- Boyhood: Scenes from Provincial Life (1997) ISBN 0-14-026566-X
- Youth: Scenes from Provincial Life II (2002) ISBN 0-670-03102-X
- Summertime (2009) ISBN 1-84655-318-0
- Scenes from Provincial Life (2011) ISBN 1-84655-485-3. An edited single volume of Boyhood: Scenes from Provincial Life, Youth: Scenes from Provincial Life II, and Summertime.
"How kind he is and how he loves us, and yet I was able to think so badly of him!"
--from "Childhood, Boyhood, and Youth" by Leo Tolstoy
--from "Childhood, Boyhood, and Youth" by Leo Tolstoy
Leo Tolstoy’s earliest published work, the trilogy Childhood, Boyhood, and Youth, was written when he was in his twenties, offering a tantalizing first glimpse of the literary talents that would come to fruition in his later masterpieces. Chronicling the experiences of a wealthy landowner’s son as he grows up and becomes aware of the world and his place in it, these three short novels were only loosely inspired by Tolstoy’s own memories. In old age he condemned the work as “an awkward mixture of fact and fiction,” but the imaginative powers that enabled him to capture so vividly the universal emotions and sensations of childhood have enthralled generations of readers. We are blessed to have, alongside the mature writer of Anna Karenina and War and Peace and the revolutionary mystic of the later years, the young Tolstoy who wrote these elegiac tales. In their sensitivity to nature and their evocations of fugitive feelings, they reveal his genius in all its untroubled early splendor. READ an excerpt here:http://knopfdoubleday.com/…/17…/childhood-boyhood-and-youth/
「照片和名字是不同的，照片更活生生。」J. M. Coetzee 小說《緩慢的人》 (Slowman)，梁永安譯，台北：天培，2009，頁55
前陣子「談一下utopian的反義字（antonyms）「反面烏托邦」dystopian，它在18世紀末即有，此 字的前置"dys＋" 為'BAD'＋(U)TOPIA。根據WordNet Dictionary ，它的意思和例子如下： Definition: [adj] as bad as can be; characterized by human misery; "AIDS is one of the dystopian harbingers of the global villages"- Susan Sontag
"In the dystopian novel Disgrace, David Lurie does not achieve creativity and freedom until, stripped of all dignity, he is afflicted by his own shame and history's disgrace. In this work, Coetzee summarises his themes: race and gender, ownership and violence, and the moral and political complicity of everyone in that borderland where the languages of liberation and reconciliation carry no meaning." 」
For a man of his age, fifty-two, divorced, he has, to his mind, solved the problem of sex rather well. On Thursday afternoons he drives to Green Point. Punctually at two p.m. he presses the buzzer at the entrance to Windsor Mansions, speaks his name, and enters. Waiting for him at the door of No. 113 is Soraya. He goes straight through to the bedroom, which is pleasant-smelling and softly lit, and undresses. Soraya emerges from the bathroom, drops her robe, slides into bed beside him. `Have you missed me?' she asks. `I miss you all the time,' he replies. He strokes her honey-brown body, unmarked by the sun; he stretches her out, kisses her breasts; they make love.
Soraya is tall and slim, with long black hair and dark, liquid eyes. Technically he is old enough to be her father; but then, technically, one can be a father at twelve. He has been on her books for over a year; he finds her entirely satisfactory. In the desert of the week Thursday has become an oasis of luxe et volupté.
B版本：「索拉婭身材高挑姚纖長，一頭長長的烏髮，一對水汪汪的深色眼睛。從年齡上，他足足以做她的父親，可真要從年齡上說，十二歲也可以當父親了。他成為她的顧客已經有一年多時間了，而且覺得她令人心滿意足。在荒蕪的一周裡，星期四成了一塊luxe et volupte*的綠洲。」
He has a shrewd idea of how prostitutes speak among themselves about the men who frequent them, the older men in particular. They tell stories, they laugh, but they shudder too, as one shudders at a cockroach in a washbasin in the middle of the night. Soon, daintily, maliciously, he will be shuddered over. It is a fate he cannot escape.
上有一幅頭盔臂鎧，以及「苦盡」（註 10）的銘文。」（柯慈（J. M. Coetzee，1940~）＜少年時＞（Youth）鄭明萱譯，台北：時報，2004）
10 PER ARDUA通常以「苦盡甘來」（per ardua at astra）名之，直譯為吃盡辛苦而到達碰到星星的高度。
正確為：PER ARDUA AD ASTRA（艱難ヲ経テ星ヘ）」.
Per ardua ad astra ad 「～へ」 astra 「天体、星座」 astrum
i,n per 「～を越えて」 aspera 「荒い、でこぼこの、危険な」 asper era,erum,adj ardua
「険しい」 arduus a,um adj "Ad astra per aspera" は、カンザス州の標語らしい
The Royal Air Force Motto
" Per Ardua ad Astra"
Shortly after this, two junior officers were walking from the Officers' Mess at Farnborough to Cody's Shed on Laffan Plain. As they walked, they discussed the problem of the motto and one of them, JS Yule, mentioned the phrase "Sicictar ad Astra", from the Virgilian texts. He then expanded on this with the phrase "Per Ardua ad Astra", which he translated as, "Through Struggles to the Stars". Colonel Sykes approved of this as the motto and forwarded it to the War Office. It was then submitted to the King, who approved its adoption.
"Mommy, Mommy, I won a prize!"
"That's wonderful, my dear. Now eat your carrots before they get cold."
Foe is a 1986 novel by South African-born Nobel laureate J. M. Coetzee. Woven around the existing plot of Robinson Crusoe, Foe is written from the perspective of Susan Barton, a castaway who landed on the same island inhabited by "Cruso" and Friday as their adventures were already underway. Like Robinson Crusoe, it is a frame story, unfolded as Barton's narrative while in England attempting to convince the writer Daniel Foe to help transform her tale into popular fiction. Focused primarily on themes of language and power, the novel was the subject of criticism in South Africa, where it was regarded as politically irrelevant on its release. Coetzee revisited the composition of Robinson Crusoein 2003 in his Nobel Prize acceptance speech.
Nobel acceptance speech
When Coetzee was awarded the 2003 Nobel Prize in Literature, he revisited the theme of composition as self-definition in his acceptance speech, entitled "He and his Man". Coetzee, who had lectured in character before, narrated a situation in which an elderly Crusoe quietly living in Bristol becomes the ambivalent muse of Defoe. According to The Guardian, this act of composition "write[s] "Defoe into existence, rather than the other way around." Although Crusoe is the narrator of the piece, Coetzee indicated he did not know whether Crusoe or Defoe represented him in the lecture. By contrast, he clearly identified himself with Barton inFoe: "the unsuccessful author—worse authoress."