J. M. Coetzee is widely recognized as one of the most important writers working in English. As a South African (now Australian) novelist composing his best-known works in the latter third of the twentieth century, Coetzee has understandably often been read through the lenses of postcolonial theory and post-war ethics. Yet his reception is entering a new phase bolstered by thousands of pages of new and unpublished empirical evidence housed at the J. M. Coetzee archive at The Harry Ransom Center (University of Texas, Austin). This material provokes a re-reading of Coetzee's project even as it uncovers keys to his process of formal experimentation and compositional evolution up to and including Disgrace (1999). Following Coetzee's false starts, his confrontation of narrative impasses, and his shifting deployment of source materials, J. M. Coetzee and the Limits of the Novel provides a new series of detailed snapshots of one of the world's most celebrated authors.

This is the first book that reads Coetzee's novels in light of research into his archive of manuscripts and drafts.

Drawing on postcolonial and gender studies, as well as affect theory, the book interrogates cosmopolitan philosophies. Through analysis of J.M. Coetzee's later fiction, Hallemeier invites the re-imagining of cosmopolitanism, particularly as it is performed through the reading of literature.

This new collection of essays on Coetzee examines how his novels create and unsettle literary authority. Its unique contribution is to show how Coetzee provokes us into reconsidering certain basic formal and existential questions such as the nature of literary realism, the authority of the author and the constitution of the human self in a posthumanist setting by consciously revealing the literary-theoretical seams of his work. Strong Opinions makes the innovative claim that Coetzee's work is driven not by a sense of scepticism or nihilism but rather by a form of controlled exposure that defines the literary. The essays in the volume variously draw attention to three of Coetzee's most recent and significant experiments in controlled exposure. The first is the exposure of place-Coetzee's decision to set his novels in his newly adopted country of Australia. The second is the exposure of form-Coetzee's direct, almost essayistic address of literary-philosophical topics within his novels. And the third is the exposure of limits-Coetzee's explicit deconstruction of the traditional limits of human life.

J. M. Coetzee: Truth, Meaning, Fiction illuminates the intellectual and philosophical interests that drive Coetzee's writing. In doing so, it makes the case for Coetzee as an important and original thinker in his own right. Whilst looking at Coetzee's writing career, from his dissertation through to The Schooldays of Jesus (2016), and interpreting running themes and scenarios, style and evolving attitudes to literary form, Anthony Uhlmann also offers revealing glimpses, informed by archival research, of Coetzee's writing process. Among the main themes that Uhlmann sees in Coetzee's writing, and which remains highly relevant today, is the awareness that there is truth in fiction, or that fiction can provide valuable insights into real world problems, and that there are also fictions of the truth: that we are surrounded, in our everyday lives, by stories we wish to believe are true. J. M. Coetzee: Truth, Meaning, Fiction offers a revealing new account of one of arguably our most important contemporary writers.

One of Vanity Fair's "Best Books of the Fall" From the Nobel Prize-winning author of Disgrace, a psychologically probing, compulsively readable novel about love and the mutability of human relationships. Renowned for his sparse yet powerful prose, J. M. Coetzee is unquestionably among the most influential—and provocative—authors of our time. With characteristic insight and a “brittle wit that forces our attention on the common terrors we don’t want to think about” (Washington Post), Coetzee here challenges us to interrogate our preconceptions not only of love, but of truth itself. Exacting yet unpredictable, pithy yet complex, Coetzee’s The Pole tells the story of Wittold Walccyzkiecz, a vigorous, extravagantly white-haired pianist and interpreter of Chopin who becomes infatuated with Beatriz, a stylish patron of the arts, after she helps organize his concert in Barcelona. Although Beatriz, a married woman, is initially unimpressed by Wittold and his “gleaming dentures,” she soon finds herself pursued and ineluctably swept into his world. As the journeyman performer sends her countless letters, extends invitations to travel, and even visits her husband’s summer home in Mallorca, their unlikely relationship blossoms, though only on Beatriz’s terms. The power struggle between them intensifies, eventually escalating into a full-fledged battle of the sexes. But is it Beatriz who limits their passion by paralyzing her emotions? Or is it Wittold, the old man at his typewriter, trying to force into life his dream of love? Reinventing the all-encompassing love of the poet Dante for his Beatrice, Coetzee exposes the fundamentally enigmatic nature of romance, showing how a chance meeting between strangers—even “a Pole, a man of seventy, a vigorous seventy,” and a stultified “banker’s wife who occupies her days in good works”—can suddenly change everything. Reminiscent of James Joyce’s “The Dead” in its exploration of love and loss, The Pole, with lean prose and surprising feints, is a haunting work, evoking the “inexhaustible palette of sensations, from blind love to compassion” (Berna González Harbour, El País) typical of Coetzee’s finest novels.

J. M. Coetzee and the Idea of the Public Intellectual addresses the contribution Coetzee has made to contemporary literature, not least for the contentious forays his work makes into South African political discourse and the field of postcolonial studies.