In Slow Man Coetzee almost fails, or rather he makes the reader expect him to fail, by braving deep metanarrative but drawing back from any of the expected or even easy narrative threads.
Late Coetzee is playful, Nabokovian; in Slow Man’s case bringing back Elizabeth Costello, a narrator from earlier work to explore again issues of language and sexuality through a prism of weary old age. Coetzee has a finer touch than Nabokov though; his metadiegetic game playing, in this case, succeeds precisely because he knows when to pull back from self-absorbed, self-referential fiction that devours itself.
This Slow Man, like its successor Diary of a Bad Year, which I’m reading, is literature to admire not love. There is satisfaction in narrative as an act of construction but it is less easy to enter the kind of fictional space that leads to total immersion. And perhaps that too is deliberate, a game with the reader, deploying language in a way that is slippery, that eludes truth and falsity, that renders the project more tentatively and, in its way, is more accessible to self-reflection.
I’ve spent a few hundred hours thinking about and reading Coetzee’s work. After Diary of a Bad Year I’ll read The Childhood of Jesus. Of the novels that’ll be the end for me of what exists to date. I’ve read the fictionalised autobiography and consider that trilogy Coetzee’s finest work to date, though Life and Times of Michael K holds a special place in his oeuvre. I also plan to read soon The Good Story: Exchanges on Truth, Fiction and Psychotherapy, his dialogue with psychologist Arabella Kurtz.