An Analysis of J.M. Coetzees Disgrace

An Analysis of J.M. Coetzees DisgraceThe novel Disgrace by J.M. Coetzee has attracted wide readership and abstract since its outgrowth publication. Set in the post-apartheid South Africa, the speckle revolves around the main character David Lurie, a divorced 52-year- out of date professor who earns a living by teaching communication courses at the Cape technical University. The resounding conflict in the novel is introduced right from the first separate where readers learn of Luries insatiable informal appetite. He had affairs with the wives of colleagues he picked up tourists in bars on the waterfront or at the Club Italia he slept with whores (7). Luries descents thus surround women, many who end up in prosecute in intimate activities with him. In this paper, the themes of arrogance, disgrace, and reconciliation be explored by reviewing Luries interactions with the women in the novel. Despite the portrayal of the fe young-begetting(prenominal) grammatical gender as object s of sexual gratification, the characters Soraya, Desiree Isaacs, and Rosalind signify, to a rea boyable extent, the rejection of male hegemony on sexual matters.A critical analysis into the life of David Lurie reveals a character whose greatest flaw rests in the unfitness to control sexual drive. Readers get an idea of the flaw in the first paragraph when Lurie is introduced as a divorced, 52-year-old man who, to his mind has solved the difficulty of sex rather well (1). We also learn that the problem that Lurie alludes to higher up has been solved by his sexual relationship with Soraya, an exotic Muslim harm working for Discreet Escorts. Whereas the two be committed to a ninety-minute sexual session every Thursday Afternoon, their engagement is clearly devoid of bang and enjoyment, particularly from the side of Soraya. Elizabeth Lowry, an editor at London Review of Books, finds the relationship of Lurie and women as exploitative. She submits that, both the prostitute Soraya and Melanie-Melni ar used women and, signifi bungholetly, they are both dark (Lowry 15). Money is what drives Soraya to honor this appointment. In fact, the objectification and commoditization of Soraya body is revealed from the intimacy that a single sexual session takes a duration of ninety minutes and costs a total of R400 (Coetzee 2).The relationship between Lurie and Soraya til now ends in a state of disgrace for both characters. Disgrace cosmos a theme which underpins much of the story, Lurie first illustrate of disgrace happens when he catches the sight of Soraya walking with her two sons along a street that he frequently walks. The glance of Soraya and her two sons live a lasting video in Luries mind that, in as much as he would like to forget, the two little boys become presences between them (6). Evidently, the reality of Soraya two-baser life leaves Lurie at a state of shame when he tries to bet what the two sons and their father would do if they discover what he does with Soraya. The feeling is eventide made worse by the fact that he himself has no son and is divorced. Shame, regret, and dishonor cloud the minds of both these characters. Lurie speaks of she Soraya transforms herself into sound a nonher woman and him into just an early(a) client (Coetzee 7). It is also in this reality that Lurie comes to terms that he might just be a subject in the prostitutes gossip. McDonald (2007) puts this tonic reality into perspective by submitting that the illusion shattered that is when Soraya eyes met that of Lurie is not of her objectivity, only if of his own subjectivity, as he becomes aware of how she sees him (McDonald 20). For the first time, he appears embarrassed of his age body as prostitute tend to tingle over older clients (Coetzee 8).Another theme that Coetzee reveals through the relationship of Lurie and women is that of arrogance. lordliness entails an overbearing attitude directed to people who are perceived as inferior. This ar rogance brings to light the hegemonic gender relations between men and women. For instance, later on Soraya rejected Luries tendency to regain dominance over her, Lurie re-asserts his dominance when he asks rhetorical questions what should a predator expect when he intrudes into the vixens nest, into the home plate of her cubs? (Coetzee 10). McDonald (2009) suggests that objectifying Soraya through the use of animal metaphors was a strategy used by Lurie to chasten dominance and authority (21). Even though the details surrounding their Luries coupling to Rosalind are scarce, we can gain a wind of Luries arrogance in the marriage set-up through the thoughts that run through his mind. For instance, in an attempt to prune his sexual escapades with Soraya, he appears to suggest that who needs a wife, home or marriage when ninety minutes a week with a womans connection are enough to make him happy? This is arrogance of the highest order especially to women who, in marriage setup, t end to be very loyal and submissive. dignity is further revealed through Luries encounter with Desiree Isaacs. Despite the fact that he has visited their home to make apology for sleeping with Melanie (a student from his class), one cannot help but wonder how again Lurie lock in views Desiree through lustful lenses. He for instance describes her as the beauty and the desired one. He even imagines the two of them Melanie and Desiree in the same bed an experience fit for a King (164).However, still through Luries relationship to Soraya, Desiree Isaacs, and Rosalind, the theme of reconciliation is explored as even male hegemony in gender relations is rejected. For instance, Luries makes an attempt to free with Soraya by track her to her home. Soraya rejects this and in turn demands commands Lurie to never phone her home again. Desiree on the other hand finds it very hard to reconcile with an old man who had messed up with her sister. In as much as the family had discussed about Lu rie and his planned visit, Desiree still thinks that he is unwanted visitor. She simply cannot come into terms with the reality that her sister, Melanie, had slept with this old man. The process of reconciliation between Isaacs, particularly women, is complicated by the gender sexuality that comes into play. We for instance read of Luries apology when he, with careful ceremony he gets to his knees and touches his forehead to the floor (Coetzee 173). This gesture however leaves the mother and Desiree unmoved. It can be argued that the rejection of the apology has more to do with the elements of insincerity. According to J.M. Austerities (2016), it is argued that the gesture neither transcends not negates the predicament of gendered sexuality because, a few lines later, we see Lurie experiencing again the watercourse leaps, the current of desire as he looks into the eyes of mother and lady friend (J.M. Austerities 160).Nonetheless, Rosalind depicts a woman who has gained control over her life and is willing to reconcile with her husband but not necessarily emotionally. She openly expresses distaste for Luries sexual escapades with Melanie. She says, The whole thing is disgraceful from beginning to end. Disgraceful and vulgar too. And Im not sorry for saying so. (45) Through Rosalind, we see a woman who is not afraid to stand up against a man who had divorced her. However, we can also sense an aspect of Rosalind that is determined to reconcile their differences and be on civil terms. For example, she expresses concern over an article in the Argus word article discussing Lurie. By telephoning and urging Lurie to steel himself, there isa sense of a woman who is on a reconciliation mission.In conclusion, the themes of arrogance, disgrace, and reconciliation are explored in light of gendered-sexual relations between Lurie and characters Soraya, Desiree Isaacs, and Rosalind. Objectification and commoditization of women as sexual tools are the source of Luries arroga nce. His character eventually disgraces him when he becomes the objects of self-shame and public ridicule. Because of Luries hegemonic views when he comes to gender relations, the process of reconciliation is complicated to those who cannot explain or accept his behavior.whole kit and boodle CitedCoetzee, J M. Disgrace. Penguin Publishing Group, 2017. Internet resource.J.M. Coetzees Austerities. New York. Routledge, 2016. PrintLowry, Elizabeth. Like a dog. London Review of Books 14 (1999) 12-14.McDonald, William E. Encountering Disgrace Reading and Teaching Coetzees Novel. Rochester, N.Y Camden House, 2009. Print.