A divorced, middle-aged English professor finds himself increasingly unable to resist affairs with his female students. When discovered by the college authorities, he is expected to apologise and repent in an effort to save his job, but he refuses to become a scapegoat in what he see as as a show trial designed to reinforce a stringent political ...
A divorced, middle-aged English professor finds himself increasingly unable to resist affairs with his female students. When discovered by the college authorities, he is expected to apologise and repent in an effort to save his job, but he refuses to become a scapegoat in what he see as as a show trial designed to reinforce a stringent political correctness. He preempts the authorities and leaves his job, and the city, to spend time with his grown-up lesbian daughter on her remote farm. Things between them are strained - there is much from the past they need to reconcile - and the situation becomes critical when they are the victims of a brutal and horrifying attack. In spectacularly powerful and lucid prose, Coetzee uses all his formidable skills to engage with a post-apartheid culture in unexpected and revealing ways. This examination into the sexual and poliitcal lawlines of modern South Africa as it tries desperately to start a fresh page in its history is chilling, uncompromising and unforgettable.
Coetzee is at the top of English fiction writing today. This a book about losing our path amidst the ruthlessness of class and racial tensions after apartheid. It is gripping yet subtly laid out, the plot depicts the inability of ordinary morality in a new conflicted and resentful world. Flesh tearing, this book is must for those caught up in the riddles of multi-racial communities where moral tenets have yet found a proper place. A must for those who are begining to realize our impotence to overcome social splits and are amenable to spend a sleepless night in fear and wondering....
Dec 16, 2008
Realistic Story Line
The synopsis for this book does a good job of outlining the story. This novel won the 1999 Booker Prize and that is why I chose to read it. The narrator of the story is Professor David Lurie, ousted from his teaching position for having an affair with a student. He goes to live briefly with his daughter on her farm in South Africa. When they are robbed and terrorized, he cannot convince her to leave the farm for a safer location. This book seems to have a theme of making choices despite the consequences. What I liked about the book was the realism of the character and the story. The ending is not a neat little package and the characters were not particularly likeable, nor their motives understandable. It is well-written and compelling, leaving you thinking about the book long after you have finished reading it.
Jul 19, 2007
I did not think this book was particularly well written, though the story does a good job of illustrating how South Africa is still very tribal. If you do not have the power, in that you can physically retaliate or socially retaliate, people will look you in the eye and take your stuff.
Publishers Weekly, 1999-11-22 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. Copyright 1999 Cahners Business Information.
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