Thinking Activity- J.M. Coetzee’s "Foe"

 This blog is written as a response to the thinking activity given by Megha Trivedi Ma’am on the topic of  J.M. Coetzee's 'Foe'.

Introduction 

"Robinson Crusoe" is a classic novel written by Daniel Defoe, first published in 1719. The story is about a man named Robinson Crusoe who becomes stranded on a deserted island for 28 years, where he must learn to survive and adapt to his challenging circumstances. The novel is often considered one of the earliest examples of realistic fiction and is a pioneering work in the adventure genre.

"Foe" is a novel written by South African-born Nobel laureate J.M. Coetzee, published in 1986. It is a postcolonial reimagining of "Robinson Crusoe," told from the perspective of a woman named Susan Barton, who is shipwrecked on the same island as Crusoe. The novel explores themes of power, language, and storytelling, and it raises questions about the representation of voices that are often silenced or marginalized in traditional narratives.

While "Robinson Crusoe" is a foundational work in English literature, "Foe" is a contemporary and postcolonial response that engages with the original narrative in a critical and thought-provoking manner. Coetzee's "Foe" challenges the colonial and patriarchal perspectives of the 18th-century novel, offering a different lens through which to view the events on the deserted island. Both works are significant in their own right, with "Robinson Crusoe" being a literary classic and "Foe" providing a modern and critical reinterpretation of that classic.

ROBINSON CRUSOE

Daniel Defoe's "Robinson Crusoe" isn't just a celebrated novel; it's a cultural phenomenon in the Western world, particularly the narrative where a castaway ingeniously transforms his fortunes on an island. The character Crusoe is almost elevated to the status of a historical figure, while the author Defoe doesn't enjoy the same level of recognition. In Western societies, Robinson Crusoe is more of a conceptualized notion than a literary work widely consumed.

The Western perspective reveres Robinson Crusoe as an emblem of success and achievement, embodying ideals such as reconnecting with nature, valuing industriousness, and prioritizing economic prosperity. The story also echoes colonial undertones, depicting Crusoe's transformation of an uninhabited island into a prosperous locale. This narrative aligns with historical instances where Europeans ventured into foreign territories, asserting dominance.

Yet, for those outside the Western sphere, the Robinson Crusoe phenomenon is largely a construct shaped by Western societies rather than an intrinsic literary experience. J.M. Coetzee, in his novel "Foe," offers a critical examination of this myth. He scrutinizes the concept of an individual achieving economic success within a colonial context, challenging and reinterpreting the Robinson myth from a perspective that is more discerning and nuanced. (click here for further reading)

 ‘FOE’

J.M. Coetzee's novel "Foe," published in 1986, presents a complex reality, leaving readers pondering the distinctions between literary originality and imitation. The work raises crucial questions about historical truth and its recognition, unveiling layers of fiction and reality intricately woven together. Coetzee cleverly parodies Daniel Defoe's 1719 classic, "Robinson Crusoe," challenging the commonly accepted narrative. Despite being a work of fiction, Coetzee blurs the lines between reality and storytelling, urging readers to question the cultural phenomena surrounding the Robinson Crusoe myth.

Coetzee's narrative is a metaphorical reimagining of Defoe's story, prompting reflection on why the original was written in a particular way. "Robinson Crusoe" reflected the colonial attitude of the time, portraying white European dominance over foreign lands and peoples. In the 20th century, Coetzee, a white South African writer, rewrites the story with a critical perspective, challenging Defoe's colonial viewpoint. "Foe" becomes an eye-opener, correcting the official accounts by adding the voice of a minority previously silenced in the narrative of colonialization.

The title "Foe" itself, a pun on Defoe's name, suggests opposition and falsehood, hinting at the core issue of the novel. Coetzee's work is a form of anti-historiography, offering a view of the story from the perspective of those historically marginalized or underprivileged. Through fiction, Coetzee challenges the culturally influenced historiography and prompts readers to reconsider the complexities of storytelling and the impact of cultural perspectives on history.(click here for further reading)

Character contrast of both the works

In Daniel Defoe's timeless novel, Robinson Crusoe emerges as a character defined by his remarkable resourcefulness, unwavering practicality, and an indomitable spirit of determination. Motivated by a potent combination of curiosity and a fervent desire for exploration and wealth, Crusoe boldly defies his father's counsel and embarks on a seafaring adventure. However, it is on the isolated island where he becomes stranded that Crusoe's character truly shines. The narrative pivots around his adept adaptation to the harsh circumstances, revealing a man capable of not only survival but also of transforming the desolate island into a functional and sustainable living space. Crusoe's ingenuity and resilience take center stage as he crafts a tale that transcends mere survival and ventures into the realm of human triumph over adversity.

In stark contrast, J.M. Coetzee's "Foe" introduces us to Susan Barton, a protagonist characterized by her resilience, assertiveness, and a profound motivation fueled by maternal love. Her quest is marked by an unwavering determination to reunite with her daughter, who fell victim to pirates. Unlike Crusoe, Susan's journey is intricately woven with gendered nuances, shedding light on the unique challenges faced by women in her societal context. Adaptation, for Susan, extends beyond the physical survival skills demonstrated by Crusoe; it involves navigating intricate communication challenges and challenging established power dynamics and societal norms. Her narrative becomes a poignant critique of traditional storytelling, offering a thought-provoking and distinct perspective on the classic theme of survival in the face of adversity.

If we see the miner characters in both the works then In "Robinson Crusoe," the other characters also plays pivotal roles in shaping the narrative and reflecting the colonial and paternalistic attitudes of the time. Friday, Crusoe's loyal companion, represents the "savage" native, and their relationship delves into themes of cultural encounter, communication, and hierarchy. Crusoe's conversion of Friday to Christianity highlights the Eurocentric worldview prevalent during the colonial era. Additionally, Xury, the young Moorish boy whom Crusoe rescues, serves as a symbol of Crusoe's dominance and the initial lack of regard for other cultures. The supporting characters contribute to the broader narrative about power dynamics, colonization, and the consequences of imposing one's worldview onto others.

In J.M. Coetzee's "Foe," the supporting characters take on a different significance, actively deconstructing and challenging the traditional narrative. Cruso, a character akin to Defoe's Crusoe, is reimagined to question the authority and representation of the original story. His interactions with Susan Barton expose the limitations and biases inherent in storytelling, inviting readers to reconsider the narrative's reliability. Susan Barton's daughter, although unnamed, plays a crucial role as the catalyst for Susan's quest. The absence of the daughter becomes a metaphor for lost voices and silenced narratives, adding layers of complexity to the storyline. Coetzee's supporting characters in "Foe" actively contribute to the novel's metafictional nature, questioning not only the story being told but also the act of storytelling itself.

Voice of Women and Postcolonial

In J.M. Coetzee's 'Foe,' postcolonial and feminist perspectives are intricately woven into the narrative, offering a critical reevaluation of traditional colonial literature, particularly Daniel Defoe's 'Robinson Crusoe.' The novel disrupts the established colonial discourse by foregrounding the voice of Susan Barton, a character marginalized in the original story. This act of rewriting challenges the authority of the colonial author and questions power dynamics inherent in the creation of such literature. 'Foe' delves into the complexities of the colonizer-colonized relationship, and by rendering Friday mute, Coetzee confronts the problematic representation of indigenous characters in colonial narratives.

 'Foe' also embraces feminist themes through Susan Barton's character. She becomes a feminist voice, challenging the male-centric narrative of 'Robinson Crusoe.' The novel explores the challenges women face in having their stories acknowledged and heard within patriarchal societies. Susan Barton's agency takes center stage as she actively seeks to tell her own story, embodying feminist struggles for autonomy and self-expression. Coetzee critically interrogates the roles of female characters in historical narratives, prompting readers to reflect on the marginalization and lack of agency often imposed upon women in colonial literature. Additionally, 'Foe' critiques gendered power imbalances within both colonial and patriarchal structures, inviting readers to reconsider the intersections of gender and oppression. Through these thematic layers, Coetzee's novel offers a nuanced exploration of postcolonial and feminist perspectives, challenging and reshaping traditional literary narratives.