Coetzee once said in an interview: "I do not know whether it constitutes a proud position as a human, when people see how arrogant we treat other creatures with which we share the earth. 3 Bad Habits that May Bring Scourge to Your Polished summer fashion So, I do not try to spread or support of humanity, "Coetzee said this like a distant relative of humans, calm and indifferent. The Top 5 Best medical equipment In the era that even literature has learned the skill of showing ou with noise, he might be the most incompatible writer, constantly avoiding the media and refusing reputation. At this time, the awareness of prolonging with prejudice and world is also reflected in his literary commentary. Country of The Stranger recorded 25 literature remarks published in the New York Review of Books by Coetzee in 1986-1999. Topics covered literature and society, history, politics, culture and the history of writers, discussing objects including 26 persons such as Defoe, Rilke, Eliot, Kafka, Musil, Brodsky, etc., clearly presenting all literary points of view and value position of Coetzee.

Generally, literary criticisms of writers are all very re-readable, or extremely forceful as Kundera, or wisdom and flexible as Calvino, or sharply penetrating as Nabokov, but most of them emphasis on emotion and experience. While Coetzee, with the background of strict academic training and social history of thinking, on the one hand, he is good at blending his perceptual experience in narration, on the other hand, his views and attitude are direct and acuminous. As in "What is the classic" article, his capacity for critical thought is most visible. Eliot in 1944, during World War II, made a presentation entitled "What is the classic". Coetzee questioned why his lecture "made no mention of his American identity, or even his American origin, but just praised a European poet in front of a big crowd of European audience highly in somewhat strangely perspective", later used the skill of social and cultural analysis,

Combined the literary history of Eliot, sharply criticized him "By defining the so-called ethnic or national character, using all his accumulated cultural power to impose their definition on the nation to the intelligentsia, to influence the public opinions" in order to achieve Eliot`s personal dedication and initiative. Then, taking Bach`s down and unknown life but high reputation after death as an example, Coetzee had a detailed analysis of the evolution process of "classic" and its relationship with the criticism. He borrowed the Polish poet Herbert's view that the so-called classics are the things that all experienced brutal catastrophe but still retained. The reason for the existence of classic is that generations of people really love it and try their best to protect it. Any criticism of the classic is not only can not destroy the classic, on the contrary it is they that eliminates the less important through continuous rigorous challenge to name the real classics.

In other words, criticism is an indispensable fellow to any work which wish to become classic. Coetzee's comments give up the "sympathetic understanding" in order to determine the complex precipitation disputes between literature and the reality in the method of sociology. The biggest challenge of literary criticism is not to accurately point out the merits of works, but how to frankly speak out and bravely become the [stranger" of literary history in front to layers of discourse of literary history. The knowledge here is not the only requirement, because you should also be brave enough. Having a deep understanding of the life of text writers is another major superiority of Coetzee. We often say that Reflection of Life Issues, which means that only by fully understanding the value position and life experience, can we truly have an insight into the unique value of his works, no precise and appropriate literary criticisms are not l built on this. The part that Coetzee talks about his beloved Dostoevsky in his book is absolutely an exquisite interpretation. He told us that Dostoyevsky is very xenophobic and has a "boundless hatred" to the Germans, blames the old Florence man`s singing in the streets when he was sleeping, and offensive Swiss not fix the double glazing, so he always held a grudge to Turgenev who was getting along well with people in foreign countries.

And even [Crime and Punishment" got many praises and [Idiot", Dostoevsky still feels frustrated for inferiorer to Turgenev and Tolstoy, envies their fortune and leisure and this is also one of the important psychological motivations for stimulating Dostoevsky to stick to writing. Coetzee`s works always adhere to the identity of"stranger", alert to any prejudice and restriction of ideology. Just like his personality, He is keep a distance with outside consciously. Intentionally or unintentionally, this attitude is back to one of the basic meaning of literature. The true literary first teaches man to keep distance with the world, and man does not want to be too close with the world, because any attempt of work and practice to embrace the world, from the essence to say, which is a course of gradual loss of "I", and can only become "social animals" Brodsky stresses.