The aim of this paper is to show how the secrets, the silences and the ghosts that traverse J. M. Coetzee's "Foe" subvert the labour of penetration and assimilation that, both in the construction and interpretation of the literary text, speaks for or silences the other, in this case, the African other. Friday's liminal place or absent presence within the spatial and rhetorical configuration of this novel and the repetitive attempts to make him be heard underline the ethical obligation to respond to the other by questioning and reinventing one's authoritarian categories of representation and interpretation.
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