Writer introduction:
J.M. Coetzee, born on February 9, 1940, in Cape Town, South Africa, stands as a distinguished novelist, critic, and translator renowned for his profound exploration of the repercussions of colonization in his literary works. His significant contributions to literature were recognized with the Nobel Prize in Literature in 2003. Commencing his writing career in 1969, Coetzee published his debut book, "Dusklands," in 1974. He gained global recognition with "In the Heart of the Country," which secured South Africa's CNA Prize in 1977. The impactful "Waiting for the Barbarians" (1980) further solidified his standing in the literary world. Coetzee's literary prowess was honored with the Booker Prize for "Life & Times of Michael K" (1983) and "Disgrace" (1999).
Beyond traditional fiction, Coetzee ventured into the realm of fictionalized memoirs with works such as "Boyhood" (1997) and "Youth" (2002). His exploration of themes like literary censorship and South African culture found expression in essay collections like "White Writing" (1988), "Doubling the Point" (1992), and "Stranger Shores" (2001). In a unique blend of fiction and philosophy, he presented fictionalized lectures in "The Lives of Animals" (1999), later incorporating them into "Elizabeth Costello" (2003).
'DANIEL DEFOE':
Daniel Defoe was born in London, England, in 1660, and passed away on April 24, 1731, also in London. An English writer, he authored famous books like "Robinson Crusoe" and "Moll Flanders" and worked as a journalist for the government. "Robinson Crusoe," published in 1719, became highly popular and was translated into many languages. Despite some critiques for being preachy and lacking clear structure, Defoe's storytelling showcased a deep understanding of people and their struggles. His writing style, characterized by simplicity and detail, lent a realistic feel to his stories. Even as his health declined, Defoe continued to write until the end of his life, with "Roxana" being his last major work.
'ROBINSON CRUSOE':
"Robinson Crusoe" is a famous book by Daniel Defoe, published on April 25, 1719. The narrative follows the story and adventure of the male character Robinson Crusoe. Stranded on a faraway island for 28 years due to a shipwreck, Crusoe learns to survive by building a home, finding food, and cultivating the land. The story details his struggles, encounters with potential adversaries, and the eventual friendship he forms with a man named Friday, whom he saves. "Robinson Crusoe" is a tale of resilience, self-reliance, and the ability to adapt to challenging circumstances.
COMPARISON OF THE CHARACTERS:
Protagonist:
In "Robinson Crusoe" by Daniel Defoe, the protagonist is Robinson Crusoe, a resourceful man stranded on a deserted island who learns to survive against the odds. In J.M. Coetzee's "Foe," the primary protagonist is Susan Barton, a castaway seeking help from a writer named Foe to tell her story. Foe, in turn, plays a significant role in reshaping Susan's experiences into a narrative. Coetzee's choice of a female protagonist in "Foe" reflects a gender reflection, altering the dynamic from the original male-centric "Robinson Crusoe."
“Cruso” vs. “Crusoe”:
In "Foe," Cruso serves as a minor character, a survivor of a shipwreck with a mysterious past. Unlike the detailed background provided for Robinson Crusoe in Defoe's work, Cruso's life before the shipwreck remains unclear. Coetzee uses Cruso to explore themes of colonization, power dynamics, and exploitation. In "Robinson Crusoe," Crusoe is the central character, known for his curiosity, resourcefulness, and determination, qualities that help him survive on the deserted island. Coetzee's reinterpretation in "Foe" portrays Cruso differently, depicting him as old, not strong, superstitious, and indecisive, challenging the conventional portrayal in Defoe's original narrative.
SIMILARITIES & DIFFERENCES:
In "Foe," Coetzee leaves the character of Cruso mysterious, prompting readers to question his fate. The focus is primarily on Susan Barton, and Coetzee explores themes of narrative and power, raising uncertainty about whether Cruso is dead or alive. Coetzee's approach challenges conventional character development and shifts the narrative focus to Susan, emphasizing postcolonial ideas, subaltern thought, and the deconstruction of Defoe's Eurocentrism.
In contrast, "Robinson Crusoe" by Defoe concludes with the protagonist and Friday being rescued, returning to civilization. Defoe centers on survival and self-reliance, and readers are left to ponder what happened after Crusoe's return to civilization. Defoe's work showcases detailed character development for Crusoe and is often viewed as an allegorical autobiography. Drawing inspiration from the experiences of Alexander Selkirk, a Scottish privateer, Defoe constructs a narrative that embodies colonial ideals and Eurocentric perspectives.
'FOE' AS A POSTCOLONIAL AND 'ROBINSON CRUSOE' AS A COLONIAL NOVEL:
"Foe" by Coetzee offers a different perspective on colonization, challenging the traditional narratives of European dominance. The novel delves into power dynamics, especially regarding who controls the storytelling. Susan Barton's struggles highlight the difficulty of marginalized voices being heard, emphasizing the importance of questioning Eurocentric viewpoints.
"Robinson Crusoe" presents a Eurocentric perspective, depicting the dominance of European explorers and their control over other lands. Crusoe's treatment of Friday exemplifies colonial attitudes, reinforcing the belief in the superiority of one group over another. The narrative centers on Crusoe's exploration and control, reflecting the prevalent colonial mindset during the time of its writing.
CONSTRUCTION AND DECONSTRUCTION OF IMAGINED COMMUNITY:
Defoe's "Robinson Crusoe" is argued to have contributed to the formation of England as an imagined community. It shaped a sense of "Englishness" and Eurocentrism, fostering a national identity. In contrast, Coetzee's "Foe" is seen as a deconstruction of "Englishness" and Eurocentrism, challenging existing narratives. It aims to expose the constructed nature of Eurocentrism, indicting colonial administration in South Africa and advocating for a new voice to eliminate cultural inferiority and discrimination. Coetzee's work prompts Africans to reimagine their national identity and reclaim their cultural heritage.
This comparative study highlights how literature can both construct and deconstruct imagined communities, shaping national identities and challenging prevailing narratives.
Daniel Defoe's Construction of the National Imagination of England in "Robinson Crusoe":
The eighteenth century witnessed the rise of nationalism, and Daniel Defoe's "Robinson Crusoe" played a significant role in constructing the imagined community of England. Language served as a powerful tool in this construction, as the character Robinson spoke English, the language of the English people. The novel, written in English, facilitated a connection between the readers and the protagonist, fostering a sense of shared identity. Additionally, the portrayal of specific places, such as the city of York, contributed to the construction of England's imagined community.
Characters, particularly the protagonist Robinson, played a crucial role in arousing the national imagination of England. Robinson was depicted as a strong-willed, God-like colonizer, embodying characteristics that encouraged English readers to see themselves as natural colonizers. His colonization of the "barbarous" people, represented by Friday, symbolized the English way of colonizing through language, religion, and lifestyle. Robinson's success in Europeanizing Friday, even in appearance, reinforced the idea of English dominance and colonization, shaping the national imagination of England during this period.
Coetzee's Construction of the National Imagination of Africa by Rewriting Friday in "Foe":
J.M. Coetzee, in "Foe," engaged in a transformative rewriting of Friday, shifting him from a Caribbean boy in "Robinson Crusoe" to a Negro character. This alteration aimed at reminding Africans of their history of enslavement, colonization, and silencing, thus sparking the national imagination of Africa as a community. Friday's depiction as a black slave, whose tongue had been cut by slave-traders or his master Cruso, symbolized the historical deprivation of speech rights for black individuals.
Friday's loss of tongue in "Foe" represented the broader oppression experienced by the black community. Susan, sympathetic to Friday, embodied the white perspective in South Africa after gaining independence. Friday's castration served as a metaphor for the destruction of African culture. Coetzee revealed the distortion and ambiguity surrounding Africa, emphasizing how the essence of African culture was stifled and castrated by colonizers. The narrative underscores the importance of reclaiming the power of discourse for the African community.
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