Cover image for Disgrace
Coetzee, J. M., 1940-
Personal Author:
First American edition.
Publication Information:
New York : Viking, [1999]

Physical Description:
220 pages ; 23 cm
General Note:
Originally published: London : Secker & Warburg, 1999.
Geographic Term:

Format :


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Material Type
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FICTION Adult Fiction Central Library
FICTION Adult Fiction Central Library
FICTION Adult Fiction Open Shelf

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-- Disgrace -- one of only four works of fiction -- was chosen by the editors of the New York Times Book Review as one of the eleven Best Books of the Year
-- A New York Times, Boston Globe, Los Angeles Times, Newsday, New York Post, San Francisco Chronicle, Village Voice Literary Supplement, Wordstock, Ingrain, and Independent bestseller
-- A Selection of the Book-of-the-Month Club and QuaLity Paperback Book Club
-- A finalist for The National Book Critics Circle Awards
-- Coetzee is the only writer to have been awarded the Booker Prize twice

Author Notes

J.M. Coetzee's full name is John Michael Coetzee. Born in Cape Town, South Africa, in 1940, Coetzee is a writer and critic who uses the political situation in his homeland as a backdrop for many of his novels. Coetzee published his first work of fiction, Dusklands, in 1974.

Another book, Boyhood, loosely chronicles an unhappy time in Coetzee's childhood when his family moved from Cape Town to the more remote and unenlightened city of Worcester. Other Coetzee novels are In the Heart of the Country and Waiting for the Barbarians. Coetzee's critical works include White Writing and Giving Offense: Essays on Censorship.

Coetzee is a two-time recipient of the Booker Prize and in 2003, he won the Nobel Literature Award.

(Bowker Author Biography) J. M. Coetzee's books include "Boyhood", "Dusklands", "In the Heart of the Country", "Waiting for the Barbarians", "Life & Times of Michael K", "Foe", & "The Master of Petersburg". A professor of general literature at the University of Cape Town, Coetzee has won many literary awards, including the CNA Prize (South Africa's premier literary award), the Booker Prize (twice), the Prix Etranger Femina, the Jerusalem Prize, the Lannan Literary Award, & The Irish Times International Fiction Prize.

(Publisher Provided)

Reviews 3

Booklist Review

In Waiting for the Barbarians (1980) and other great novels, the eminent South African writer Coetzee set his dark stories in a chaotic near-future world on the edge of allegory. The place in this book is postapartheid South Africa; the power struggle is now; anarchy has come. This deeply pessimistic view is how many conservatives today see the changes in South Africa. David Lurie, 52-year-old divorced literary scholar, is disgraced for sexually harassing one of his college students. Refusing to submit to "counseling," he loses his job (he was never much of a teacher, anyway) and moves in with his beloved daughter Lucy on her small farm in the eastern Cape. She's a sturdy peasant, part of the new world ("dogs and a gun; bread in the oven and a crop in the earth") and he's glad for her--until one night the farm is ransacked, the animals killed, and Lucy gang-raped. The predators will come back, but she refuses to leave ("They see me as owing something"). In the end, she will bear the child from that rape, become the third wife of her former sharecropper, and live on his land. With the social chaos is Lurie's sense of personal failure. Is he also a monster? What about his own sexual aggression? Where is power now? There's an ongoing metaphor about the poet Byron's life and work that becomes tedious and self-indulgent--just too much about an idle old man "at the end of roving." Like Lurie, Coetzee clearly sees himself as apolitical, a weary figure "from the margins of history," but the insistence on violence as the only possibility makes the novel disappointing. What's strongest in the story, as good as anything Coetzee has ever written, are the scenes in the country place, especially the father-daughter relationship (both tender and apart). This novel has just won the prestigious Booker Prize in England, making Coetzee the first writer ever to win the prize twice. --Hazel Rochman

Publisher's Weekly Review

As a writer, Coetzee is a literary cascade, with a steady output of fiction and criticism (literary and social) over the last two decades. This latest book, his first novel in five years, is a searing evocation of post-apartheid South Africa; it earned him an unprecedented second Booker Prize. An uninspired teacher and twice divorced, David Lurie is a 52-year-old poetry scholar-cum-"adjunct professor of communications" at Cape Technical University. Spooked by the flicker of twilight in his life trajectory, he sees himself as an aged Lothario soon to be "shuddered over" by the pretty girls he has so often wooed; he is disappointed in and unengaged by the academy he now serves by rote; and he cannot locate the notes for his opera, Byron in Italy, in which he has placed so much reluctant hope. He is, even at his best, a man of "moderated bliss." So when he seduces Melanie Isaacs, a lithe student from his poetry elective ("She does not resist. All she does is avert herself"), he believes her to represent the final object of his desire, his last act of lush, Romantic desperation. And then he is found out. This not uncommon outrage earns him a dismissal and censure from the university committee he refuses to cooperate with in hopes of saving his job. He immediately shoves off for Salem in the Eastern Cape where his daughter, Lucy, manages a dog kennel and works her smallholding, harvesting a modest crop. Here David hopes to cleanse himself with time-honored toil. But his new life in the country offers scarce refuge. Instead, he is flummoxed to discover an unfamiliar Lucy-principled, land-devoted, with a heroic resignation to the social and political developments of modern South Africa. He also memorably encounters Petrus, Lucy's ambitious colored neighbor and sometime assistant. Petrus embodies the shifting, tangled vicissitudes of a new national schematic, and forces David to relate to the broad segment of society previously shrouded by the mists of his self-absorption. But a violent attack on the estate irrevocably alters how the book's central figure perceives many things: his daughter and her bewildering (to him) courage, the rights of South Africa's grossly aggrieved majority, the souls of the damaged dogs he helps put down at the local Animal Welfare League and even the character of Lord Byron's mistress and the heroine of his operatic "chamber-play." But this is no tale of hard-earned, satisfying transformation. It is, rather, a paean to willfulness, an aria on the theme of secca, or the drying up of "the source of everything." In Coetzee's tale, not a single note is false; every sentence is perfectly calibrated and essential. Every passage questions the arbitrary division between the "major and minor" and the long-accepted injustices propped up by nothing so much as time. The book somehow manages to speak of little but interiority and still insinuate peripheries of things it doesn't touch. Somber and crystalline, it "has the right mix of timelessness and decay." It is about the harsh cleansing of humiliation and the regretfulness of knowing things: "I lack the lyrical. I manage love too well. Even when I burn I don't sing, if you understand me." To perceive is to understand in this beautifully spare, necessary novel. First serial to the New Yorker. (Nov.) FYI: Viking accelerated the pub date after the Booker Prize was announced on October 25. (c) Copyright PWxyz, LLC. All rights reserved

Library Journal Review

Coetzee post-apartheid: a disgraced professor encounters violence as he tries to grasp the new social order. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.



Without the Thursday interludes the week is as featureless as a desert. There are days when he does not know what to do with himself. He spends more time in the university library, reading all he can find on the wider Byron circle, adding to notes that already fill two fat files. He enjoys the late-afternoon quiet of the reading room, enjoys the walk home afterwards: the brisk winter air, the damp, gleaming streets. He is returning home one Friday evening, taking the long route through the old college gardens, when he notices one of his students on the path ahead of him. Her name is Melanie Isaacs, from his Romantics course. Not the best student but not the worst either: clever enough, but unengaged. She is dawdling; he soon catches up with her. 'Hello,' he says. She smiles back, bobbing her head, her smile sly rather than shy. She is small and thin, with close-cropped black hair, wide, almost Chinese cheekbones, large, dark eyes. Her outfits are always striking. Today she wears a maroon miniskirt with a mustard-coloured sweater and black tights; the gold baubles on her belt match the gold balls of her earrings. He is mildly smitten with her. It is no great matter: barely a term passes when he does not fall for one or other of his charges. Cape Town: a city prodigal of beauty, of beauties. Does she know he has an eye on her? Probably. Women are sensitive to it, to the weight of the desiring gaze. It has been raining; from the pathside runnels comes the soft rush of water. 'My favourite season, my favourite time of day,' he remarks. 'Do you live around here?' 'Across the line. I share a flat.' 'Is Cape Town your home?' 'No, I grew up in George.' 'I live just nearby. Can I invite you in for a drink?' A pause, cautious. 'OK. But I have to be back by seven-thirty.' From the gardens they pass into the quiet residential pocket where he has lived for the past twelve years, first with Rosalind, then, after the divorce, alone. He unlocks the security gate, unlocks the door, ushers the girl in. He switches on lights, takes her bag. There are raindrops on her hair. He stares, frankly ravished. She lowers her eyes, offering the same evasive and perhaps even coquettish little smile as before. In the kitchen he opens a bottle of Meerlust and sets out biscuits and cheese. When he returns she is standing at the bookshelves, head on one side, reading titles. He puts on music: the Mozart clarinet quintet. Wine, music: a ritual that men and women play out with each other. Nothing wrong with rituals, they were invented to ease the awkward passages. But the girl he has brought home is not just thirty years his junior: she is a student, his student, under his tutelage. No matter what passes between them now, they will have to meet again as teacher and pupil. Is he prepared for that? 'Are you enjoying the course?' he asks. 'I liked Blake. I liked the Wonderhorn stuff.' 'Wunderhorn.' 'I'm not so crazy about Wordsworth.' 'You shouldn't be saying that to me. Wordsworth has been one of my masters.' It is true. For as long as he can remember, the harmonies of The Prelude have echoed within him. 'Maybe by the end of the course I'll appreciate him more. Maybe he'll grow on me.' 'Maybe. But in my experience poetry speaks to you either at first sight or not at all. A flash of revelation and a flash of response. Like lightning. Like falling in love.' Like falling in love. Do the young still fall in love, or is that mechanism obsolete by now, unnecessary, quaint, like steam locomotion? He is out of touch, out of date. Falling in love could have fallen out of fashion and come back again half a dozen times, for all he knows. 'Do you write poetry yourself?' he asks. 'I did when I was at school. I wasn't very good. I haven't got the time now.' 'And passions? Do you have any literary passions?' She frowns at the strange word. 'We did Adrienne Rich and Toni Morrison in my second year. And Alice Walker. I got pretty involved. But I wouldn't call it a passion exactly.' So: not a creature of passion. In the most roundabout of ways, is she warning him off? 'I am going to throw together some supper,' he says. 'Will you join me? It will be very simple.' She looks dubious. 'Come on!' he says. 'Say yes!' 'OK. But I have to make a phone call first.' The call takes longer than he expected. From the kitchen he hears murmurings, silences. 'What are your career plans?' he asks afterwards. 'Stagecraft and design. I'm doing a diploma in theatre.' 'And what is your reason for taking a course in Romantic poetry?' She ponders, wrinkling her nose. 'It's mainly for the atmosphere that I chose it,' she says. 'I didn't want to take Shakespeare again. I took Shakespeare last year.' What he throws together for supper is indeed simple: anchovies on tagliatelle with a mushroom sauce. He lets her chop the mushrooms. Otherwise she sits on a stool, watching while he cooks. They eat in the dining-room, opening a second bottle of wine. She eats without inhibition. A healthy appetite, for someone so slight. 'Do you always cook for yourself?' she asks. 'I live alone. If I don't cook, no one will.' 'I hate cooking. I guess I should learn.' 'Why? If you really hate it, marry a man who cooks.' Together they contemplate the picture: the young wife with the daring clothes and gaudy jewellery striding through the front door, impatiently sniffing the air; the husband, colourless Mr Right, apronned, stirring a pot in the steaming kitchen. Reversals: the stuff of bourgeois comedy. 'That's all,' he says at the end, when the bowl is empty. 'No dessert, unless you want an apple or some yoghurt. Sorry D I didn't know I would be having a guest.' 'It was nice,' she says, draining her glass, rising. 'Thanks.' 'Don't go yet.' He takes her by the hand and leads her to the sofa. 'I have something to show you. Do you like dance? Not dancing: dance.' He slips a cassette into the video machine. 'It's a film by a man named Norman McLaren. It's quite old. I found it in the library. See what you think.' Sitting side by side they watch. Two dancers on a bare stage move through their steps. Recorded by a stroboscopic camera, their images, ghosts of their movements, fan out behind them like wingbeats. It is a film he first saw a quarter of a century ago but is still captivated by: the instant of the present and the past of that instant, evanescent, caught in the same space. He wills the girl to be captivated too. But he senses she is not. When the film is over she gets up and wanders around the room. She raises the lid of the piano, strikes middle C. 'Do you play?' she says. 'A bit.' 'Classics or jazz?' 'No jazz, I'm afraid.' 'Will you play something for me?' 'Not now. I'm out of practice. Another time, when we know each other better.' She peers into his study. 'Can I look?' she says. 'Switch on the light.' He puts on more music: Scarlatti sonatas, cat-music. 'You've got a lot of Byron books,' she says when she comes out. 'Is he your favourite?' 'I'm working on Byron. On his time in Italy.' 'Didn't he die young?' 'Thirty-six. They all died young. Or dried up. Or went mad and were locked away. But Italy wasn't where Byron died. He died in Greece. He went to Italy to escape a scandal, and settled there. Settled down. Had the last big love-affair of his life. Italy was a popular destination for the English in those days. They believed the Italians were still in touch with their natures. Less hemmed in by convention, more passionate.' She makes another circuit of the room. 'Is this your wife?' she asks, stopping before the framed photograph on the coffee-table. 'My mother. Taken when she was young.' 'Are you married?' 'I was. Twice. But now I'm not.' He does not say: Now I make do with what comes my way. He does not say: Now I make do with whores. 'Can I offer you a liqueur?' She does not want a liqueur, but does accept a shot of whisky in her coffee. As she sips, he leans over and touches her cheek. 'You're very lovely,' he says. 'I'm going to invite you to do something reckless.' He touches her again. 'Stay. Spend the night with me.' Across the rim of the cup she regards him steadily. 'Why?' 'Because you ought to.' 'Why ought I to?' 'Why? Because a woman's beauty does not belong to her alone. It is part of the bounty she brings into the world. She has a duty to share it.' His hand still rests against her cheek. She does not withdraw, but does not yield either. 'And what if I already share it?' In her voice there is a hint of breathlessness. Exciting, always, to be courted: exciting, pleasurable. 'Then you should share it more widely.' Smooth words, as old as seduction itself. Yet at this moment he believes in them. She does not own herself. Beauty does not own itself. 'From fairest creatures we desire increase,' he says, 'that thereby beauty's rose might never die.' Not a good move. Her smile loses its playful, mobile quality. The pentameter, whose cadence once served so well to oil the serpent's words, now only estranges. He has become a teacher again, man of the book, guardian of the culture-hoard. She puts down her cup. 'I must leave, I'm expected.' The clouds have cleared, the stars are shining. 'A lovely night,' he says, unlocking the garden gate. She does not look up. 'Shall I walk you home?' 'No.' 'Very well. Good night.' He reaches out, enfolds her. For a moment he can feel her little breasts against him. Then she slips his embrace and is gone. From the Trade Paperback edition. Excerpted from Disgrace by J. M. Coetzee All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.