I couldn’t figure out what to title this entry. It’s a review of J.M. Coetzee’s book, Disgrace. The book itself won the Booker Prize in 1999 and the author won the Nobel Prize in 2003. It’s also a commentary on animal welfare, sex, and race relations in post-Apartheid South Africa. I'd give it 5 stars (out of 5).
Warning: Spoilers follow.
Middle-aged David Lurie is a professor of romantic languages at the University of Cape Town until his university cancels his department. Though he stays on as an adjunct professor of communications, he never regains his stature. Then, the middle-age professor feels himself seduced by a student named Melanie Isaacs, who reluctantly accepts his advances. But Melanie’s unhappy boyfriend alerts the press, and Lurie, though unrepentant, is forced to resign. Disgraced, he goes to live with his daughter Lucy in the rural Eastern Cape.
As one might expect, a professor of English poetry doesn’t take well to farm work, but he volunteers anyhow to help Lucy’s friend Bev at an understaffed animal clinic. Bev’s chief duty is to kill unwanted dogs. David Lurie has no great aversion to animals, but no fondness for them either. Still, he can sense their suffering, though not at first. He tells Lucy at one point: “It’s admirable, what you do, what she [Bev] does, but to me animal-welfare people are a bit like Christians of a certain kind. Everyone is so cheerful and well-intentioned that after a while you itch to go off and do some raping and pillaging. Or to kick a cat” (73). Later, though, David Lurie himself gently places the dogs’ corpses into the incinerator because he can’t bear the thought that the workmen would beat the hardened bodies with the back of shovels to make them more pliable (146).
The story unfolds in post-apartheid South Africa, where a white man like David Lurie has not only fallen from grace but also from power. He is powerless to stop an attack on his daughter’s farm by three black men who rape her and light him on fire. This event and its meaning lie at the heart of the novel. Coetzee doesn’t need to embellish the event, as amateur writers often do well beyond necessity. Everything unfolds in simple language. I should add, though, that I was frustrated with how late Coetzee introduces the scene – halfway through the book – seeing how this book-turning “afternoon of violence that shakes all his beliefs” was ominously promised on the book-flap.
I’ve never read a writer quite like Coetzee. His writing is distinctive not only in its style and simplicity, but in the way he manages to include meaningful digresses. After the attack, for example, Bev’s husband Bill Shaw sees David Lurie to the hospital. Lurie thanks him.
“‘Nonsense!’ says Bill Shaw. ‘What else are friends for? You would have done the same.’
Spoken without irony, the words stay with him and will not go away. Bill Shaw believes that if he, Bill Shaw, had been hit over the head and set on fire, then he, David Lurie, would have driven to the hospital and sat waiting, without so much as a newspaper to read, to fetch him home. Bill Shaw believes that, because he and David Lurie once had a cup of tea together, David Lurie is his friend, and the two of them have obligations towards each other. Is Bill Shaw wrong or right? Has Bill Shaw, who was born in Hankey, not two hundred kilometers away, and works in a hardware shop, seen so little of the world that he does not know there are men who do not readily make friends, whose attitude towards friendships between men is corroded with scepticism?” (102).
Coetzee also speaks of the process of healing:
“He has recovered the sight of his eye completely. His scalp is healing over; he needs no longer use the oily dressing. Only the ear still needs daily attention. So time does indeed heal all. Presumably Lucy is healing too, or if not healing then forgetting, growing scar tissue around the memory of that day, sheathing it, sealing it off. So that one day she may be able to say, ‘The day we were robbed,’ and think of it merely as the when they were robbed” (141).
And of course, from the first paragraph of the book to the end, Coetzee speaks of sex, such as when David Lurie meets with his ex-wife Rosalind: “His best memories are still of their first months together: steamy summer nights in Durban, sheets damp with perspiration, Rosalind’s long, pale body thrashing this way and that in the throes of a pleasure that was hard to tell from pain. Two sensualists: that was what held them together, while it lasted” (187).
Sex is ubiquitous in this book, though not in a distasteful way. It is remarkable how Coetzee can write so much on sex, in a way that makes it routine, and yet reserve a special place for rape. Rape is not sex. And though Lucy and her father rarely speak of it, her rape changes everything. To some extent, it is a commentary on David Lurie’s own behavior with his less-than-consenting student. But this rape of a white woman by three black men is also, and more terrifyingly, a commentary on race relations in post-Apartheid South Africa. This exchange floored me:
“‘It was so personal,’ she says. ‘It was done with such personal hatred. That was what stunned me more than anything. The rest was … expected. But why did they hate me so? I had never set eyes on them.’
‘It was history speaking through them,’ he offers at last. ‘A history of wrong. Think of it that way, if it helps. It may have seemed personal, but it wasn’t. It came down through the ancestors.’
‘That doesn’t make it easier. The shock simply doesn’t go away. The shock of being hated, I mean. In the act’” (156).
And later:
“What if… what if that is the price one has to pay for staying on? Perhaps that is how they look at it; perhaps that it how I should look at it too. They see me as owing something. They see themselves as debt collectors, tax collectors. Why should I be allowed to live here without paying? Perhaps that is what they tell themselves” (158).
I offered a similar interpretation in the case of a
robber who was placated by a glass of wine. Those who have been historically disempowered feel it is their prerogative to take vengeance, or at least to take what they consider theirs, what
ought to belong to them.