This chapter shows how Hopkins’s letters to his family members, fellow poets, and friends allow readers access to two crucial aspects of the poet’s unusual career. In the first place, we witness the development of those personal relationships that gave him scope for practising and performing his craft; relationships which were both crucial and conflicted for a writer who firmly held religious life to be paramount. In the second instance, these letters feature Hopkins’s clearest explanations of his aesthetic principles, as well as their correlation with his spiritual beliefs.

J. M. Coetzee is often thought a solitary, reclusive figure, but he has long collaborated with other writers and artists. Correspondence and epistolary conventions also play an important role in Coetzee’s fictional work. This chapter argues that we must look beyond the apparent contradiction between Coetzee the private man and Coetzee the collaborator, to understand conflict as central to his pursuit of dialogue. The chapter explores the ways in which writing, reflection, and critique are at the heart of Coetzee’s collaborative work and suggests that these elements are not at odds with his rejection of the demand for immediate, unplanned speech. The chapter provides detailed readings of Coetzee’s works of correspondence, The Good Story and Here and Now, as well as examining his use of epistolary conventions and techniques in his fiction, particularly in Summertime and Age of Iron. The chapter concludes that Coetzee’s commitment to collaboration and correspondence is simultaneously a resistance to producing a single repeatable life-story or superficial exchange, and that just as mediation is necessary to move beyond the stock phrases of epistolary exchange, so errors and disagreements are essential in creating meaningful dialogue.