ABSTRACT This article explores J. M. Coetzee’s evolving literary relationship to William Faulkner by examining Coetzee’s published and unpublished works, including materials found in the Harry Ransom Center and the Amazwi Museum of South African Literature. Throughout his career, Coetzee regarded Faulkner as a writer whose primary concern was to tell and retell the epic of a particular historical moment. The way that Coetzee writes and thinks about Faulkner can be seen as a touchstone of how he thought about the impact that his Afrikaner identity would have on his literary output. Coetzee moves from an “obscure combat” with Faulkner in Dusklands and In the Heart of the Country, to a less fraught relationship of diminishing significance in his later work. In Waiting for the Barbarians, Coetzee continued to “converse” with Faulkner intertextually, but treats him as a “Counter voice” to shape his work, ultimately deviating from Faulkner’s style and ideas.

中文翻译：

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“如何安息福克纳的幽灵？”：威廉·福克纳（William Faulkner）作为Coetzeean的“反声音”

摘要本文通过检查库切（Coetzee）已出版和未出版的作品，包括在哈里·兰瑟姆中心（Harry Ransom Center）和南非文学阿马兹维博物馆（Amazwi Museum of South African Literature）中找到的资料，探索了JM库切（ZM Coetzee）与威廉·福克纳（William Faulkner）不断发展的文学关系。在整个职业生涯中，库切都视福克纳为作家，其主要关注点是讲述和复述特定历史时刻的史诗。库切（Coetzee）撰写和思考福克纳（Faulkner）的方式可以看作是他如何思考自己的南非荷兰语身份对他的文学作品产生影响的试金石。Coetzee从与福克纳在“黄昏之地”和“乡村之心”的一场“晦涩的战斗”转变为一种在他后来的作品中逐渐减少的重要性逐渐减弱的关​​系。在等待野蛮人期间，库切继续与福克纳进行了“对话”，