It is our task to imprint this provisional, perishable earth so deeply, so patiently and passionately in ourselves that its reality shall arise in us again "invisibly." We are the bees of the invisible . . . And this activity is curiously supported and urged on by the even more rapid fading away of so much of the visible that will no longer be replaced. Even for our grandparents a "house," a "well," a familiar tower, their very clothes, their coat: were infinitely more, infinitely more intimate; almost everything a vessel in which they found the human and added to the store of the human. Now, from America, empty indifferent things are pouring across, sham things, dummy life . . . A house, in the American sense, an American apple or a grapevine over there, has nothing in common with the house, the fruit, the grape into which went the hopes and reflections of our forefathers . . . Live things, things lived and conscient of us, are running out and can no longer be replaced. We are perhaps the last still to have known such things

Illusionism is, of course, a word I use for what is usually called realism. The most accomplished illusionism yields the most convincing realist effects. Anti-illusionism— displaying the tricks you are using instead of hiding them— is a common ploy of postmodernism. But in the end there is only so much mileage to be got out of the ploy. Anti-illusionism is, I suspect, only a marking of time, a phase of recuperation, in the history of the novel. The question is, what next? (Doubling the Point)

It is true, I wrote nothing of substance before I was thirty. I am not sure this was wholly a bad thing. How many men in their twenties write novels worth reading? But of course I did not see it like that, at the time. I did not say to myself, "Wait, you are not yet thirty ..." On the contrary, as I remember those days, it was with a continual feeling of self-betrayal that I did not write. Was it paralysis? Paralysis is not quite the word. It was more like nausea: the nausea of facing the empty page, the nausea of writing without conviction, without desire. I think I knew what beginning would be like, and balked at it. I knew that once I had truly begun, I would have to go through with the thing to the end. Like an execution: one cannot walk away, leaving the victim dangling at the end of a rope, kicking and choking, still alive. One has to go all the way. (I could have used a metaphor of birth, I realize, but let it stand as it is.) (Doubling the Point)

As eminently constructed and produced objects, works of art, including literary ones, point to a practice from which they abstain: the creation of a just life.

[I]in Coetzee, the question of history becomes a question of living in historical culture; instead of being the ambivalent medium of a reaction to historical givens, fiction has become an arena in which historical discourse and fictionality begin to compete for authority. (introduction to Doubling the Point)