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University of Melbourne Elizabeth MacFarlane Metaphor as contagion: Notes on the postscript of JM Coetzees Elizabeth Costello Abstract This paper engages ith the postscript of JM Coetzees !""# novel Elizabeth Costello ith the intention of intro$ucing the concept that Coetzees late or%s act as &postscripts to his previous bo$y of riting' (t proposes that every act of riting) as particularly $e*onstrate$ in the suspen$e$ poetics of *etaphor an$ analogy) is an act of sacrifice) as evince$ by +a$y Chan$os in Coetzees ,ostscript: &Al ays it is not hat ( say) but so*ething else- .Coetzee !""#: !!/0' The paper observes the $eficiency of language) the riters atte*pt nonetheless) an$ the inevitable resultant ruptures in te1t an$ self' The article pursues these i$eas through both critical an$ creative riting' 2ey or$s: Coetzee) Elizabeth Costello) *etaphor) postscript) +or$ Chan$os Any banal sentence attests to the $espair that e1ists in the $epths of language' 3 Maurice 4lanchot !""# Elizabeth as in the *i$$le of rea$ing a ne boo% by JM Coetzee' 5he thought of this author as John Ma1 ell Coetzee) 5outh African riter no living part6ti*e in her ho*e to n of A$elai$e) $ouble64oo%er ,rize inner) Nobel6prize inner) se*i6recluse) author of 7isgrace' This as the su* of her %no le$ge of the author' 5he ha$ rea$ 7isgrace the year before) i**e$iately after rea$ing Jonathan Franzens The Corrections) an$ so her i*pression of the boo% as one of a $istinctly un6A*erican) slightly an) slo 6*oving) fir*ly structure$ novel involving aca$e*ia) violence an$ $ogs' 5he ha$ rea$ the last half of 7isgrace hile in be$ $ouble$ over ith *enstrual pain an$ nausea in a %in$ of sleepless e*pty6sto*ache$ $rea*' 8er *e*ory of the scenes in the veterinary clinic an$ the $og $u*ping6groun$ ere) therefore) particularly pungent in her *in$) *outh an$ throat' Those $ogs) she thought henever the boo% ca*e to *in$) those burning re$e*ptive $ogs' The boo% she as rea$ing no ha$ caught her eye in the ne release section of a boo%store' Nor*ally she $i$nt buy ne har$cover boo%s unless it as a particularly favourite author or special occasion) an$ the first thing she loo%e$ at hen she pic%e$ up this one as the price stic%er on the bac%' The boo% cost 9#!':;' (t see*e$ e1pensive for such a sli* volu*e' Elizabeth $i$ so*e calculations in her hea$) a series of subtractions fro* the hun$re$ $ollars a ee% she receive$ fro* stu$y allo ance' 5he then re*e*bere$ she oul$ be receiving an e1tra si1ty $ollars the ne1t $ay for so*e past tutoring or%' 5he began rea$ing the bac% cover of the boo% hich liste$ co*pli*entary <uotes fro* ne spapers li%e the =uar$ian) the >bserver an$ the 5un$ay Telegraph' Michelle $e 2retser ha$ ritten in the ?ee%en$ Australian) &Coetzee is the vivisectionist of the hu*an con$ition' Elizabeth began to thin% that she oul$ $efinitely buy this boo%' 8er eyes $rifte$ to the top of the page here it sai$ &,raise for 7isgrace' 7a*n) she thought) hy $o they

al ays $o thatA 5he then realise$ that because the boo% no praise for it yet'

as bran$ ne ) there

as probably

5he opene$ the front cover of the boo% an$ rea$ the blurb on the insi$e $ust6Bac%et' The last line rea$) &JM Coetzees latest or% of fiction offers us a profoun$ an$ $elicate vision of literary celebrity) artistry an$ the private life of the *in$' An aca$e*ic boo%) thought Elizabeth) ,erhaps a boo% about Coetzee hi*self' There ere t o *ore things to loo% at' The contents page intereste$ her greatly' The chapters ere calle$ &+essonsC there ere eight lessons follo e$ by a postscript' The lessons ha$ titles li%e &Dealis*) &The ,roble* of Evil) an$ &The 8u*anities in Africa' A *oral boo%) Elizabeth thought) A post*o$ern self6 consciously literary boo%' 5he turne$ to the first page an$ rea$ &There is first of all the proble* of the opening) na*ely) ho to get us fro* here e are) hich is) as yet) no here) to the far ban%' (t is a si*ple bri$ging proble*) a proble* of %noc%ing together a bri$ge' Elizabeth as captivate$' 5he bought the boo% an$ trie$ to convince herself it as because of the boo%s author) its intriguing blurb) its uni<ue contents page) its e1<uisite first line) an$ not because she share$ her na*e ith the title an$ central character of the boo%) Elizabeth Costello' E The ,ostscript of Elizabeth Costello) the far ban% as it ere) is a letter ritten by yet another Elizabeth) this ti*e +a$y Elizabeth Chan$os) ife of +or$ ,hilip Chan$os' +or$ Chan$os as the author of a fictional letter a$$resse$ to Francis 4acon an$ $ate$ @F"#' The letter as actually ritten by 8ugo von 8of*annsthal an$ originally publishe$ in =er*an in @:"!' Coetzees +a$y Chan$os letter is also a$$resse$ to Francis 4acon an$ is ritten as a result of her husban$s letter having &co*e un$er *y sight .Coetzee !""#: !!G0' The original +or$ Chan$os letter is) by ay of intro$uction) &an apology to his frien$ for his total renunciation of literary activity .Hon 8of*annsthal @:/F: @@0' +or$ Chan$os has foun$ hi*self in the unenviable situation of having &utterly lost IhisJ ability to thin% or spea% coherently about anything at all .@:/F: @:0' 8e $escribes this situation in t o ays) the first being his increasing sense of helplessness) isolation an$ silence in the face of language) the secon$ his fervent search for revelation in the for* of a higher or other language' The for*er situation is illustrate$ by a series of lossesC $epartures fro* Chan$oss for*er &$elirious $ays hen he rote prolifically an$ Boyously) &creating poetry an$ truth together) a play of eternal forces) a thing as glorious as *usic or algebra .@;0' (n those $ays Chan$os coul$ $iscern no $ifference bet een the intellectual an$ the physical) fin$ing the* no *ore contra$ictory than &the life of Court an$ that of ani*als) than art an$ non6art) or than solitu$e an$ society .@G0' (n short Chan$os felt a vast unity in all creation an$ hi*self at the centre' There as no $ifference) is the inference) bet een the natural orl$ an$ the ritten orl$) bet een *il% an$ the *etaphor of *il% .@G0' =ra$ually) ho ever) Chan$os fin$s that the or$s he once use$ to tal% about abstract concepts begin to turn &to $ust in *y *outh li%e $ecaying *ushroo*s .Hon 8of*annsthal @:/F: @:0' >n the verge of berating his little $aughter for lying) he fin$s hi*self ren$ere$

speechless as the concepts of truth6telling an$ integrity begin to blur in front of his eyes until he can no longer see or reach the* at all' 8e $escribes the situation as a succession of brea%ages an$ ruptures: &Everything fell into frag*ents for *e) the frag*ents into further frag*ents) until it see*e$ i*possible to contain anything at all ithin a single concept .!@0' 8e also uses the i*age of *agnification to e1press the ay in hich concepts beca*e enlarge$ to the point of being invisible: &Just as ( once sa a bit of s%in of *y little finger in a *agnifying glass) an$ foun$ it to rese*ble a huge fiel$ full of ri$ges an$ hollo s) so it as for *e no .!@0' ?here previously he felt the orl$ an$ its *ysteries to be a &single subli*e allegory .@/0 Chan$os no feels the orl$ brea%ing apart un$er hi*) slipping) beco*ing *onstrous) al ays beyon$ reach' 8e cannot even thin% about the orl$ let alone rite or spea% about it' The secon$ an$ *ore positive ay in hich Chan$os $escribes his situation is to spea% about a ne revelation that see*s to co*e to hi* *iraculously at unpre$ictable *o*ents an$ to be cause$ by see*ingly in$iscri*inate sights or obBects' 8e is at a loss to $escribe the feeling) riting) &There is so*ething ineffable) you see) so*ething one coul$ probably never $efine) that *a%es itself %no n to *e at such ti*es) filling li%e a vessel so*e arbitrary feature of *y every$ay surroun$ings ith a pro$igal surge of *ore e1alte$ life' 8e lists so*e such obBects or vessels as: &A atering6can) a harro left stan$ing in a fiel$) a $og in the sun) a run$o n churchyar$) a cripple) a s*all far*house .!#0' As Chan$os continues to e1poun$ on these *o*ents of intensity) it beco*es clear that they are provi$ing hi* ith a return to his for*er con$ition of oneness ith the orl$' 8e rites: (t stri%es *e then that everything) everything in this orl$) everything ( can re*e*ber) everything that *y *ost ay ar$ thoughts *ight touch upon) is so*ething after allK ( have the feeling that *y bo$y is *a$e up of nothing but ciphers) an$ that all things are therefore accessible to *e K that e all *ight enter into a ne co**unication ith the hole of e1istence if e only began to thin% ith our hearts' .Hon 8of*annsthal @:/F:!G0 Chan$oss ne revelations an$ his ol$ $elirious feeling $iffer in t o *ain ays' Firstly) here his previous sense of unity ith the orl$ as a constant presence in his life 3 infor*ing his riting) his interaction ith others) his *ove*ents) his senses 3 these ne revelations are ve1ingly transitory an$ rare' Chan$os fin$s hi*self actively searching &for that one obBect lying or leaning there unnotice$ by anyone else) that one obBect hose unprepossessing for*) hose si*ple) *ute e1istence) can beco*e the source of that puzzling) na*eless) but unboun$e$ $elight .!:0' (n other or$s) for*erly his life as full) co*pose$ of a vast interconnecte$ness bet een nature an$ culture) bet een obBects an$ subBectsC no ) ho ever) his life is an &al*ost uni*aginable e*ptiness .!/0 ith the revelations as e1traor$inary points spacing out the or$inary blan%ness' The other *aBor $ifference bet een Chan$oss previous an$ present ecstasies is that rather than co*pelling or sourcing his riting) his ne e1periences of the revelatory co*pletely silence hi*: >nce the strange enchant*ent leaves *e) ( fin$ ( a* left ith nothing to say about itC ( coul$ no *ore relate in reasonable ter*s hat it is that constitutes this har*ony that eaves

through *e an$ the hole of the orl$ K than ( coul$ $etail the inner or%ings of *y intestines or the coursing of *y bloo$' .Hon 8of*annsthal @:/F:!G6/0 8is chosen *etaphor is interesting here) i*plying that shoul$ he have special %no le$ge or %no a special language of his e1perience) he oul$ be able to spea% about it' >r) in fact) if he ere so*eone else) a $octor) in this case) thenthe *ysteries of the revelation oul$ be clear to hi*' At the en$ of his letter) Chan$os returns to this point in the passage hich Coetzee has <uote$ for his ,ostscript: The language in hich it *ight have been given *e to rite) an$ even to $o *y thin%ing) is neither +atin nor English) nor (talian) nor 5panish) but one of hich ( %no not a single or$) one use$ by the $u*best of things in spea%ing ith *e) an$ one in hich) perhaps) ( ill so*e$ay be calle$ to account for *yself fro* *y grave before an un%no n Bu$ge' .Hon 8of*annsthal @:/F:#!0 (t is perhaps un$erstoo$ that the con$ition for this specialise$ language is $eath 3 surely $eath oul$ close the para$o1 of a $u*b language) an un%no n Bu$ge) by bringing to life the or$s that synchronize ith Chan$oss revelation' >r) even *ore accurately) rather than pushing ti*e for ar$ to $eath) Chan$os *eans to revert to a place prior to false an$ gratuitous language' (talo Calvino) an author hose boo%s are also often preoccupie$ ith the non6place before language rites in his story) &A 5ign in 5pace: (n *y nostalgia) the first sign K re*aine$ beyon$ attac%s of ti*e an$ its changes) the sign create$ before the beginning of for*s) hich as to contain so*ething that oul$ have survive$ all for*s) na*ely the fact of being a sign an$ nothing else' .Calvino @:F/: #G0 (n this case) then) the specialise$ language belongs to those ho have never %no n the present orl$) as it is no covere$ ith &a general thic%ness of signs superi*pose$ an$ coagulate$ K the universe scra le$ over on all si$esK There as no longer any ay to establish a point of reference .Calvino @:F/: #:0' For sentient hu*ans) an i*possible $i*ension' E Elizabeth felt she as going *a$' Coul$ it all be si*ply a coinci$enceA The +or$ Chan$os letter as $ate$) &This !!n$ of August) the $ate of her o n birth$ay' Coetzees +a$y Chan$os letter as $ate$ &This @@ 5epte*ber) a $ate) of course) ith spectacular significance since !""@) but ith a particular significance to her the $ay she rea$ it in !""#' The night before) after finishing the final +esson of the boo% an$ $eci$ing to leave the ,ostscript until *orning) Elizabeth ha$ ha$ a $rea*' (t as an apocalyptic terrifying $rea* fro* hich she ha$ o%en breathless) crystal6clear i*ages still playing in the centre of her *e*ory' The i*ages $i$ not fa$e all $ay' The i*ages ere of Ne Lor% City an$ herself at the top of a high rise buil$ing) caught in a tre*en$ous cyclone' An$ then she ha$ rea$ the ,ostscript' &This @@ 5epte*ber) A7 @F"#' A chill ha$ run $o n her spine' (t as the si1teenth of March that $ay' 5he ha$ shut the boo% <uic%ly an$ gaze$ at the front cover: the Henus $e Milo) fra*e$ ith only the torso in vie ) rising fro* a*ongst the sea of a blurre$ *o$ern cro $ ith one

*ans triple6i*age$ face loo%ing up ar$s at the unseen hea$) his o n e1pression caught in be il$er*ent an$ scorn' Nor*ally) hen she tol$ her $rea*s to her boyfrien$) they ere flat an$ boringC stupi$) even to herself' This *orning) he listene$) captive' 5he surprise$ herself ith the passion ith hich she tol$ it' (ll rite it $o n) she thought' 4ut hen she $i$) over a perio$ of ee%s) it lost its ay' (t thu$$e$ fro* her li%e a $roppe$ sac%' E The Henus $e Milo originally ha$ ar*s) as everyone %no s in the bac%s of their *in$s' >ne of Aphro$ites ar*s reste$ on a her*a) or stone pillar) besi$e her) the other) it is $ebate$) hel$ an apple' 8o ever) the statue as it is no ) stan$ing in the +ouvre *useu* in ,aris) is) as it ere) loc%e$ in stone in the collective i*agination as an ar*less go$$ess' Although at the ti*e of its fin$ing in @/!" atte*pts ere *a$e to $esign ne ar*s for the statue) 2ing +ouis NH((( later $ecree$ that the natural beauty of the inco*plete i*age shoul$ not be $isturbe$' (n Coetzees !""; novel 5lo Man) a*putee ,aul Day*ent i$entifies in the statue a $ifference bet een art an$ hu*anity: (f it ere $iscovere$ to*orro that the Henus as in fact *o$elle$ on an a*putee) she oul$ be re*ove$ at once to a base*ent store' ?hyA ?hy can the frag*entary i*age of a o*an be a$*ire$ but not the i*age of a frag*entary o*anA .Coetzee !"";: ;:0 The $ouble6affliction of the Henus *irrors the $ouble6affliction of +or$ Chan$os) an$ in turn the couple$ tor*ent of +or$ an$ +a$y Chan$os' ,erhaps it is a stretch of analogy) but a connection coul$ be *a$e bet een this statue an$ Coetzees i$eas about riting hich he presents in his ,ostscript an$ else here in Elizabeth CostelloC i$eas hich) ( oul$ argue) have actually carrie$ through each of his novels so far' The ritten) sitting loc%e$ in its even blac% lines) gives the i*pression of belonging) of being pri*aryC if one e1plores) ho ever) into the region of its *a%ing) the situation) the han$) the pen of its origin) e *ight perhaps gli*pse the sha$o li*bs) the a*putate$ gestures that e1ist bet een the lines' Coetzees +a$y Chan$os letter) hen rea$ <uic%ly) gives the i*pression of a $esperate breathless bac%6an$6forth *otion) an an1iety an$ intense uneasiness' Again an$ again she begins to try an$ $escribe her feelings about the situation she an$ her husban$ are in) an$ again an$ again she negates her atte*pte$ $escriptions as contagions: (nto *e) soul an$ bo$y) I*y husban$J presses hat are no longer or$s but fla*ing s or$s' ?e are not *eant to live thus) 5ir' Fla*ing s or$s ( say *y ,hilip presses into *e) s or$s that are not or$sC but they are neither fla*ing s or$s nor are they or$s' (t is li%e a contagion) saying one thing al ays for another .li%e a contagion) ( say0K Al ays it is not hat ( say but so*ething else' .Coetzee !""#: !!/' >riginal italics0 >n one level) it coul$ be suppose$ that 8of*annsthal an$ Coetzee are atte*pting a clever irony in that although both +or$ an$ +a$y Chan$os confess to a $eep struggle ith language) their respective letters are elo<uent) finely6crafte$) an$ stan$ soli$ly as statues<ue

testa*ent to their obvious ability to $escribe an$ e1press' (t is the %in$ of co*e$y or riterly half6lie that Maurice 4lanchot spea%s of at the beginning of &Fro* 7rea$ to +anguage: &IThe riterJ spea%s the language of *en at the *o*ent hen there is no longer) for hi*) either language or *an .4lanchot @:::: #M#0' This irony) ho ever) is self6a are) an$ hatever cleverness or hu*our such an o1y*oronic Bo%e coul$ contain is overri$$en by the serious $istress of the couples pleas to 4acon' &5ave *e) $ear 5ir) save *y husban$- ?rite- +a$y Chan$os rites) an$ later) &7ro ning) e rite out of our separate fates' 5ave us .Coetzee !""#: !!:) !#"0' +a$y Chan$os is not only as%ing for salvation fro* the first aspect of their affliction) the frag*enting of language) & here or$s give ay beneath your feet li%e rotting boar$s .li%e rotting boar$s ( say again) ( cannot help *yselfK0 .Coetzee !""#: !!/0' 5he is also as%ing for salvation fro* the secon$) fro* the revelatory: &?e are not *a$e for revelation) ( ant to cry out) nor ( nor you) *y ,hilip) revelation that sears the eye li%e staring into the sun' (t is only for &e1tre*e souls to live thus) she rites) an$ only in a ti*e & hen giants or perhaps angels stri$e the earth .Coetzee !""#: !!/6:0' ?hat +or$ an$ +a$y Chan$os are $escribing) it see*s) are the t o e1tre*es of the sa*e unbearable silence' >n the one han$) language is &$ecaying an$ &rotting on their tongues an$ beneath their feet hen they try to spea% of every$ay concepts' >n the other han$ they are e1periencing &presences of the infinite .Coetzee !""#: !#"0) e1traor$inary an$ rare *o*ents for hich there is no language available at all' (n his essay &+iterature an$ the Dight to 7eath) 4lanchot spea%s of t o si*ilar e1tre*es) $escribing the* as slopes' The first is *eaningful prose) its goal being to &e1press things in a language that $esignates things accor$ing to hat they *ean .4lanchot @::;: ##!0' This process) ho ever) brings about a negation here the &in$eter*inate is &$estroye$ in or$er to be %no n) subBugate$) co**unicate$ .4lanchot @::;: ##"0' The realisation of this negation) it see*s) is hat +or$ Chan$os is battling ith hen he can no longer spea% nor*ally to his $aughter' The secon$ slope that 4lanchot $escribes is concerne$ ith & hat things an$ beings oul$ be if there ere no orl$ .4lanchot @::;: ###0) or as Michael Marais puts it in an essay on Coetzee an$ 4lanchot) &things prior to their negation by language an$ hu*an syste*s of or$er .Marais !""": @F@0' The Chan$oses e1periences of ineffable revelation see* to apply to this category or slope' There they are in the valley bet een the slopes' As Marais goes on to rite: &+iteratures treacherous a*biguity $erives fro* the fact that in riting) the riter is caught an$ suspen$e$ bet een $ay an$ night) bet een t o slopes hich are both necessary an$ i*possible .Marais !""": F!6#0' (t is significant that the Chan$oses are riting to Francis 4acon) +or$ Herula* an$ Hiscount of 5t Albans) the fa*ous philosopher) states*an an$ a lea$ing thin%er in the ne scientific *etho$ of analogous in$uction or &a*pliative inference' ?here previously scientists an$ logicians practise$ in$uction by $ra ing general conclusions fro* a particular instance) Francis 4acons *etho$ as to infer by ay of analogy) or%ing fro* si*ilarities ithin the larger group bac% to the particular an$ correcting errors accor$ing to e1perience later'

5cientific hypotheses an$ the a$vance*ent of e*piricis* ere greatly i*prove$ by 4acons contribution' An analogy) as oppose$ to a *etaphor or si*ile) is not) strictly) a figure of speech' (t is so*ething observe$ rather than interprete$) a $irect relation or si*ilarity bet een t o entities rather than a forge$ lin%: the analogy bet een the heart an$ a pu*p' ?here &scientific analogies such as this see% to *a%e clear an other ise obscure) even *iraculous) bo$ily role) *etaphors an$ si*iles see% to proble*atise an$ subvert) to *a%e poetic as it ere) the un6*iraculous or ta%en6for6grante$' Jac<ues +acan insiste$ on this $istinction in his e1position of pathological sy*pto*s as being structure$ li%e a language: &Analogy is not *etaphor K it as by $eliberately avoi$ing analogy that Freu$ opene$ up the right ay to the interpretation of $rea*s) an$ so to the notion of analytic sy*bolis* .+acan @:GG: ;#0' ?hat +or$ an$ +a$y Chan$os are battling ith is a sense that everything is either an analogy or a *etaphor' That there is nothing that is not a reference point for so*ething else 3 hether the language6e1pression is see%ing to clarify or subvert' +a$y Chan$os is th arte$ at every turn) both hen she tries to analogise her raptures .as fla*ing s or$s) plagues of rats) contagions0 an$ hen she atte*pts to *a%e a *etaphor of the or$inary: &A $og sitting in a patch of sun lic%ing itself K is at one *o*ent a $og an$ at the ne1t a vessel of revelation .Coetzee !""#: !!:0' This is a proble*) perhaps the proble*) entrenche$ ithin every act of riting) hether subconscious or self6conscious' ?hat the Chan$oses are e1periencing) in a $esperate physical ay) is a central intersection for literary theory that has been felt in $ifferent ays $uring recent perio$s of literary en$eavour: ro*anticis*) realis*) Dussian for*alis*) *o$ernis*) structuralis*) poststructuralis*' (t is the proble* of the relationship bet een language an$ the orl$) also an ancient proble*) encapsulate$ in +a$y Chan$oss cry of &Al ays it is not hat ( say but so*ething else- An$ this &so*ething else has been na*e$ an$ re6na*e$ an$ finally unna*e$ by the sa*e literary theorists: =o$) the ineffable) being) the >ther) space) silence' +or$ an$ +a$y Chan$oss aphasic $isturbances see* to be concerne$ ith so*ething al ays overri$ing linguistic structure' Their struggle ith language is not so *uch a <uestion of ho e1actly language is scra*bling in their *in$s) hether it is so*e i*pair*ent) *ore or less severe) of the faculty either for selection an$ substitution or for co*bination an$ conte1ture) as Ja%obson rites in his essay on the $ual nature of language an$ aphasia .Ja%obson @:/G0' Dather) their struggle a$$resses the <uestions: hy is this happeningC hether it can ever not happen' (f *etaphor is) as +a$y Chan$os) baul%ing) suggests) a state of being) a orl$ 3 &All is allegory) says *y ,hilip' Each creature is %ey to all other creatures .Coetzee !""#: !!:0 3 then coul$ it be possible for this torture$ couple to ever $elight in this orl$) to be sustaine$ by itA Charles 5i*ic) a poet hose *etaphors strive to trap the being of an obBect) an$ ho is influence$ by surrealist philosophy) see%s out a space &belo language K that place of original action an$ $esire K a orl$ here *agic is possible) here chance reigns) here *etaphors have their supre*e logic .5i*ic @:GG0' (s this the sa*e orl$ that +a$y Chan$os

$escribes using the terrifying i*ages of giants an$ angels stri$ing the earth) &A ti*e hen such e1tre*e souls as ( rite of *ay be able to bear their affliction .Coetzee !""#: !!:0' ?here 5i*ic an$ others li%e fello poet Has%o ,opa an$ Dussian theorist Hictor 5h%lovs%y see the $efa*iliarising nature of *etaphor an$ its all6enco*passing <uality as so*ething necessary) even beautiful) the Chan$oses are horrifie$ at its prospect' They ant) an$ fear) as perhaps people every here si*ultaneously ant an$ fear) a co**unication ith no incalculable gaps bet een spea%er) listener an$ sai$C ith no innu*erable instances of *ishearing) *isinterpretation) slippage) rupture) $isplace*ent' They long ith the yen of the falling an$ $ying for this other language) for the language of obBects) the language of e*bo$i*ent) the language in hich they can call the*selves to account' The +a$y Chan$os letter co*es ith all the characteristics of a s%ilful surprising postscript 3 it offers a su$$en) even Barring) otherness that spea%s fro* a $istance to the story) i$eas an$ lessons in the prece$ing narration' The character) Elizabeth Chan$os) is an obscure) but trac%able one ith a neat tric% to her na*e that gives her an affinity .perhaps she is an historical *irror6i*age0 ith the *ain character Elizabeth Costello' The sentences on the page) though stylistically fa*iliar) are i*bue$ ith a sense of e1teriority: this is) after all) an a$$en$u*) an afterthought' The the*es an$ i*ages also ring bells 3 ani*als) *etaphor) visions 3 but co*e together here in a strange i*passione$ ay in a voice e $o not recognise as Costellos' ?hat $oes a postscript li%e this $o to the rea$erA (n this case it presents an opportunity for another rea$ing of the te1t) a rethin%ing of its the*es) character an$ centre' Also) in its $istance) the postscript allo s for reflection on not only the riter Costello or the riter +or$ Chan$os) but on the riter Coetzee ho) in paralleling hi*self ith 8of*annsthal) has reveale$ hi*self a little' 5urely these are the <uan$aries) li%e <uarries) hich the riter trea$s precariously bet een henever she sets pen to paper: hy $o ( riteA hat goo$ $oes it $oA is there anything outsi$e *etaphorA $oesnt that $og sitting in the sun tell *ore than a *illion pages in a *illion boo%sA 7oes Elizabeth Costello) a story about an ageing riter reconsi$ering her lifes or%) also tell the story of a $ying age reconsi$ering the place) purpose an$ value of its artA E !""; Elizabeth as al*ost finishe$ rea$ing JM Coetzees ne boo%) 5lo Man' This ti*e it ha$ not caught her eye in a boo%shop because it as not yet on the shelfC it as) in fact) still out in a bac% roo*) bo1e$) un$erneath other bo1es' 5he ha$ as%e$ after it) as though it ere a sic% relative) an$ the storeperson) $elighte$) ha$ gone to ru**age out the bac%' >nce it as in her han$) Elizabeth ha$ as%e$) &8o *uchA an$ the storeperson ha$ sai$) &Forty6five $ollars) apologetically' Dather than get the o*an to go bac% to the bo1 an$ replace the boo%) Elizabeth ha$ bought it an$ the o*an ha$ sai$) opening the till) &(* sure it ill be orth it) ith that special s*ile boo%lovers give to other boo%lovers in an inner6city chain boo%store'

8aving alrea$y rea$ eight revie s of the boo%) Elizabeth %ne al*ost e1actly hat to e1pect as she began rea$ing outsi$e in the ne 5epte*ber sunshine' 5he re*e*bere$) ith that su$$en flash one has hen a physical sensation can be so clearly lin%e$ to a *ental one) the pain she ha$ been in hile rea$ing 7isgrace t o years ago' 5ince then) having begun ta%ing the ,ill) her ti*es of *enstruation ha$ been har$ly noticeable on the physical horizon' (n fact) she as blee$ing no ) an$ still perfectly co*fortable) *obile) alert' ,erhaps not running along the beach in a bi%ini) as they $i$ on the sanitary pro$ucts a$vertise*ents) but still) out here) rela1e$) ithout a sic% bo l by her si$e an$ a sic%ly s*ell afting aroun$ a close roo*' The forty6five $ollar boo% she hel$ carefully) having re*ove$ the $elicate $ust6Bac%et an$ place$ it out of reach of the %itten' 5he turne$ the pages ithout crac%ing the spine) etting or ben$ing the paper' ?hen she coul$) she use$ both han$s to hol$ it' As a boo%*ar%) she as using the pa*phlet on changing ones na*e she ha$ or$ere$ fro* the Degistry of 4irths) 7eaths an$ Marriages' ?ho can change their na*eA ran one of the Fre<uently As%e$ Ouestions' ?hy $o people change their na*esA 7o ( nee$ to apply for a na*e6change hen ( get *arrie$A ( a* a chil$ 3 can ( change *y na*eA The proce$ure see*e$ fairly straightfor ar$' Lou si*ply fille$ in a for*) signe$ it un$er the eyes of a Degistry official) provi$e$ authorise$ copies of four %in$s of i$entification) han$e$ over the fee an$ that as that' ?ithin fifteen business $ays) you ere %no n as so*ething else' There as a note besi$e the section &Deason for changing your na*e: Deason MU5T be specific e'g' &personal is N>T acceptable' Elizabeth thought *ost reasons for changing ones na*e oul$ be personal' >nes na*e is personal' >f course) she ha$ hear$ of those people) probably A*ericans) ho change$ their na*e every couple of years as though it ere a hair colour' To the*) perhaps) the change as not so personal) *ore fancy or hi*sy' To her) the reason for the change ent bac% t enty6three years to her birth hen her father) perhaps *u$$le$) perhaps sha%ing ith the strain of birth6 atching) ha$ entere$ Elizabeth 2atherine as his ne $aughters =iven Na*es' They ere the na*es) of course) on hich he an$ his ife ha$ $eci$e$) sitting in the lounge $uring the A$elai$e inter as the baby fille$ out) gre rotun$' &?oul$nt it be lovely) his ife *ight have sai$) &if she ere to have na*es fro* our *others' Fa*ily na*es' Lour *others *i$$le na*e an$ *y *others *i$$le na*e' Na*es that go bac% into the *in$s of other *others in 8ollan$ an$ 5cotlan$' Na*es that repeat' An$ so it as $eci$e$' 4ut the spelling of his *other6in6la s *i$$le na*e as not so*ething Elizabeths father ha$ thought to chec%) so 2atherine he put) an$ it staye$' Elizabeths >*a) her *others *other) ha$ recently passe$' (t see*e$ li%e the best ti*e to set the recor$s right' 5o all these processes for a single letter in the en$: 2 to C' 5he oul$ have to call the ban% an$ the people ho issue$ $rivers licenses an$ tell the*: (ve *a$e a slight change to *y *i$$le na*e) ill ( nee$ to have *y i$entification reprinte$A 5he$

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alrea$y practise$ using the EC in a signature) but foun$ any Boin bet een the t o initials a % ar$) an$ in the en$ left the* separate' 5he is a are of the strange coinci$ence of the na*e) the confluence of Elizabeths an$ ECs' They see* to lie in ait for her li%e *ischief6*a%ers' Coetzees other boo% about an ol$ o*an) Age of (ron) ha$ Elizabeth Curren $ying of breast cancer' 4reast cancer ran in her) Elizabeth Catherines) fa*ily 3 in fact her gran$*other) her fathers *other .A$elai$e Elizabeth0) ha$ survive$ it ten years ago' A coinci$ence li%e this she bore) as a goo$ rea$er *ust) ith even hu*our) ithout sul%ing' Elizabeth Chan$oss letter she has alrea$y a$$resse$ an$ has $ealt ith .( a* not *a$0 the coinci$ences springing fro* it: the $ate of her birth$ay) the $rea* about Ne Lor%' An$ Elizabeth Costello herself) hose appearance in this ne boo% has revie ers up in ar*s) see*s to be *e$$ling) fro* herever she lives in Carlton) Melbourne .Bust $o n the roa$-0) her puppeteering ar*s securely into her life' 5he continues rea$ing fro* here she left off an$ fin$s Elizabeth Costello telling ,aul Day*ent) the boo%s hero) a story' 5inba$ helps an ol$ *an across a river by carrying hi* on his shoul$ers' ?hen they reach the other si$e) the ol$ *an) instea$ of cli*bing $o n) starts cho%ing 5inba$ by tightening his legs aroun$ 5inba$s throat' &No you are *y slave ho *ust $o *y bi$$ing in all things) says the ol$ *an) .says Elizabeth Costello) says J M Coetzee0' 5o*eho the i*age) in its grotes<uerie) all its tactile coarseness 3 the ithere$ s%in of the thighs) the loincloth) the leer 3 enters her i*agination beyon$ the call of the boo%s intention' The t o of the* grappling at the rivers e$ge) the ol$ *an .or o*an) as it is no suggeste$0 perhaps gripping the young *ans hea$) covering his eyes) tugging his hairC ri$ing hi* as he teeters about) flails blin$ly) hits at her legs) tosses his torso to try to lose her' The t o of the*) no resigne$) continuing on past the ater) beco*ing li%e one bo$y) she pointing the ay) he fee$ing her *orsels' 5he) Elizabeth) sees the i*age co*ing out at her fro* all $irections) the positions an$ characters s apping: 5inba$ an$ the ol$ *an) ,aul Day*ent an$ Elizabeth Costello) Elizabeth Costello an$ JM Coetzee' (t is an i*age) an$ li%e all i*ages it fails' Not a $ea$ening failure) not really a lossC that beautiful failure that reaches en$lessly for hat it %no s is there: the en$) realisation) =o$' E Hon 8of*annsthal) 8 @:/F I@:"!J The +or$ Chan$os +etter .trans D 5toc%*an0' Her*ont: The Marlboro ,ress return to te1t 7r Elizabeth MacFarlane is a riter an$ aca$e*ic base$ in Melbourne' 5he co*plete$ her $octorate on the novels of JM Coetzee in !""G an$ has since been teaching an$ researching in the Creative ?riting $epart*ent at the University of Melbourne' 8er short stories an$ essays have been publishe$ in a range of Australian Bournals' 5he is currently researching the fiel$ of genre innovation in Australian literature) ith a focus on graphic narratives an$ fictocriticis*'