WAITING FOR THE BARBARIANS by J.M. Coetzee, the Nobel Prize Winner in Literature, is a novel about a city magistrate in a frontier village of a nameless empire. The narrator, whose name we do not learn, becomes involved with a "barbarian" woman after a visiting soldier captures some tribespeople and brings them back to the camp for "interrogation." The woman is crippled (specifically, she is hobbled as well as blinded), and the magistrate begins a strange relationship with her.
During their brief romance, so to speak, the magistrate doesn't have sex with this object of his affection, but instead, he likes to wash her body, and fall asleep next to her (he does occasionally see a prostitute in the town, though). The woman has a job during the day in the kitchen. There is genuine affection between the magistrate and the barbarian, while in the town the soldiers from the empire are interrogating (torturing) native peoples and building fear in the town against the barbarians. The magistrate, however, believes that the barbarians are no threat to the Empire, that they have their own rhythm and lifestyle on the land. As the fervor from the Capital builds against the Barbarians, the magistrate finds himself questioning and challenging his own society, particularly after a trip he takes to find the barbarians. When he returns from the dangerous journey, he faces consequences that cause the reader to question authority, its right to power and its right to brutality.
This novel was one of my favorite Coetzee's, behind "Disgrace" and "Age of Iron," because it has a more cohesive storyline than, say, "Elizabeth Costello" or "In the Heart of the Country." But it was also, again, quinstessentially Coetzee, dealing with some of his consistent issues, such as linguistics and communication, power structures, colonialism, force and meaning, and the journey as process and perhaps a symbol of growth, insight or acceptance. I think we can see in Coetzee, in this earlier work, that these themes and images of the whole are present and pulsing.
The preoccupation with meaning, communication and language is present here. The magistrate collects little wooden slips that he has found in the ruins of a people long since disappeared from the border areas of the frontier town. The marks on the slips and their opaque meaning to the magistrate and his contemporaries illustrate how ephemeral written language can be.
But he also doesn't speak the language of his own people, in terms of understanding the values of the military types who come to represent the empire. And this is where we start to deal with the theme of power, control, the state and colonialism, and the clash of civilizations over legalisms (boundaries, prisoners, etc). The cultural clash comes to be not only between the Empire and the Barbarians, but between the frontier magistrate who sees the barbarians as people and his own aggressive, colonizing culture.
This clash leads to a changed situation for characters in the book. And the book provokes the reader to start working through the question of what does authority really mean? Is force equal to power, really? How does one square a reality in which one is suddenly at odds with the structure and culture that kept one safe for so long? The magistrate struggles with this, as well. It is as if learning this lessen makes him naive again, and blaming the Empire becomes a panacea for the magistrate, who is, I might add, not a very sympathetic character, but is all we have... We can see the beginning and end on the wooden slips the magistrate collects. The writers of these have gone away, past even memory, the language is meaningless, their words meaningless designs found in the sand.
And as always, with Coetzee, we must consider, what does language even mean? What does it do? Our magistrate loops his thoughts around what words mean, what his self-talk means, what all this has to do with reality and understanding.
This book expertly entwines these themes of colonizers and their language, what it means to them, what they believe, what they tell others, and what they cannot understand through a narrative that is engaging on a plot level as well as a thematic one.
I loved this book. It would, I think, be an effective introduction to the works of Coetzee and also serves as a way to further inform our understanding of his preoccupations, themes and questions.
