The work of feminist literary criticism,

The Madwoman in the Attic by Sandra Gilbert and Susan Gubar (Yale University Press, 1979), famously stages the figure of

the woman writer as monstrous. In his novel In the Heart of the Country, J. M. Coetzee presents us with the character of a woman writer, the spinster Magda. How is

Magda made to appear “monstrous”? Is her “monstrosity” limited to her characterization or does Coetzee’s own postmodernist style augment the difficulty that the figure

of Magda poses for her readers? In your opinion, does Magda’s “monstrosity” offer a kind of oblique commentary on the colonial setting upon which the novel draws?

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The work of feminist literary criticism,

The Madwoman in the Attic by Sandra Gilbert and Susan Gubar (Yale University Press, 1979), famously stages the figure of

the woman writer as monstrous. In his novel In the Heart of the Country, J. M. Coetzee presents us with the character of a woman writer, the spinster Magda. How is

Magda made to appear “monstrous”? Is her “monstrosity” limited to her characterization or does Coetzee’s own postmodernist style augment the difficulty that the figure

of Magda poses for her readers? In your opinion, does Magda’s “monstrosity” offer a kind of oblique commentary on the colonial setting upon which the novel draws?

……………………………….