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Zusatztext "Coetzee's writing is characteristically spare and penetrating....Kurtz proves both a lucid expositor and an evocative literary stylist! bringing psychoanalytic ideas and practices to life with rare precision and immediacy." —Literary Review "It is the Man Booker Prize-winning novelist's agenda that drives the absorbing discussions of this book. Kurtz's pieces are replies to Coetzee's questions! and as such are insightful for both disciplines." —The Independent (UK) “For any admirer of Coetzee! the collection is a rare opportunity to understand the mind of a writer who almost never speaks at length in his own voice...Kurtz! importantly! is prepared to firmly critique Coetzee...The pleasures of this book lie in the ways they absorb one another’s critiques! adjust their claims! and—sometimes—exchange positions.” —The New Republic "Coetzee and Kurtz range freely across space and time! from ancient spells of bewitchment to the 'confessions' of celebrities in magazines. Their arguments have a meditative quality! challenging! and helpfully open-ended." —Newsweek Europe “The book is rich throughout with references to literature and philosophy... But it is Coetzee’s gift for bottling the essence of his own life which makes for his most potent observations.” — Financial Times Informationen zum Autor J.M. Coetzee was awarded the Nobel Prize in Literature in 2003. His work includes Waiting for the Barbarians! Life & Times of Michael K! Boyhood! Youth! Disgrace! Summertime! and The Childhood of Jesus. He was the first author to win the Booker Prize twice. Arabella Kurtz is a consultant clinical psychologist and is completing psychoanalytic psychotherapy training at the Tavistock Clinic in London. She has held various posts in the National Health Service adult and forensic mental health services and is currently a senior clinical tutor in the University of Leicester clinical psychology training course. Kurtz lives in England. ONE Being author of one’s life-story (inventing one’s past) versus being merely its narrator. Producing a well-shaped story versus telling the true story. The analyst as the story’s ideally attentive listener. Hearing and analysing resistances in the narrative. The therapeutic goal: freeing the patient’s voice, the patient’s narrative imagination. JMC – What are the qualities of a good (a plausible, even a compelling) story? When I tell other people the story of my life – and more importantly when I tell myself the story of my life – should I try to make it into a well-formed artefact, passing swiftly over the times when nothing happened, heightening the drama of the times when lots was happening, giving the narrative a shape, creating anticipation and suspense; or on the contrary should I be neutral, objective, striving to tell a kind of truth that would meet the criteria of the courtroom: the truth, the whole truth, and nothing but the truth? What relationship do I have with my life history? Am I its conscious author, or should I think of myself as simply a voice uttering with as little interference as possible a stream of words welling up from my interior? Above all, given the wealth of material I hold in memory, the material of a lifetime, what should or must I leave out, bearing in mind Freud’s warning that what I omit without thinking (i.e. without conscious thought) may be the key to the deepest truth about me? Yet how is it logically possible for me to know what I am unthinkingly leaving out? AK – I suppose it is the task of psychoanalysis to try to tell the deepest truth; or more modestly and more accurately, to analyse resistances to its telling so that an individual’s story can emerge in as full and coherent and engaged a way as possible at any one point – because the process is conti...
