After years teaching Romantic poetry at the Technical University of Cape Town, David Lurie, middle-aged and twice divorced, has an impulsive affair with a student. The affair sours; he is denounced and summoned before a committee of inquiry. Willing to admit his guilt, but refusing to yield to pressure to repent publicly, he resigns and retreats to his daughter Lucy's isolated smallholding. For a time, his daughter's influence and the natural rhythms of the farm promise to harmonise his discordant life. But the balance of power in the country is shifting. He and Lucy become victims of a savage and disturbing attack which brings into relief all the faultlines in their relationship.' (Publisher's blurb)
Disgrace
( dir. Steve Jacobs
)
Australia
:
Sherman Films
Whitest Pouring Films
Fortissimo Films
,
2007
Z1410365
2007
single work
film/TV
'Professor David Lurie's life falls apart after he has an impulsive affair with one of his students. Forced to resign from the university he escapes to his daughter's farm. The relationship is tested when they both become victims of a vicious attack.' Source: www.afc.gov.au/ (Sighted 21/07/2007).
Disgrace
Oxford
:
Oak Tree Fine Press
,
2006
6173542
2006
extract
novel
"The first thing the midwife noticed about Michael K when she helped him out of his mother into the world was that he had a hare lip. The lip curled like a snail's foot, the left nostril gaped. Obscuring the child for a moment from its mother, she prodded open the tiny bud of a mouth and was thankful to find the palate whole."
So begins the novel Life and Times of Michael K, a frightening vision of a post apocalyptic South Africa, which was the first of J M Coetzee’s novels to win the Booker Prize in 1983. Each numbered book is individually signed by the author and features specially commissioned original artwork by South African artist, Colbert Mashile. The deluxe editions of each volume include an original artist’s print inspired by Life & Times of Michael K .
'Scholars such as Evan Mwangi argue that postcolonial animal studies is all too often considered through white environmentalist perspectives, a point exemplified by the critical focus on white perspectives provided by writers such as J. M. Coetzee, Barbara Gowdy, and Lauren Beukes. Such focus bestows the authority to care for African natures to (white) Western visions of worldmaking. Mwangi's criticism suggests the white environmental discourses that have informed prominent readings of Disgrace (1999). The uncritical discourse of animal welfare in the post-colony has ties to apartheid governance and its rhetorical legacy. Through a comparative reading of Coetzee's Disgrace, the rhetoric of euthanasia used by animal welfare organizations, and contemporary reporting on the state of the animal, I outline a historical centering of white environmentalism—in particular welfarism—in institutional South African discourses about the animal. In opposition to assertions that the animal becomes a vehicle of redemption for the main character, David Lurie, and other redemptive readings of white characters in the novel such as Bev Shaw, I suggest that Disgrace reveals the legacies of white nationalist imaginaries that continue to undergird state and institutional environmental discourses in South Africa. The purportedly humane ideologies of animal population control and welfare perpetuate white interests. Disgrace reveals the tension between institutional expressions of care and the forceful integration of postcolonial nations into global markets, which sustain colonial legacies of white worldmaking.' (Publication abstract)
'J.M. Coetzee, one of the leading novelists of our age, turns 84 this year. Last year, he published The Pole and Other Stories, his 18th book (excluding volumes of criticism, commentary, letters and translations). Its flowering of mature style confirms that this writer remains at the top of his game.'
'In this article, I reconsider J.M. Coetzee’s Disgrace, often interpreted in the context of South Africa’s transition to post apartheid life and with an eye to the nation’s Truth and Reconciliation Commission, by instead reading it in light of the international twenty first century MeToo movement. I contend that, in retrospect, Disgrace both demonstrates affinities with MeToo and proleptically envisions, from the postcolonial periphery, the contours of the movement decades before its forceful emergence as a watershed moment in the West. Disgrace tells a story echoed in many MeToo accounts, depicting the public exposure and fall from grace of a privileged white man following his sexual exploitation of a non white student. My interests lie not in the matter of David Lurie’s potential redemption; rather, I explore Coetzee’s exposure of the persistence of institutionalized gendered and racial privileges through moments of historical transformation. I argue that Disgrace’s highlighting of its own unnarrated perspectives anticipates the forceful challenge to a lingering white heterosexual hegemony that characterizes MeToo, while at the same time exposing the perpetual marginalization of non white and non Western traumas in discourses of transitional justice in South Africa and globally.' (Publication abstract)
Rhymes with Hyenas
Canberra
:
Recent Work Press
,
2021
20909627
2021
selected work
poetry
'Imagine if six famous protagonists transcended chronological and geographical barriers to come together through a poetry group in Adelaide. Rhymes with Hyenas is an inventive narrative of emails and poetry that gives a female voice to characters originally written by men. They are Ursula from DH Lawrence’s Women in Love, Caddy from Faulkner’s The Sound and the Fury, Melanie from Coetzee’s Disgrace, Delores from Nabokov’s Lolita, Katherina from Shakespeare’s Taming of the Shrew, and Lilith from Hebrew mythology.
'In a poignant ode to literature and Adelaide, these women are whole, complex characters, sometimes up to their breasts in mothering, sometimes homesick for exiled lands. They are lecturers, dog owners, art makers and carers who deal with illness and loss, with racism and addiction and domestic abuse. Their stories, initially limited by the masterpieces that spawned them, continue on: they are not a closed book.
'In a vibrant commentary on literary patriarchy and the patriarchy beyond, this book considers the place of writing, critiquing, reading, performing and publishing poetry in a woman’s space.'
Source : publisher's blurb
'Through a reading of J. M. Coetzee's novel Disgrace this paper discusses the contemporary genre of reading literature in terms of an 'ethics of perception.' In the fourteen years since its publication the novel has elicited a rich body of commentary and criticism with an ethical edge, often focusing on the unfolding vision or stunted but developing perceptiveness of its uneasy protagonist David Lurie. This path of criticism is paradigmatic of a broader interest in studying literary works as paths to moral philosophical illumination. I discuss how the novel yields to this kind of reading, but also how this path of reading is complicated by its various other features, above all, a plurality of values that may be hard to reconcile and a Christian perspective of grace which is played against the novels secular, intellectual perspective on perceptiveness. I argue that reading Disgrace in terms of any pre-given ethical formula, however compelling, may be problematic considering the nature of Coetzee's authorship.' (Author's abstract)
‘The rapidly growing field of human-animal studies (HAS) is a vibrant, varied domain of methodological convergences and divergences, united by a shared concern with studying the complex entanglement of human and animal lives. To think seriously about animals on their own terms is to begin to question the co-construction of the categories of the human and the animal that underpins human the animal that underpins human exceptionalism. Unpicking the human/animal binary, however, is no simple matter: not only is this construction unstable but as prisoners of human language we also have a tendency to reinstate it even as we think we challenge it. This paper will provide an analysis of significant developments and preoccupations in the field of literary HAS. Some of the most vexing questions within this area will be contextualised by way of reference to the Bandit and Michael Vick cases in the US and J.M. Coetzee’s Disgrace, in particular scenes depicting David Laurie’s encounter with unwanted dogs at an animal shelter.’ (Publication abstract)
