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34 pages 1 hour read

J. M. Coetzee

Waiting for the Barbarians

Fiction | Novel | Adult | Published in 1980

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Character Analysis

The Magistrate

The first-person narrator of the novel, the Magistrate is an older man who has benefited from his position within the settlement. He has lived a fairly quiet and comfortable life up to the point when the novel begins. His main goal at the outset is to remain living the same kind of lifestyle until he is able to finally retire. He is generally a modest man and is not opposed to using occasional self-deprecation.

Morally, the Magistrate is repulsed by the activities brought to bear on the town by the arrival of Colonel Joll and the civil guard. However, his passive resistance is an indictment of his moral failings. It also demonstrates where the true power of the Empire resides, which is in its military, not in the bureaucracy as represented by the Magistrate. Therefore, as much as the Magistrate is disgusted, he has no real power to do anything to stop Joll. His moral culpability is therefore debatable.

The Magistrate feels that because he is a representative of the Empire, he is complicit in all that transpires. When he offers the girl work and a place to live, he is trying to rectify the past wrongs committed against her. He is also trying to absolve himself of the guilt he feels for being indirectly associated with it. As he struggles to forge a sexual relationship with the girl, he gradually realizes that keeping her as he does is akin to keeping her as a pet. He does not truly see her humanity; he finally realizes that he is only continuing the Empire’s dominance over her life. When he transports the girl back to her community, the Magistrate likewise liberates himself from the Empire. And as a further absolution of his guilt, he endures humiliation and torture at the hands of Mandel. As the novel reaches its final chapter, the Magistrate has regained his former position, but this time, he is disconnected himself from the stain of the Empire. As he reckons with the future, the Magistrate understands that sometimes, peace is not necessarily the natural state of humankind.

Colonel Joll

Though Colonel Joll has a limited actual appearance in the novel, his presence looms large throughout as a symbol of a campaign of terror and fear. The sunglasses donned by Joll are the novel's opening image, and they suggest a sinister presence from the outset. Of Joll’s use of the sunglasses, the Magistrate says, “I could understand it if he wanted to hide blind eyes. But he is not blind” (1). Joll claims that the shades help protect his eyes against the sun, which is likely true, but they also conceal his eyes, the windows into his soul. When Joll reappears toward the end of the novel, he does not wear his sunglasses, suggesting that his true self has been exposed for all to see. The secretive and brutal policing tactics he employed are no longer hidden. Of Joll’s appearance in the carriage, the Magistrate says, “His face is naked, washed clean, perhaps by the blue moonlight, perhaps by physical exhaustion” (146). The disaster that has befallen his regiment has revealed Joll, and he is no longer the threat he once was.

Torture as a means of extracting the truth is what defines Joll in the novel. The method is of course problematic not just for the cruelty that it wreaks on the victim. It also calls into question the effectiveness of this means of getting at the truth. To Joll, truth is arrived at through the infliction of pain. He says, “First I get lies, you see—this is what happens—first lies, then pressure, then more lies, then more pressure, then the break, then more pressure, then the truth. That is how you get the truth” (5). His formula is very straightforward. He does not see nuance, nor does he allow for the possibility that a victim of his torture will eventually just tell Joll whatever it is that Joll wants to hear so that an end comes to the pain that is inflicted. Joll is the antithesis to the Western concept of innocent until proven guilty. He is the opposing force to the Enlightenment movement of the 17th and 18th centuries. In Joll’s eyes, everyone is presumed guilty, and their coerced testimony proves it. The emergency powers declaration under which Joll operates gives him leeway to enact his brutality. He symbolizes a darker aspect of humanity that will inflict pain on others sadistically because he can, and because there is no counterforce to prevent it from happening. The kind of unlimited power represented by Joll is a slippery slope which can lead civilization backward.

The Girl

The Indigenous girl is a victim of Joll and by extension of the Empire’s disregard for her people in general. Her victimization includes debilitating injuries to her feet and ankles which cause her to need crutches to walk. She is also partially blinded by Joll’s men as part of an interrogation. It is suggested that all of this happened to her while her father was subdued and was forced to watch the torture of his daughter. He was killed in the interrogation though the official account claims he had some kind of accident. The Magistrate discovers her begging for food, and out of pity, he tries to help assuage some of the damage done to her by offering her work and a place to live. It is assumed at the beginning of this that she will eventually become his concubine, but that never comes to pass.

The girl is reluctant to provide the Magistrate any explanation and details of what she endured at the hands of Joll and his men. She is reticent with the Magistrate, and when she finally reveals these details after much badgering, she speaks bluntly. She does not want to be a victim, even though she has all the justification for feeling like one. Instead, she exhibits a quiet strength and dignity though the events in her life have brought her into a society where there are haves and have-nots. When the Magistrate informs her that he is planning to return her to her people, “She gives no sign of rejoicing” (58). Her experiences with representatives of the Empire have made her suspicious and doubtful. She does not rejoice because her life has been destroyed, and she has no reason to believe the Magistrate. When the girl finally reunites with her community, she does not reveal any hint of appreciation. Instead, when she says good-bye to the Magistrate, her voice is flat. The Magistrate says the returning girl is “a stranger; a visitor from strange parts now on her way home after a less than happy visit” (73). The girl does not benefit from her time with the Magistrate, and her greatest act of agency is to never let him know what she is really thinking.

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