John Maxwell Coetzee is described as the most famous, most controversial, and most controversial South African writer of our time. Some see his books as a "warning to the world" (Davidson, 2001, pp. 229-237), while others see white racism. Many of his former South African colleagues accuse him of writing novels that are politically incorrect and create too dark a picture of South Africa (Piding, 2003). Others call Coetzee, despite all his achievements, a literary outsider, a recluse, an original, they say, he ignores many accepted conventions in the literary world. Many people consider him an oddball who writes every morning all seven days a week, does not drink, does not smoke, does not eat meat, never laughs. He was awarded the Booker Prize twice, and both times he did not show up for the award ceremony. With his Nobel Prize speech, he surprised everyone by suddenly dedicating it to Robinson Crusoe and his servant Friday, separated by distance and terribly lonely.

Keywords: Coetzee, South African literature, apartheid, Nobel Prize, Booker Prize.

In Russia, Coetzee first became known in 1989, when the first book was published, which included translations of three of his short stories: Waiting for the Barbarians, The Life and Times of Michael K., and Mister Fo (Coetzee, 1989). The circulation was huge even by the standards of that time - 100 thousand copies. But Coetzee's novels gained even more popularity after 2003, when he won the Nobel Prize for Literature. Every year they translated one or two of his works, reprinted them, and the print runs grew larger. From 1999 to 2006, 8 of Coetzee's books were translated and published in Russian. In addition, journals (in particular, Zvezda, Novy Mir, Russkiy Zhurnal, and Knizhny Obozrenie) published articles and reviews of Coetzee's work, as well as translations of his Nobel speech and other publications. the second volume of his autobiography entitled "Youth".

How can we explain the popularity of books written by a writer from faraway South Africa among the Russian public? "In his work, no two books are created according to the same recipe, "explains the Nobel Committee, which named Coetzee as an author who, in his novel Dishonor," shows in countless variations the unexpected involvement of an outsider." This involvement, of course, is not liked by everyone: many people claim that reading his novels is a torment, it is difficult to find yourself sometimes in the lowest actions and feelings. "He describes heartbreaking things, descends into such dark abysses that few people can see," says University of Chicago professor Jonathon Lier. "Coetzee studies human cruelty, insensitivity to the suffering of others. Personally, I don't have enough for this

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courage" [Zalesova-Doktorova, 2004, p. 132]. Coetzee himself describes himself as follows:" I am not a harbinger of any ideas-I am only someone who rushes to freedom, as every chained prisoner rushes to it, someone who imagines people who have escaped from their shackles and turned their faces to the sun " (Deinichenko, 2003).

* * *

Coetzee was born in 1940 in Cape Town to an Afrikaner family of Dutch descent. His father worked as a lawyer, his mother-a school teacher. In his autobiographical novel Boyhood, he described himself as a sickly, book-loving boy. Coetzee attended St. John's College. He attended a Catholic school in Rondebosch, a suburb of Cape Town, and then studied mathematics and art at the University of Cape Town. In 1961, after the shooting of a demonstration in Sharpeville (1960), he moved to London and worked there as a programmer at an IBM branch. In the second volume of his autobiography, Youth Coetzee describes spending all his evenings at the British Museum, and the rest of his time wandering the cold streets of London. However, after a year, he got tired of the usual time-consuming everyday work of a programmer, and he never found any friends, which explained his departure from IBM. Coetzee never found another job in London, but spent the summer in the suburbs looking after a family's house until he had problems with the migration service (Coetzee, 2005). Then the writer had the idea to move to the United States and continue his studies and work there.

During his stay in London, Coetzee met and then married Phillipa Jubber in 1963. This fact he deliberately omits in his otherwise very detailed autobiography. The marriage was not successful, and in 1980 the couple divorced. In his book Diary of a Bad Year [Coetzee, 2008], Coetzee chooses a South African writer living in Australia as the main character (obviously referring to himself). This writer, Senor K., is a secretive man who does not trust anyone with the secrets of his life. And one man, a friend of his typist, finds information about him on the Internet: "... he is not from Colombia and not Senor K. He was born in South Africa. Short story writer and critic. A long list of titles and titles. Not a word about my wife" [Coetzee, 2008, p. 50-51]. The same can be said about Coetzee himself.

His wife bore him two children, Nicholas (1966-1989) and Gisela (b. 1968). But Coetzee was hardly a good father to them. In his latest book, he writes: "Children are a gift from above. When they appeared, I could not appreciate this gift" [Coetzee, 2008, p. 57]. Although one of his best books - "Waiting for the barbarians" - he dedicated to his children. Nicholas died under mysterious circumstances in 1989 (there is an assumption that he was killed). He was only 22 years old. Obviously, this was a heavy blow for the writer. In 1994, his book Autumn in St. Petersburg was published (Coetzee, 2005), the main character of which was Fyodor Dostoevsky, who deeply felt the death of his stepson Pavel Isaev. It is known that Pavel died when he was 54 years old. In the novel "Autumn in St. Petersburg" he is 23 years old. Obviously, through descriptions of the suffering of the writer, who could not give the necessary warmth to his stepson during his lifetime, Coetzee conveys his personal experiences associated with the sudden death of his son.

Coetzee did not live with his wife even before the official divorce. It was obvious to his friends that the writer would not be able to be a good family man, since he had a reputation as a hermit and introvert [Price, 2000]. However, when his ex-wife died of cancer in 1990, it was a tragedy for him. The novel "Iron Age" (Coetzee, 2005) became a kind of dedication to her and her son, a confession of a person who sympathizes with the grief of a loved one and tries to understand it...

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After leaving London, Coetzee went to the United States in 1965. At the University of Texas, he received his Ph. D. in philosophy, with a dissertation devoted to computer stylistic analysis of the works of the Irish writer, poet and playwright Samuel Beckett. He then taught English language and Literature at New York University until 1971. But he could not stay in America, because he was denied a residence permit due to his active participation in protests against the Vietnam War. Coetzee had to return to South Africa. From that time until 2002, he taught English literature at the University of Cape Town. In 2002. he moves to Adelaide, Australia, where he receives a research fee from the Department of English at the University of Adelaide (his colleague, Dorothy Driver, works there as a junior researcher). On March 6, 2006, Coetzee became an Australian citizen. At a ceremony marking the occasion, he said: "...I was captivated by the freedom and noble spirit of the people, the beauty of the country itself and - when I first saw Adelaide - the grace of this city, which I have the honor to call home today. " [http://www.mg.co.za/article/2006 - 08 - 02-jm-coetzee-punts-australia-in-advertising-campaign]. In another interview, he admitted: "...parting with any country, in some respects, is like the dissolution of a marriage. This is a very intimate question."

Coetzee's move to Australia is widely discussed and generally frowned upon. "Why does a short story writer who has written so much about the country of his birth pack up and leave? Were his departure in 2002 and acceptance of Australian citizenship last year a betrayal of his homeland or a response to a country whose new government had declared one of his most important novels racist? Was this just another example of the white brain drain that sent hundreds of thousands of South Africans to other Anglophone countries after the fall of the apartheid regime? Or was it tacit confirmation that Coetzee had completely exhausted the South African material...? " writes journalist Rachel Donadio (2007). Coetzee was not well liked in Africa, especially by the government. At a public reading on racism, the ANC publicly accused Coetzee of demonstrating, "as crudely as he could, in his novel Dishonor, the white man's perception of blackness after the fall of the apartheid regime" and allegedly hinted that under the new regime "whites will lose their power, weapons, property, rights, dignity" because "white women will now be required to sleep with black barbarian men" (Donadio, 2007). His compatriot Nadine Gordimer also noted: "There is not a single black person in Dishonor that is truly human." And added: "If this (what is described in the novel-M. K.) is the only truth that he found in post-apartheid South Africa, then I really feel very sorry for him" [Donadio, 2007]. Others said the same thing.

* * *

Coetzee seems to have written his first short story in the early 1960s. In his autobiography Molodost, he describes this first literary experience: "The story is set in South Africa. He is annoyed to realize that he is still writing about her. He would have preferred to leave his South African self behind , as he had left South Africa itself. South Africa is a bad start, a hindrance. An unremarkable rural family, a poor education, and the Afrikaans language: he has more or less managed to circumvent each of these integral obstacles<...>. And he does not need reminders of South Africa at all. If a tidal wave rolls out of the Atlantic tomorrow and washes away the southern tip of the African continent, he won't shed a tear. He will remain among the survivors" [Coetzee, 2005, p. 128].

He is ashamed of his past, of his language, of his family, and above all of his homeland. When he meets a girl he knows from South Africa in London, he is afraid that

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someone will hear them speak Afrikaans [Coetzee, 2005, p. 153]. But a few years later, when he moved to America, he confessed: "What I really missed was the emptiness, the emptiness of the earth and the emptiness of the sky - what attracted me to South Africa. I also missed the sounds of a language whose nuances I understood. The language spoken in Texas seems to have no nuances, and if there are, I haven't heard them" (Coetzee, 1984).

...And now he's back in Cape Town. 1974 Anti-apartheid movements are in full swing in South Africa. The largest of these were the workers ' movements and the Black Consciousness movement, which played a decisive role in the Soweto uprising of 1976. In the same period, a serious understanding of the colonial history of Africa continues: back in 1960, the infamous book by Franz Fanon "Branded with a Curse" was published, in the 1970s-the two-volume Oxford History of South Africa (Oxford History of South Africa), etc. In the United States, the 1970s saw the rise of the anti-Vietnam War movement. Coetzee was sent from America to South Africa for participating in it.

All these trends are reflected in J. M. Coetzee's first novel, Dusklands. The book consists of two parts, seemingly unrelated to each other. The hero of the first, Eugene Don, writes a report on propaganda methods and their justification for the American presence in Vietnam - the so-called Vietnam Project. In the second part, Coetzee addresses a critique of colonial history. His hero, the traveler and elephant hunter Jacobus Coetzee, he places in the Hottentot tribes, showing as if from the inside all the difficulties of mutual perception. What connects the stories of an 18th-century Dutch colonialist traveler and a 20th-century American propagandist researcher is perhaps a situation where self-affirmation comes at the expense of dominating others. Colonist Jacobus Coetzee constantly reminds himself of the superiority of his civilization and culture over the values of the "savages": "The chasm that separates us from the Hottentots is Christianity. We Christians are a people with a preordained destiny. They also accept Christianity, but their Christianity is an empty phrase" [Coetzee, 2005, p. 149].

The author's criticism is directed, on the one hand, at America, which is sure of the complete absence of democracy in other countries, and on the other hand, at the opinion of the West in general about the need for" civilizational values "for"barbarians". Another problem that the author raises is the problem of human involvement in certain historical events. To understand and realize the past and present is the main goal of Coetzee. "The philosophy of history is what matters" - these words of Gustave Flaubert are taken by Coetzee as an epigraph to the novel.

The theme of man's place in history is perhaps central to J. M. Coetzee's next novel, In the Heart of the Country. Magda, who has lived all her life on a farm with her father and black servants, like many of Coetzee's characters, is a person who has not managed to "integrate" into society, into the system, but who passionately wants to realize her place in this world and in history in general. She fights against "being forgotten by history." There is surprisingly little action in the novel, the plot develops very slowly, focusing the reader's attention on the psychology, the" soul story "of the hero (just like in the novel"Elizabeth Costello"). Magda, like Michael in the novel "The Life and Times of Michael K.", is like a child who does not understand the consequences of his actions and is guided by some instinct. She kills her father, finding him with a maid, and thinks that in this way she will end the evil in her house. But soon Magda realizes that she is not able to survive alone: she can not manage the servants, look after the farm, the farm is falling into disrepair. In fact, the tragedy of Magda is a tragedy of loneliness, more or less familiar to everyone. She wants the attention that she has lacked since childhood, wants to be loved and appreciated. "After all, I'm not cut out to live alone!" - she declares [Coetzee, 2005, p. 246]. But, wanting to get at least a little-

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with a certain amount of attention and understanding, she turns her life into a surreal picture: her black servant rapes her, becomes her lover, but soon he and his wife run away, and Magda is left alone with the corpse of her father, whom she killed.

But this is only one side of Coetzee's novel, and the other is deeper. Through the fate of man, the author seeks to convey the fate of the entire modern world. Magda is very similar to the character of another novel by Coetzee, "Dishonor", which brought the writer worldwide fame. Lucy, the daughter of a University of Cape Town professor who "tainted" himself with an affair with a student, also lives on the farm, although, unlike Magda, she feels quite harmonious there. In both novels, the heroines are raped: Magda is raped by her servant, Lucy - a group of black people living near her. Both heroines, no matter how shocking and humiliating it may be for them, come to terms with it, each in their own way: Magda's servant becomes her lover for a short time, Lucy is ready to give birth to a child from rapists and become the wife of a man who is simply ready to give her and the child protection. Lucy's father can't understand her actions, so she explains everything that happened to him like this: "What if... what if that's the price you have to pay to stay here? <...> Why should I be allowed to live here without paying anything?" [Coetzee, 2001, p. 212]. She marvels at the hatred those three felt for her: "Why did they hate me so much? I've never met them, "and then says to herself," History spoke through them. A history of evil... The same questions torment Magda: "Why do you hate me so much?", - she asks her servant, and then she comes to the conclusion:" The passion that he showed towards me is the passion of anger " [Coetzee, 2005, p. 240]. It turns out that both heroines are paying for the evil that was committed not by them, but by their distant ancestors (white). Magda realizes this and protests inwardly: "I'm not just one of the whites, I'm me! I am myself, not others. Why should I pay for the sins of others?" [Coetzee, 2005, p. 242]. In one of his interviews, Coetzee said: "In the last 40 years, South Africa has proved to be a country with a huge moral debt. And the residents had to open their eyes and see it." This" moral duty " seems to be the duty of whites to blacks, and it is this duty that Magda and Lucy are forced to pay. Coetzee himself believes that "when you live in" shameful "times, this shame falls on you, shame falls on everyone, and you just have to bear it, it's your fate and your punishment" [Coetzee, 2008, p. 96].

In his autobiography, Youth, Coetzee writes: "Henry James is an example of a writer who rose above all things national. In fact, it is not always clear where what he describes is happening - in London, Paris, or New York-so high does James rise above the mechanics of everyday life" (Coetzee, 2005, p.129). This mastery of "abstraction", rising above time and space, is achieved by Coetzee in his perhaps most famous novel, Waiting for the Barbarians (1980).

The action takes place in a small town on the border of a certain Empire. It is impossible to determine where this Empire is located: first we see a desert, then it snows and rains there. The main plot of the book boils down to the following: there is a rumor in the Empire that the barbarians are preparing a campaign against it, the head of the Third Department, Colonel Joll, arrives in the town with an inspection, who organizes punitive expeditions against the barbarians, captures some random people who give the necessary testimony under terrible torture. The figure of Colonel Joll is contrasted with the judge, who initially does not believe in all rumors: "My own observations suggested that every thirty to forty years rumors about barbarians inevitably cause a surge of hysteria"

1 "Waiting for the Barbarians" was included in the list of the 100 best novels of all time, compiled in 2003 by The Observer newspaper.

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[Coetzee, 1989, p. 27]. Coetzee again raises the question of human involvement in the history of their ancestors and the politics of the state in which they live. So, in the beginning, the judge says to himself: "I must prove that there is a gulf between me and Colonel Joll! I don't want to suffer for the crimes he committed!" [Coetzee, 1989, p.67]. But at the end of the novel, the hero realizes how wrong he was before: "Although I liked to think otherwise, I wasn't exactly a good-natured pleasure-seeker, the exact opposite of the cold and cruel Colonel Joll. I was the epitome of the Empire's lies... I and he are the two hypostases of imperial rule, nothing more."

So, the judge, like the heroes of Coetzee's previous novels, comes to the conclusion that he will also be responsible for all the "sins" of past generations: "I tried to live outside of history. Beyond the history that the Empire imposes on its subjects, even the lost ones. After all, I sincerely did not want the burden of history to fall on the shoulders of barbarians" [Coetzee, 1989, p. 191]. Some researchers see the events described by Coetzee primarily in the South African context. In particular, he is credited with predicting the imminent transition of power from whites to blacks in South Africa.

"What do you think these barbarians are dissatisfied with? One of the imperial army soldiers asks the judge. "They want us to stop settling their land. They want their land eventually returned to them [ ... ]. We consider these places our own, part of our Empire - our outpost, we say, our city, our commercial center. But they, these barbarians, think otherwise. We have been living here for more than a hundred years, we have pushed back the desert and built irrigation facilities, we have laid out fields here, built strong houses, surrounded the city with walls, but they still think that we are visiting here, temporarily [ ... ] " - "But we will never leave here," the young man calmly says a person. "Are you sure?" [Coetzee, 1989, pp. 129-130].

Indeed, within 10 years, the Whites were forced to give up their dominance in South Africa. But, perhaps, it's not just about Africa. The world built on white man rule is coming to an end. Eurocentrism is being replaced by Afro - and arabocentrism, white racism is being replaced by black racism, and colonial history is being "compensated"for it. And now America is headed by a black president... The whole world froze "waiting for the barbarians". Coetzee, in an interview in 1996, said: "People live on a volcano and don't realize it. They see that the world is changing, and they believe that it should change even faster. But they don't understand that changes can take them and their children away" (Zalesova-Doktorova, 2004).

Despite the fact that Coetzee was so eager in his novels to "soar" above the national, personal, his books became more and more reminiscent of the writer's diary. His novel - "Diary of a Bad Year" - does not contain a plot at all, but consists of three diaries kept simultaneously - the diary of the writer himself, the diary of his young typist, with whom he is obviously in love, and the diary of her husband. This book is perhaps the most valuable source of the writer's views on all aspects of life. At the same time, this is a constant argument between Coetzee and himself: what he does not dare to say on his own behalf, he says on behalf of another character. So, Alan, the husband of Anna, the writer's typist, says: "Your boyfriend's main problem (Coetzee - MK) is Africa. He came from there, where his homeland is. In his views and thinking, he cannot escape from Africa... Everywhere he looks, he sees Africa " [Coetzee, 2008, p. 94-95].

Coetzee himself, no matter how much he wants to escape from South Africa, it permeates all his work: he cannot help but constantly think about it, not to turn to its history, not to compare it with other countries. He seems to feel the problems of his country more strongly now that he is away from it: "For many years, when Cape Town was my home, I thought of it as "my" city, not only because I was born there, but more because I knew the history of this place well enough to know that it was my home.

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see the past in every palimpsest. But for the gangs of young black guys who now roam the streets of Cape Town in search of adventure, this is "their" city, and I am now a stranger" [Coetzee, 2008, p. 104].

Coetzee's feelings are clear: he left Africa in search of greater understanding, peace of mind, maybe. Australia is also a clear choice: a similar climate, the same English language, political stability, and a high standard of living. But did he find sympathy for his ideas here? Hardly. In his "Diary", he describes the case when the newspaper" The Australian "published an article by a journalist about Coetzee's novel "Waiting for the Barbarians". The article claimed that in his book, Coetzee was actually writing about the situation in South Africa in the 1970s, "when the secret police could come and go, arrest you without explanation, and do whatever they wanted with you. The police could do whatever they wanted, because no one opposed it, because the laws protected the police from such charges in advance." The writer also noted that any journalist who supports such statements should be arrested and must be supervised as a person who poses a danger to the state. "All this and much more in apartheid-era South Africa was done in the name of fighting terror. I used to think that the people who created these laws, which effectively replaced the rule of law for a time, were moral barbarians. But now I know that they were only pioneers, " the writer said. Two days later, the magazine published a letter to the editor stating that if Coetzee does not like Australia, he can go back to where he came from, or if he likes Zimbabwe better, then to Zimbabwe [Coetzee, 2008, p. 171-172]. Coetzee wondered why he (or anyone else) should choose Zimbabwe over South Africa. But despite the humorous form of his account of the event, it is quite obvious that this incident has hurt his ego. He was shown that the fact of having a Nobel Prize and other awards does not give him the right to speak rudely in relation to the work of other people. But this, of course, does not mean that Coetzee is not appreciated as a writer in Australia: his "Diary" was nominated for the 2008 Australian and Asian Literature Award (this is the highest-paid literary award in Australia).

* * *

"Coetzee succinctly and brilliantly outlined one of the main problems of our time: how to understand the mentality that allows cruelty and injustice", - noted the writer E. Burgess [Laureates..., 2008, p. 198]. Coetzee shows the dead ends of the "dialogue of cultures", the roots of" natural reactions " when confronted with an alien. This misunderstanding of each other passes from century to century, and nothing changes. For Coetzee, this is a vicious circle from which there is no way out. Therefore, some argue that " his novels do not teach anything." Of course, it is unlikely that Coetzee really set himself the goal of educating humanity through his novels, but still, some lessons can certainly be learned from his books. And first of all, he teaches the understanding of the other, the need for this "cultural dialogue", otherwise everything can be as he describes in the novel "Waiting for the Barbarians": "After finishing with us, the barbarians will clean up the city archives. We will die without being able to learn any lesson for ourselves" [Coetzee, 1989, p. 179].

The impression of Coetzee's books can be expressed in the words of the heroine of his novel Elizabeth Costello:"...It feels like I've touched a hot iron. Some pages are ablaze with hellfire... I don't think that a person who conjured up such scenes in his imagination could come out of all this unscathed as a writer" [Coetzee, 2005, p.241]. The story in Coetzee's novels is merciless to everyone: the poor, the old, the sick, women and children. The heroes of his novels strive for ordinary human values: harmony, peace, love, freedom - they want to "live outside".

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stories". But instead, they experience all its horrors for themselves, experiencing incredible suffering, which the author describes with the accuracy of a psychoanalyst. Coetzee seeks to prove that there are no innocent people in life, and therefore, everyone bears the "burden of history".

Joseph Brodsky highly appreciated Coetzee's work. Speaking to the Royal Swedish Academy of Sciences, he said:: "Think - for these are the great days of South African literature - of J. M. Coetzee, one of the few, if not the only, English-language novelist who fully embraced Beckett" (Stepanova, 2003). Coetzee also repeatedly mentioned in his works and even wrote critical articles about Russian writers, in particular about Dostoevsky (to whom he devoted an entire novel), I. Brodsky, L. Tolstoy, I. Turgenev, O. Mandelstam, and others.

About Brodsky, he wrote in his autobiography "Youth": "Joseph Brodsky, Ingeborg Bachmann, Zbigniew Herbert: from lonely rafts thrown into the dark sea of Europe, they let out words into the air, and these words fly along the ether waves to his room, the words of the poets of his time, again telling him that he is not alone. what poetry can become, and therefore what he can become, words that fill him with joy from the fact that he lives on the same earth with these people " [Coetzee, 2005, p. 145].

Coetzee devotes two chapters of his Diary to Tolstoy. He is particularly impressed by the image of Petya Rostov in "War and Peace", how realistic and" mysteriously fresh " it is drawn by the author. Coetzee hopes that his reader, realizing that he does not remember who Petya Rostov is, will go to the shelf, pick up a volume of Tolstoy and find a description of Petya's death. It is through this that Coetzee defines classics: something that "stands on a bookshelf, waiting to be picked up thousands and millions of times" [Coetzee, 2008, p. 189-190]. Tolstoy for Coetzee is a "master of realism", although he admits that it is difficult to read Tolstoy, sometimes you even want to look away shyly, but despite this, the writer admits that he never stopped reading Tolstoy in the middle [Coetzee, 2008, p. 150].

Of course, Coetzee sees Russian literature and Russian writers in a peculiar way: he did not read them in the original, and the translation may give a different understanding of the work. But everyone has the right to see something different in literature - something that seems to them to be the main thing. Just the fact that the South African writer listened to Brodsky's poems on cold evenings in London and thought about him, that he sat down to read Tolstoy in faraway Australia at the age of 69, that he felt a closeness between himself and Dostoevsky - this makes him closer to us here in Russia. The last words of his "Diary" sound like this: "One should be grateful to Russia, Mother Russia, for so indisputably setting the standards that any serious writer should follow, even if he will never have a chance to get there (to Russia. - M. K.): the standards of Master Tolstoy, on the one hand, and Master Dostoevsky, on the other. By following their examples, you become better; "better" not in the sense of" more professional", but ethically better" [Coetzee, 2008, p. 227].

In one of his interviews, Coetzee said:: "I try to remain a witness of time" [Zalesova-Doktorova, 2004, p. 135]. And he remains, perhaps, a witness not only of the present time, but also of the past, and perhaps of the future.

list of literature

Davidson A. B. What is it? A warning to the world? // Foreign literature. 2001. N 12.

Deinichenko P. Boer for the Nobel Prize // Book review. 03.10.2003.

Zalesova-Doktorova, L. The Life of Joseph Maxwell Coetzee. 2004. N 3.

Coetzee, J. M. Beshestye / Translated from English by S. Ilyina, Moscow: Inostrank, 2001.

Coetzee J. M. Waiting for the Barbarians, Moscow, 1989.
Coetzee, J. M., In the Heart of the Country, translated from English by E. Fradkina, St. Petersburg: Amphora Publ., 2005.

Coetzee, J. M. The Iron Age / Translated from English by M. Soboleva. St. Petersburg: Amphora Publ., 2005.

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Kutzee J. M. Molodost ' [Youth]. Inostrannaya literatura [Foreign Literature]. 2005. N 10; N 12.

Coetzee, J. M. Autumn in Petersburg / Translated from English by S. Ilyina, Moscow: Inostrank, 2001.

Coetzee, J. M., The Twilight Land, translated from English by E. Fradkina, St. Petersburg: Amphora Publ., 2005.

Coetzee, J. M. Elizabeth Costello, translated from English by E. Brozalina and J. Grushanskaya, St. Petersburg: Amphora Publ., 2004.

Winners of the Nobel Prize in Literature. Short Bibliographic Dictionary, Moscow, 2008.
Stepanova A. J. M. Coetzee: "the perfect Nobel Prize winner"? // Russian Magazine. 14.11.2003.

Edelstein, M. The Life and Time of John K. / / Novy Mir, 2004. N 5.

Coetzee J.M. Diary of a Bad Year. N.Y.: Vintage, 2008.

Coetzee J.M. Boyhood. Scenes from Provincial Life. A Memoir // N.Y.: Penguin books, 1997.

Donadio R. Out of Africa // New York Times. December 16, 2007.

Price J. J.M. Coetzee // http://www.english.emory.edu/Bahri/Coetzee.html

Piding A. Coetzee, Writer of Apartheid As Bleak Mirror, Wins Nobel // New York Times. October 3, 2003.

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