J.M. Coetzee Quotes

“The secret of happiness is not doing what we like but in liking what we do.”

Source: Disgrace

“Truth is not spoken in anger. Truth is spoken, if it ever comes to be spoken, in love. The gaze of love is not deluded. It sees what is best in the beloved even when what is best in the beloved finds it hard to emerge into the light.”

“A book should be an axe to chop open the frozen sea inside us.”

Source: Slow Man

J.M. Coetzee book Summertime

Source: Summertime

“His own opinion, which he does not air, is that the origin of speech lie in song, and the origins of song in the need to fill out with sound the overlarge and rather empty human soul.”

“Pain is truth; all else is subject to doubt.”

Source: Disgrace (1999), p. 3-4
Context: Although he devoted hours of each day to his new discipline, he finds its first premise, as enunciated in the Communications 101 handbook, preposterous: 'Human society has created language in order that we may communicate our thoughts, feelings, and intentions to each other.' His own opinion, which he does not air, is that the origins of speech lie in song, and the origins of song in the need to fill out with sound the overlarge and rather empty human soul.

J.M. Coetzee book Waiting for the Barbarians

Source: Waiting for the Barbarians

“Because a woman's beauty does not belong to her alone. It is a part of the bounty she brings into the world. She has a duty to share it.”

“Poetry speaks to you either at first sight or not at all. A flash of revelation and a flash of response.”

Source: Disgrace

“Was it serious? I don't know. It certainly had serious consequences.”

Source: Disgrace

“Words are coin. Words alienate. Language is no medium for desire. Desire is rapture, not exchange.”

Source: Disgrace

“Our lies reveal as much about us as our truths.”

“She gives him what he can only call a sweet smile. 'So you are determined to go on being bad. Mad, bad, and dangerous to know. I promise, no one will ask you to change.”

Source: Slow Man (2004)

“Machiavelli says that if as a ruler you accept that your every action must pass moral scrutiny, you will without fail be defeated by an opponent who submits to no such moral test. To hold on to power, you have not only to master the crafts of deception and treachery but to be prepared to use them where necessary.”

Source: Disgrace

J.M. Coetzee book Diary of a Bad Year

Source: Diary of a Bad Year (2007), p. 17

“Isaacs has a cheap Bic pen in his hand. He runs his fingers down the shaft, inverts it, runs his fingers down the shaft, over and over, in a motion that is mechanical rather than impatient.”

“But your own vegetarianism, Mrs. Costello,” says President Garrard, pouring oil on troubled waters: “it comes out of moral conviction, does it not?”
“No, I don't think so,” says his mother. “It comes out of a desire to save my soul.”
Now there truly is a silence, broken only by the clink of plates as the waitresses set baked Alaskas before them.
“Well, I have a great respect for it,” says Garrard. “As a way of life.”
“I'm wearing leather shoes,” says his mother. “I'm carrying a leather purse. I wouldn't have overmuch respect if I were you.”
“Consistency,” murmurs Garrard. “Consistency is the hobgoblin of small minds. Surely one can draw a distinction between eating meat and wearing leather.”

Disgrace (1999)

“She no longer believes very strongly in belief… Belief may be no more, in the end, than a source of energy, like a battery which one clips into an idea to make it run. As happens when one writes: believing whatever has to be believed in order to get the job done.”

“Degrees of obscenity,” she replies.
Source: The Lives of Animals (1999), pp. 43-44

J.M. Coetzee book Elizabeth Costello

Elizabeth Costello (2003)

“At the Everyman Cinema there is a season of Satyajit Ray. He watches the Apu trilogy on successive nights in a state of rapt absorption. In Apu's bitter, trapped mother, his engaging, feckless father he recognizes, with a pang of guilt, his own parents. But it is the music above all that grips him, dizzyingly complex interplays between drums and stringed instruments, long arias on the flute whose scale or mode — he does not know enough about music theory to be sure which — catches at his heart, sending him into a mood of sensual melancholy that last long after the film has ended.”

“Talking to Petrus is like punching a bag of sand.
'Are you giving him up?'
'Yes, I am giving him up.”

Youth (2002)

“Sometimes when he is among the sheep — when they have been rounded up to be dipped, and are penned tight and cannot get away — he wants to whisper to them, warn them of what lies in store. But then in their yellow eyes he catches a glimpse of something that silences him: a resignation, a foreknowledge not only of what happens to sheep at the hands of Ros behind the shed, but of what awaits them at the end of their long, thirsty ride to Cape Town on the transport lorry. They know it all, down to the finest detail, and yet they submit. They have calculated the price and are prepared to pay it — the price of being on earth, the price of being alive.”

Disgrace (1999)

“If you have reservations about the system and want to change it, the democratic argument goes, do so within the system: put yourself forward as a candidate for political office, subject yourself to the scrutiny and the vote of fellow citizens. Democracy does not allow for politics outside the democratic system. In this sense, democracy is totalitarian.”

Boyhood (1998)

J.M. Coetzee book Diary of a Bad Year

Source: Diary of a Bad Year (2007), p. 15

“A dictum [Beckett] quotes from his favourite philosopher, the second-generation Cartesian Arnold Geulincx (1624-1669) suggests his overall stance toward the political: ubi nihil vales, ibi nihil velis, which may be glossed: Don’t invest hope or longing in an arena where you have no power.”

“What he dreads is that, during a lull in the conversation, someone will come up with what he calls The Question—“What led you, Mrs. Costello, to become a vegetarian?”—and that she will then get on her high horse and produce what he and Norma call The Plutarch Response. … The response in question comes from Plutarch's moral essays. His mother has it by heart; he can reproduce it only imperfectly. “You ask me why I refuse to eat flesh. I, for my part, am astonished that you can put in your mouth the corpse of a dead animal, am astonished that you do not find it nasty to chew hacked flesh and swallow the juices of death-wounds.” Plutarch is a real conversation-stopper: it is the word juices that does it. Producing Plutarch is like throwing down a gauntlet; after that, there is no knowing what will happen.”

“The Making of Samuel Beckett,” New York Review of Books, vol. LVI, no. 7 (April 30, 2009), p. 13

“It was from the Chicago stockyards that the Nazis learned how to process bodies.”

Source: The Lives of Animals (1999), p. 38

“Hitherto he has found in Western music, in Bach above all, everything he needs. Now he encounters something that is not in Bach, though there are intimations of it: a joyous yielding of the reasoning, comprehending mind to the dance of the fingers. He hunts through record shops, and in one of them finds an LP of a sitar player named Ustad Vilayat Khan, with his brother — a younger brother, to judge from the picture — on a veena, and an unnamed tabla player. He does not have a gramophone of this own, but he is able to listen to the first ten minutes in the shop. It is all there: the hovering exploration of tone-sequences, the quivering emotion, the ecstatic rushes. He cannot believe his good fortune. A new continent and all for a mere nine shillings! He takes the record back to his room, packs it away between sleeves of cardboard till the day he will able to listen to it again.”

Source: The Lives of Animals (1999), p. 53

“But truth is not spoken in anger. Truth is spoken, if it ever comes to be spoken, in love.”

Youth (2002)

“The boy is special, Aunt Annie told his mother, and his mother in turn told him. But what kind of special? No one ever says.”

Slow Man (2004)

“It is not, then, in the content or substance of folly that its difference from truth lies, but in where it comes from. It comes not from ‘the wise man’s mouth’ but from the mouth of the subject assumed not to know and speak the truth.”

Boyhood (1998)

“Light in tone, the novel [Murphy] is Beckett’s response to the therapeutic orthodoxy that the patient should learn to engage with the larger world on the world’s terms.”

“Erasmus: Madness and Rivalry,” Giving Offense: Essays on Censorship (1996), p. 94

“Do any of us believe in what we are doing here? I doubt it. Her NCO husband least of all. We are given an old racetrack and a quantity of barbed wire and told to effect a change in men's souls. Not being experts on the soul but assuming cautiously that it has some connection with the body, we set our captives to doing pushups and marching back and forth.”

“The Making of Samuel Beckett,” New York Review of Books, vol. LVI, no. 7 (April 30, 2009), p. 14

J.M. Coetzee book Life & Times of Michael K

Life & Times of Michael K (1983)

“The activity of writing, then, is not to be distinguished from the activity of self-exploration. It consists in contemplating the sea of internal images, discerning connections, and setting these out in grammatical sentences (“I could never conceive of a network of meaning too complex to be expressed in a series of grammatical sentences,” says Murnane, whose views on grammar are firm, even pedantic.)”

“Can desire grow out of admiration, or are the two quite distinct species? What would it be like to lie side by side, naked, breast to breast, with a woman one principally admires?”

“The quest for the girl from Bendigo Street,” The New York Review of Books, v. 59. n. 20, December 20, 2012

““It's been such a short visit, I haven't had time to make sense of why you have become so intense about the animal business.”
She watches the wipers wagging back and forth. “A better explanation,” she says, “is that I have not told you why, or dare not tell you. When I think of the words, they seem so outrageous that they are best spoken into a pillow or into a hole in the ground, like King Midas.”
“What is it you can't say?”
“It's that I no longer know where I am. I seem to move around perfectly easily among people, to have perfectly normal relations with them. Is it possible, I ask myself, that all of them are participants in a crime of stupefying proportions? Am I fantasizing it all? I must be mad! Yet every day I see the evidences. The very people I suspect produce the evidence, exhibit it, offer it to me. Corpses. Fragments of corpses that they have bought for money. It is as if I were to visit friends, and to make some polite remark about the lamp in their living room, and they were to say, ‘Yes, it's nice, isn't it? Polish-Jewish skin it's made of, we find that's best, the skins of young Polish-Jewish virgins.’ And then I go to the bathroom and the soap-wrapper says, ‘Treblinka— 100% human stearate.’ Am I dreaming, I say to myself?””

Slow Man (2004)

“Erasmus dramatizes a well-established political position: that of the fool who claims license to criticize all and sundry without reprisal, since his madness defines him as not fully a person and therefore not a political being with political desires and ambitions. The Praise of Folly, therefore sketches the possibility of a position for the critic of the scene of political rivalry, a position not simply impartial between the rivals but also, by self-definition, off the stage of rivalry altogether.”

Source: The Lives of Animals (1999), p. 69

“[Being peppered with invitations to travel far and wide to give lectures] has always seemed to me one of the stranger aspects of literary fame: you prove your competence as a writer and an inventor of stories, and then people clamour for you to make speeches and tell them what you think about the world.”

“Erasmus’s Praise of Folly: Rivalry and Madness,” Neophilologus 76 (1992), p. 1

“To any thinking person, it must be obvious that there is something badly wrong in relations between human beings and the animals that human beings rely on for food; and that in the past 100 or 150 years whatever is wrong has become wrong on a huge scale, as traditional animal husbandry has been turned into an industry using industrial methods of production. … It would be a mistake to idealise traditional animal husbandry as the standard by which the animal-products industry falls short: traditional animal husbandry is brutal enough, just on a smaller scale. A better standard by which to judge both practices would be the simple standard of humanity: is this truly the best that human beings are capable of?”

Dagens Nyheter http://www.dn.se/kultur-noje/an-exclusive-interview-with-j-m-coetzee interview with David Attwell (December 8, 2003)

“As for September 11, let us not too easily grant the Americans possession of that date on the calendar. Like May 1 or July 14 or December 25, September 11 may seem full of significance to some people, while to other people it is just another day.”

“ Animals can't speak for themselves - it's up to us to do it! http://www.theage.com.au/news/opinion/animals-cant-speak-for-themselves--its-up-to-us-to-do-it/2007/02/21/1171733841769.html,” in theage.com.au (February 22, 2007)

“Coming to the farm from Worcester, where Coloured people seem to have to beg for whatever they get, he is relieved at how correct and formal relations are between his uncle and the volk. Each morning, his uncle confers with his two men about the day's tasks. He does not give them orders. Instead he proposes the tasks that need to be done, as if dealing cards on a table; his men deal their own cards too. In between, there are pauses, long, reflective silences in which nothing happens.”

Dagens Nyheter http://www.dn.se/kultur-noje/an-exclusive-interview-with-j-m-coetzee interview with David Attwell (December 8, 2003)

“Why does love, even such love as he claims to practise, need the spectacle of beauty to bring it to life? What, in the abstract, do shapely legs have to do with love, or for that matter with desire? Or is that just the nature of nature, about which one does not ask questions?”

Boyhood (1998)

“The secret and sacred word that binds him to the farm is 'belong'. Out in the veld by himself he can breathe the word aloud: I belong on the farm. What he really believes but does not utter, what he keeps to himself for fear that the spell will end, is a different form of the word: I belong to the farm. He tells no one because the word is misunderstood so easily, turned so easily to its inverse: The farm belongs to me. The farm will never belong to him, he will never be more than a visitor: he accepts that.”

Slow Man (2004)