Disgrace (1999)

This is an interesting book that I'm finding it very hard to review. I shall borrow a line from another LT review that I think sums it up perfectly: "I can hardly remember being so detached from a book and yet unable to put it down."

That's exactly what is so lacking and yet so skilful about this book. The characters are very unlikable - the main protagonist is an immoral letch who made my skin crawl at times; his daughter Lucy, after enduring the most horrific of attacks, makes the most illogical, incomprehensible decisions about the rest of her life - and yet it is a page-turner.

There was never going to be a happy-ever-after ending to this book, but it was an interesting perspective on the shifting of power in South Africa post-apartheid, and of people and places bankrupt in moral code for a myriad of different reasons. This book is an observation on the bleak reality of life for some people, and why they sometimes make senseless decisions when faced with the bleak reality of the life choices they have made for themselves.

This novel has a lot of literary symbolism and perspective which I'm sure makes it an interesting text for literature review courses. At the basic level of pure reading enjoyment, I'm hovering on middle-ground. The writing was good, the plot unusual, and I was certainly gripped at times, but as soon as I finished the last page I felt instantly detached from the novel and ready to move on.

For that reason, 3.5 stars from me. ( )

I returned to Disgrace because it is supposedly an old classic. The prose is well-written. It flows, integrating other literature through allusion, and creates a lasting impression in the reader's mind. However, the quality of the prose is not well-sustained. Some passages are outstanding, while others lack Coetzee's touch.

The story is, of course, poignant, but I struggle with fully imbibing the characters and plot. There is something to be gained by reading Disgrace, but it is not clear what that will be. Perhaps that is the genius of Coetzee. However, some readers will undoubtedly be vexed or unsatisfied with plot.

For lovers of all literature, this is a great choice. However, for people looking for consistently good prose and a less philosophical plot, I suggest turning to other novels. ( )

At the heart of this fine novel set in contemporary South Africa is a man who is self-destructive; a professor of English who cannot communicate and who must face not only the results of his own mistakes but the troubles of others and a world that he is unable to understand. J. M. Coetzee's ability to make this dark story readable is what makes this a great story. As the outset the professor, David Lurie, is medicating himself with weekly visits from a prostitute named Soraya but an incident occurs that ends that relationship. Then we meet the professor in his school room teaching "Communications 101" to bored students whom he cannot reach:
"Silence again. The very air into which he speaks hangs listless as a sheet. A man looking at a mountain: why does it have to be so complicated, they want to complain? What answer can he give them?" (p 21)

But by this time he has begun to meet one of his students, Melanie, on the side. While she does not respond to Shakespeare she seems to respond to David's erotic advances until. Well this is where the story begins to explore the world of personal self-destruction, dramatic changes in David's life and ultimately, disgrace. If it ended there it would be well-written but not interesting, not challenging. David is let go by the University and he leaves for the countryside. But that will not be the end as we see when he is confronted by Melanie's father:
“‘Professor,’ he begins, laying heavy stress on the word, ‘you may be very educated and all that, but what you have done is not right…We put our children in the hands of you people because we think we can trust you. If we can’t trust the university, who can we trust?…No, Professor Lurie, you may be big and mighty and have all kinds of degrees, but if I was you I’d be very ashamed of myself, so help me God. If I’ve got hold of the wrong end of the stick, now is your chance to say, but I don’t think so, I can see it from your face.’” And when Lurie finds the accusation beneath him and turns away, the girl’s father shouts, “‘You can’t just run away like that! You have not heard the last of it, I tell you!’” (p 38)

The challenges, for David, begin when he moves in with his daughter (from an earlier failed marriage) and finds out what fate really has in store for him. He tries to explain his mistake with the student to his daughter Lucy:
"I was a servant of Eros: that is what he wants to say, but does he have the effrontery? It was a god who acted through me. What vanity! Yet not a lie, not entirely."(p 89) He cannot take responsibility to himself or with others. His resulting actions seem out of sync with the world around him. His inability to understand himself fuels his inability to communicate with others.
It is with his daughter in the eastern Cape that we are introduced to Petrus, her black neighbor who is slowly taking advantage of the changed social order to lift himself from a “dog-man” to a substantial land holder. Lucy is nearly alone in her refusal to join the “white-flight” exodus out of such predominantly black areas; in the book’s most dramatic scene she is raped by three black men as her father is locked in a bathroom and set afire. How David and Lucy deal with this event defines the remainder of the story. You can see David's disgrace as a metaphor for the experience of whites in post-apartheid South Africa.

Disgrace is a gripping read, paced, shaped, and developed in a way that gives the narrative an immediacy. Through the embedding of recurring images, like that of fire, the novel slowly builds to an unbearable climax. This is one of the better novels of J. M. Coetzee that I have read; that is it is very good and worthy of the awards. In it he details a story of personal trials and integrates the culture of post-apartheid South Africa effectively into the story. I would have rated it slightly higher, but it is not a pleasant story to read. It is neither as affecting nor as imaginatively fashioned as Coetzee's other Booker winner, Life and Times of Michael K. The characters are so flatly presented that it is difficult to penetrate their mental worlds, yet the sparse prose is eminently readable. After rereading the novel and learning more about these characters I would include this in my list of favorite Coetzee novels. ( )

C'e' secondo me uno stretto legame tra C. e Cormac McCarthy. Nei toni, nello stile, nei personaggi delineati. McCarthy è pero' più al limite; C. rimane sempre nel politically correct, anche dove non lo è. Forse è per questo che ha preso il Nobel nel 2003 - l'anno successivo alla pubblicazione di questo romanzo. Tuttavia, da occidentali non si riesce forse a cogliere appieno il mondo del Sudafrica, dove esiste una separazione tra bianchi e non bianchi che riposa su radici bel differenti rispetto a quelle che separano noi da qualsiasi persona non occidentale. Radici che si perdono in un passato durato troppo a lungo - e fino a uno 'ieri' che ancora si intravede - perchè si possa cancellare con qualche provvedimento legislativo. ( )

i'm in a book club. ( )