In the early eighteenth century, a woman finds herself set adrift from a mutinous ship and cast ashore on a remote desert island. There she finds shelter with its only other inhabitants: a man named Cruso and his tongueless slave Friday. In time, she builds a life for herself as Cruso's companion and, eventually, his lover. At last, they are rescued by a passing ship, but only she and Friday survive the journey back to London. Determined to have her story told, she pursues the eminent man of letters Daniel Foe in the hope that he will truthfully relate her memories to the world. But with Cruso dead, Friday incapable of speech and Foe himself intent on reshaping her narrative, Barton struggles to maintain her grip on the past, only to fall victim to the seduction and tyranny of storytelling itself. Treacherous, elegant and unexpectedly moving, "Foe" remains one of the most exquisitely composed of this pre-eminent author's works.
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庫切的風格真是每一部都不一樣。。。
评分although too explicit justify for authorship... still I think it’s genius to let the character speak for the author and write a novel like an high-level essay. I must be the poet of my own story. I will never be willing to only be the muse and beg the mortal to tell the stories inside me.
评分although too explicit justify for authorship... still I think it’s genius to let the character speak for the author and write a novel like an high-level essay. I must be the poet of my own story. I will never be willing to only be the muse and beg the mortal to tell the stories inside me.
评分反思瞭語言和權力關係的元小說，Foe對意義的論述簡直是對使用論的重述，而且令人審視意義理論領域使用論和曆史因果鏈條內置的霸權等級關係。誰決定語詞的意義和語言遊戲的規則？最後一部分的“我”身份模糊，可以看做書寫者的重寫嘗試與停滯，Susan Barton第一人稱敘述背後的隱藏聲音的顯身。把Defoe變迴Foe，拆解瞭看似固有的對立區分，彰顯瞭殖民和性彆體係內部的他者邏輯。
评分a most beautiful ending
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