In 2003, the South African writer J.M. Coetzee was awarded the Nobel Prize in Literature for his riveting portrayals of racial repression, sexual politics, the guises of reason, and the hypocrisy of human beings toward animals and nature, Coetzee was credited with being "a scrupulous doubter, ruthless in his criticism of the cruel rationalism and cosmetic morality of western civilization." The film of his novel Disgrace, starring John Malkovich, brought his challenging ideas to a new audience. Anton Leist and Peter Singer have assembled an outstanding group of contributors who probe deeply into Coetzee's extensive and extra ordinary corpus. They explore his approach to ethical theory and philosophy and Pay Particular attention to his representation of the human-animal relationship. They also confront Coetzee's depiction of the elementary conditions of life, the origins of morality, the recognition of value in others, the sexual dynamics between men and women, the normality of suppression, and possibility of equality in postcolonial society, With its wide-ranging consideration of philosphical issues, especially in relation to fiction, this volume stands alone in its extraordinary exchange of ethical and literary inquiry. This collection takes stock of J.M. Coetzee's impact from a number of interesting angles, Including animals, sexuality, race, and reason. The time is truly ripe for such a volume. Philosophers Who are interested Coetzee's work will find these essays useful for their own research, and readers of Coetzee who share an interest in philosophy will be able to further explore those interests."-Matthew Calarco, California State University at Fullerton, and author of Zoographies: The Question of the Animal from Heidegger to Derrida

In 2003, South African writer J. M. Coetzee was awarded the Nobel Prize in Literature for his riveting portrayals of racial repression, sexual politics, the guises of reason, and the hypocrisy of human beings toward animals and nature. Coetzee was credited with being "a scrupulous doubter, ruthless in his criticism of the cruel rationalism and cosmetic morality of western civilization." The film of his novel Disgrace, starring John Malkovich, brought his challenging ideas to a new audience. Anton Leist and Peter Singer have assembled an outstanding group of contributors who probe deeply into Coetzee's extensive and extraordinary corpus. They explore his approach to ethical theory and philosophy and pay particular attention to his representation of the human-animal relationship. They also confront Coetzee's depiction of the elementary conditions of life, the origins of morality, the recognition of value in others, the sexual dynamics between men and women, the normality of suppression, and the possibility of equality in postcolonial society. With its wide-ranging consideration of philosophical issues, especially in relation to fiction, this volume stands alone in its extraordinary exchange of ethical and literary inquiry.

Attridge argues that it is the most discomforting & difficult elements in the work of Coetzee that make his writings so rewarding of study. This book follows the author's lead in exploring a number of issues, including interpretation & literary judgement, & responsibility to the other.

“For I was not, as I liked to believe, the indulgent pleasure-loving opposite of the cold rigid Colonel. I was the lie that Empire tells itself when times are easy, he the truth that Empire tells when harsh winds blow.” Thus the Magistrate confesses in Coetzee’s 1980 novel Waiting for the Barbarians. The present study looks closely into the unsettling effects Coetzee’s novels have on the reader and explores the interconnectedness between stylistic choices and moral insights. Its overall aim is to disclose the effectiveness of Coetzee’s narrative strategies to prompt the reader to engage in self-questioning and radical revisions of personal and social moral assumptions. “This is an original and ground-breaking study of Coetzee’s work. Dr Tegla’s insightful close-readings highlight the ways in which Coetzee fictionalizes a variety of moral dilemmas. In particular, she shows how he turns narrative into an instrument for moral discernment. Her narratological approach advances our understanding of his achievements, and I can state without reservation that this book will be referred to as a landmark in Coetzee criticism.” — Richard Bradford, Research Professor and Senior Distinguished Research Fellow, University of Ulster

Taking a work by J.M. Coetzee as an example, this volume explores the way both literature and philosophy seek - and fail - to represent reality. Stephen Mulhall examines Coetzee's 'Elizabeth Costello', which deals with the moral status of animals.

For a generation of contemporary Anglo-American novelists, the question "Why write?" has been answered with a renewed will to believe in the ethical value of literature. Dissatisfied with postmodernist parody and pastiche, a broad array of novelist-critics—including J.M. Coetzee, Toni Morrison, Zadie Smith, Gish Jen, Ian McEwan, and Jonathan Franzen—champion the novel as the literary genre most qualified to illuminate individual ethical action and decision-making within complex and diverse social worlds. Key to this contemporary vision of the novel's ethical power is the task of knowing and being responsible to people different from oneself, and so thoroughly have contemporary novelists devoted themselves to the ethics of otherness, that this ethics frequently sets the terms for plot, characterization, and theme. In The Novel and the New Ethics, literary critic Dorothy J. Hale investigates how the contemporary emphasis on literature's social relevance sparks a new ethical description of the novel's social value that is in fact rooted in the modernist notion of narrative form. This "new" ethics of the contemporary moment has its origin in the "new" idea of novelistic form that Henry James inaugurated and which was consolidated through the modernist narrative experiments and was developed over the course of the twentieth century. In Hale's reading, the art of the novel becomes defined with increasing explicitness as an aesthetics of alterity made visible as a formalist ethics. In fact, it is this commitment to otherness as a narrative act which has conferred on the genre an artistic intensity and richness that extends to the novel's every word.

Alice Crary offers a transformative account of moral thought about human beings and animals. Instead of assuming that the world places no demands on our moral imagination, she underscores the urgency of treating the exercise of moral imagination as necessary for arriving at an adequate world-guided understanding of human beings and animals.