Sobriquet 46.24

Although I had initially planned to spend the day reading one of the longer critical articles I still have sitting around, I opted instead to read a couple of reviews on Disgrace. Normally, when I end up reading newspaper reviews, I do so out of desperation. Either I have been unable to focus on a longer essay or I have been working (for-money working) all day and haven't the time or energy left to read much more than a briefer, less scholarly-sounding text. Today, though, was different. It's only 1:30 in the afternoon, so I really can't claim that I have been struggling to read an essay all day long. Likewise, it is a Sunday, so I can hardly blame long hours in the classroom or around the conference table for not getting much done.

Instead, a friend invited me over for the afternoon to play Dungeons and Dragons, like the proper icosahedronic dice-rollers that we are. Having been a bit lonely lately, I figured, socializing might well be the ticket to ensuring a better attitude towards my own work. It certainly can't hurt.

So, I read a couple of reviews so that I could enjoy myself knowing I had gotten some work completed already. The first review, Rachel L. Swams's "After Apartheid, White Anxiety," as the title suggests, situates Coetzee 's text among "a new literature of South Africa's whites that vents and explores their fears about the post-apartheid nation" (1). Drawing comparisons to Nadine Gordimer's less negative House Gun, Swams sees Coetzee's novel as depicting the "chilling indifference" of a society in which vengefully violent acts of retribution may be exacted upon seemingly innocent white individuals like the "warm-hearted" Lucy Lurie (1). Swams's essay, it seems to me, stands out as a particularly strong introduction to a certain vein of critical concern among the South African literary establishment. Additionally, by drawing upon critics such as David Attwell and contemporary novelists such as Zakes Mda, Swams effectively presents a learned, relatively unbiased view of this branch of critical discourse in her native land. I also read Robin Vidimos's review of Disgrace which, despite misidentifying the novel's protagonist as "James Lurie," is a fairly solid reading of the text. Although not explicitly evoked, existentialism seems central to Vidimos's interpretation of the book and, accordingly, focuses on the origins and solutions to the "rudderless" Lurie's detachment (5).

For tomorrow: Read another essay.

Works Cited

Swams, Rachel L. "After Apartheid, White Anxiety." The New York Times 14 Nov 1999: 4.1.

Vidimos, Robin. "Midlife Tragedy Quickly Grabs and Retains Interest." Rev. of Disgrace, by J. M. Coetzee. The Denver Post 14 Nov. 1999: F5+.