I’ve got a new review in the Glasgow Review of Books today, focusing on J.M. Coetzee’s Late Essays: 2006-2017 as well as his two earlier essay collections, Stranger Shores and Inner Workings:
The results are mixed. On the one hand, Coetzee’s greatest gifts as a critic are his eye for narrative design and his ability to elucidate why, under pressure from both the intrinsic demands of the artworks they sought to compose and the cultures in which they lived and laboured, classic writers decided to give their work this or that scope, tone, momentum, and design. On the other hand, Coetzee’s view of these writers is never less than enamoured, sometimes almost envious, and it is this view above all that hints at his anxieties. Often he seeks to pinpoint the lodestones of these writers’ legacies, to determine what technical innovations their achievements and their reputations rest on, and when he does this it’s hard to shake the feeling that he’s wondering what his own work looks like in the shadows cast by theirs. From time to time, especially when he discusses the novels of Roth and Beckett, Coetzee even gives the impression that he’s trying to trace a literary lineage in which he hopes to place his oeuvre. His recurrent attraction to past masters looks like an effort to measure up to them in fits and starts, a piecemeal strategy for finessing his own position in relation to theirs. There’s nothing amiss with this per se, but Coetzee’s way of going about it comes at a cost. Eyes on the heavens, staking his longevity solely on writers he looks up to, he forfeits the opportunity to take a look around himself and survey those who have gathered in the shadow he casts.
I’ve also supplemented the review with a few Twitter comments in response to Stephen Mitchelmore’s concerns about my discussion of identity politics.