Grylls (Aug 23, 2009)
 

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Coetzee, J. M.primary authorall editionsconfirmed
Bergsma, PeterTranslatorsecondary authorsome editionsconfirmed
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In yesterday's Sunday Times, a report from Francistown in Botswana. Sometime last week, in the middle of the night, a car, a white American model, drove up to a house in a residential area. Men wearing balaclavas jumped out, kicked down the front door, and began shooting. When they had done with shooting they set fire to the house and drove off. From the embers the neighbors dragged seven charred bodies: two men, three women, two children.
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In this autobiographical novel, a young English biographer is researching a book about the late South African writer John Coetzee, focusing on Coetzee in his thirties, at a time when he was living in a rundown cottage in the Cape Town suburbs with his widowed father--a time, the biographer is convinced, when Coetzee was finding himself as a writer.… (more)

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