Abstract

This article contends that we can learn much about how Coetzee tells stories by examining how he treats the subject of disgust. Coetzee represents disgust so often in his fiction, I argue, because disgust figures the subject’s relation to the object as both embodied and contemplative. Staging scenes of disgust enables Coetzee to do two apparently contradictory things at once: (1) represent the immediacy of a focalizing character’s physical reaction to the world and (2) establish a reflective distance between the focalizing character and object that encourages both character and reader to contemplate the ignoble aspect of human mortality.