The main aim of this paper is to discuss metafiction in J. M. Coetzee's Foe (1986), which is a rewriting of Daniel Defoe's literary classic Robinson Crusoe (1719). I shall deal with the intersection of postcolonialism and postmodernism in Coetzee's works, give (a) brief definition(s) of metafiction and consider the origins of this term and its general functions. I will finally take a rather detailed look at metafiction and the discourse of power in Coetzee's deconstruction of the Crusoe myth.
Table of Contents
1. INTRODUCTION
2. COETZEE’S PLACE IN CONTEMPORARY WRITING
2.1. THE POSITION OF COETZEE AND HIS TEXTS
2.2. THE INTERSECTION OF POSTCOLONIALISM AND POSTMODERNISM
3. METAFICTION
3.1. ORIGINS OF THE TERM AND ITS FUNCTION TODAY
3.2. DEFINITION(S) AND FORMS OF METAFICTION
4. METAFICTION AND THE DISCOURSE OF POWER IN FOE
4.1. AN OVERVIEW
4.2. PART I
4.3. PARTS II AND III
4.4. PART IV
5. CONCLUSION
Research Objectives and Topics
This paper explores the presence and function of metafiction within J. M. Coetzee’s 1986 novel Foe, analyzing how the text reconstructs the classical myth of Robinson Crusoe to address issues of power, gender, and the marginalized voices in colonial literature.
- Analysis of metafiction as a primary postmodern literary strategy in Coetzee’s work.
- Examination of the power dynamics between the author, the narrator, and the colonial subjects.
- Investigation into the intersection of postcolonial narrative goals and postmodern textuality.
- Study of the silencing and eventual attempt to give voice to the character Friday.
- Critical review of the relationship between literary creation, substantiality, and narrative authority.
Excerpt from the Book
4.2 Part I
When reading Foe, what might strike the reader first is Coetzee’s spelling of ‘Cruso’. Extending the Derridean concept of ‘différance’, whose potency derives from a ‘silent lapse in spelling’ (Derrida, Margins, 3), Coetzee replaces the ‘e’ in ‘Crusoe’ not with another letter, but with the absence of a letter; this silence cannot be heard, only written or read, but makes all the difference: ‘the movement of difference, as […] that which differentiates, is the common root of all oppositional concepts that mark our language […].’ (Derrida, Positions, 8) The lack of an ‘e’ can thus be read as a distinguishing mark from the urtext’s Crusoe; and indeed, throughout the whole novel, the character of Cruso does not follow the novelistic tradition of castaway stories Susan is strangely familiar with14, which signals her metafictional status; for instance, when she arrives on the island, she reflects on the comparison of fictional stereotypes to ‘reality’, a reality which is itself a fictional creation:15
For readers reared on travellers’ tales, the words desert isle may conjure up a place of soft sands and shady trees where brooks run to quench the castaway’s thirst and ripe fruit falls into his hand […]. But the island on which I was cast away was quite another place: a great rocky hill with a flat top, rising sharply from the sea […]. (F, 7)
Summary of Chapters
1. INTRODUCTION: This chapter outlines the paper's aim to examine metafiction in Coetzee’s Foe and establishes the connection between rewriting the Robinson Crusoe myth and the exploration of power and marginalized voices.
2. COETZEE’S PLACE IN CONTEMPORARY WRITING: This section investigates the positioning of Coetzee within postmodernism and postcolonialism, highlighting the unique tension between his role as a white South African writer and his use of self-reflexive narrative strategies.
3. METAFICTION: This chapter defines metafiction, its historical origins, and its role in questioning the relationship between fiction, reality, and the construction of literary artefacts.
4. METAFICTION AND THE DISCOURSE OF POWER IN FOE: This core section provides a detailed analysis of how Foe utilizes metafictional techniques to interrogate narrative control, gender, and the silence imposed on colonial subjects like Friday across the four parts of the novel.
5. CONCLUSION: The final chapter summarizes the findings regarding characters' reflections on substantiality and the transformative potential of narrative within postcolonial literature.
Keywords
Metafiction, J. M. Coetzee, Foe, Robinson Crusoe, Postmodernism, Postcolonialism, Narrative Authority, Self-reflexivity, Power, Language, Friday, Susan Barton, Substantiality, Deconstruction, Colonialism.
Frequently Asked Questions
What is the central focus of this paper?
The paper focuses on the application of metafictional techniques in J. M. Coetzee's novel Foe and how these techniques are employed to deconstruct traditional narratives and power structures.
Which literary genres are primarily discussed?
The analysis centers on postmodern fiction and postcolonial literature, specifically looking at how Coetzee bridges these two fields.
What is the primary research objective?
The objective is to explore how Coetzee uses metafiction to expose the biases and silences in the original Robinson Crusoe narrative and the colonial canon at large.
What academic methodology does the author use?
The author employs a qualitative literary analysis, drawing upon critical theory, poststructuralist insights, and comparative analysis with secondary sources to interpret the novel.
What does the main body of the paper cover?
The main body investigates Coetzee’s position in contemporary literature, defines the theoretical framework of metafiction, and applies this framework to analyze the discourse of power within the specific structure of Foe.
Which keywords define the research?
Key terms include metafiction, postcolonialism, narrative authority, colonial discourse, self-reflexivity, and textual substantiality.
How does Coetzee alter the spelling of the famous character?
Coetzee spells the name as 'Cruso', removing the 'e'. This is interpreted as a metafictional device that signals a departure from the original Defoe text and introduces a 'silent' difference.
Why is the silence of the character Friday significant?
Friday's silence represents the suppression of the racial Other within colonial narratives; the novel explores how this silence can be confronted or 'spoken' through meta-narrative strategies.
How does the role of the author change in the novel?
The novel explores the limits of textual authority, eventually showing the author (Foe) struggling to control the story, which mirrors Coetzee’s own attempt to step back and allow the 'black story' to emerge.
- Quote paper
- Verena Schörkhuber (Author), 2006, Metafiction in J.M. Coetzee's 'Foe', Munich, GRIN Verlag, https://www.grin.com/document/59730
