Titlebook: Reading Coetzee‘s Women; Sue Kossew,Melinda Harvey Book 2019 The Editor(s) (if applicable) and The Author(s) 2019 Coetzee.Women.Gender.Voi

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On Beyond the Representational Binary: Coetzee (and the Women) Take Wing that the fictional work be divided into a series of women-centred phases predominantly associated with the themes of embodiment, voice, and perspective or subjectivity. As this suggests, Coetzee’s favoured ways of ‘doing’ women—the woman as embodied consciousness and the woman as muse—subscribe to

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‘A New Footing’: Re-reading the Barbarian Girl in Coetzee’s e saddle, her eyes shining, a forerunner, a guide, pointing out to her comrades the lay of this foreign town where she once lived.’ She is a pivotal figure whose presence serves to convey longing for a transformed colonial order, rather than a system locked in the permanent stasis of alterity.

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J. M. Coetzee and the Women of the Canonew. Dooley concludes that Coetzee is drawn into the embodied world of fictional narrative along an intellectual and philosophical route not habitually taken by female authors of the past and thus feels more affinity with male writers.

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Molly Bloom and Elizabeth Costello: Coetzee’s Female Characters and the Limits of the Sympathetic Imhical force of the novelistic imagination equivalent to that of our responses to actually existing beings? And how might the gender dynamic implicit in the male writer’s creation of the inner lives of female characters bear on the ethics of the sympathetic imagination?

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Art and the Female in ,: Between Joyce and Beckettstrates how Coetzee stages the question of how one can have an authentic and aesthetic relation to an actual woman when notions of authenticity are already informed by the weight of male literary tradition and its figuration of the female.

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in the Feminine? Coetzee’s , and Muriel Spark’s in . and in other island stories and hardly pointed out by critics) becomes crucial to the interpretation of both texts. It is concluded that not only the long History of European imperialism but also the . are Friday’s—and ultimately Susan Barton’s and January Marlow’s—foes.