"ALL THIS DISLOCATION AND DESPAIR": The Nobility of V.S. Naipaul
By David Kaiza
Kampala
October 2001
When V.S. Naipaul won the 2001 Nobel Prize for literature, it brought to an end annual speculation which had lasted nearly 30 years over whether the Stockholm announcers would say, "...V.S..."
He was one of the four or so perennial contenders bet on each year, only to be tripped up by a surprise winner.
The celebrated writer of such classics as Miguel Street, A House for Mr. Biswas and A Bend in the River, has made himself into the most controversial interpreters of colonialism, migration and the postcolonial disintegration of the Third World. In a 46-year career, he has built a reputation as the dispenser of crackling but brutal wit. Many of his 26 novels and travel books chart the progress that his characters, all Naipaul really, make from Trinidad to the English countryside.
It begins on Miguel Street (1959) and ends on an ominous note in The Enigma of Arrival (1987), to be resurrected again in A Way in the World (1994), and a Half a Life, (2001) - the last a not too successful novel, though.
His books are perhaps the most brilliant to come out of the Third World in the past 50 years. He wrote with a severity matched by few contemporaries. Hence from the 1970s, he seemed the natural candidate for the Nobel Prize, but spent that time in anxiety, sweeping up lesser prizes along the way.
The Nobel Committee picked out The Engima of Arrival as an outstanding book. Salman Rushdie, a writer Naipaul holds in contempt, once said it was a book devoid of love, while Paul Theroux, a friend of Naipaul's of 30 years till a bitter break up in 1996, called it a "strange, but major" book.
It is this division that has marked the man's career. While both critics and supporters agree on the superiority of his prose, the critics see outright racism where supporters see "incorruptible scrutiny."
Outside his books, he has attacked those he despises with brutal dismissiveness. He considers most writers inferior to himself. Soyinka wrote "nothing," while Charles Dickens "died of self- parody", and E.M Forster's Passage to India was "false."
This is from a man who declared that the novel was dead, only to write Half a Life.
His attitudes to the poor mirror those of Margaret Thatcher, under whose premiership he received a knighthood from the Queen and became Sir Vidia in 1990.
His life and writing start with the narrator of Miguel Street, a young boy who, like Naipaul, hates his birthplace, Trinidad, and finally manages to leave it. Naipaul too, when his chance to escape came in 1950, with a scholarship to Oxford, pounced on it, and never returned. In England, he fashioned himself into upper-class gentleman, lost his accent and married an Englishwoman, Patricia Hale. One of his more famous characters, Ganesh Ramsumair, goes to England and re-invents himself as G. Ramsay Muir in The Mystique Masseur, published in 1957.
The book that secured Naipaul's fame was A House for Mr Biswas. An unassailable masterpiece of staggering proportions, it charts the life and death of Mr Mohun Biswas, whose struggles with poverty represent the fractured lives of people in British colonies.
His early books are acknowledged as his best. They tell of the poverty faced by the Indians who came to the West Indies from Uttar Pradesh, India in the 1880s to work on the sugar plantations. What marks him out is that he writes without sentimentality. The tragic and the comical both come out absolutely deadpan.
Ganesh Ramsumair in The Mystique Masseur, Naipaul's first published novel, embodies the Third World lapsing into fraud and mediocrity. He metamorphoses chameleon-like from a failed teacher, into a turbaned, Sanskrit-chanting, incense-burning faith healer and then into the be-suited diplomat, G. Ramsay Muir, MBE.
This satirical treatment of Ganesh echoes Wole Soyinka's treatment of the beach preacher in the play, The Trials of Brother Jero.
Naipaul's prose style was a radical departure for the time, achieving a severity of structure, which compacted meaning, colour and situation in terse sentences.
Unfortunately, Naipaul turned his caustic genius on the victims of Western hegemony. He dismissed blacks, just as he did lower caste Indians, with blatant brutality. Black people appear in A House for Mr. Biswas as a fat woman swaggering uselessly, as bad workmen (given only first names saucily borrowed from real life black Caribbean novelists George Lamming and Edward Kamau Brathwaite, Trinidadians Samuel Selvon), and as a boy who emerges best in national exams, but spends his time chasing women.
At Makerere in 1966, as a writer-in-residence, he is described in Theroux's Sir Vidia's Shadow accompanying his houseboy to buy fried grasshoppers. He smiles, watching him munch. "Good, eh, Andrew?" he asks the servant. "Delicious, eh? Mazoori (mzuri), eh?"
The best thing to do, he says, making Patricia burst into tears, is to "whip those noisy Africans."
In Nairobi, a big man in a suit comes to see US Ambassador Attwood. Naipaul dismisses him as another black beggar. "Maboya," Sir Vidiadhar Surajprasad Naipaul, a man who effortlessly enunciates labyrinthine Indian words, mispronounces Tom Mboya's name as he does all African words (Makerere is Maka-ray-ray). This was three years before Mboya was killed.
Following the deportation of some Indians from Kenya, he entreats the Indian High Commissioner to have Mombasa shelled. "Punish them," he tells the rattled diplomat. "When Mombasa is in flames, they will think twice about persecuting Indians here."
Fellow Caribbean Nobel Laureate, Derek Walcott, who called him VS Nightfall in a poem, wrote: "The myth of Naipaul as a phenomenon, as a singular, contradictory genius... has long been a farce. It is a myth he chooses to encourage - though he alone knows why.
"There is something alarmingly venal in all this dislocation and despair. Besides, it is not true. There is instead another truth: Naipaul's prejudice. If Naipaul's attitude towards Negroes, with its nasty little sneers... was turned on Jews, for example, how many people would praise him for his frankness?" The beauty of his early books sits uneasily with the charge of misogyny.
Yet even the creator of Miguel Street had to struggle almost all his life. Publishers were not always forthcoming with money. "My grief is that the publishing world, the book writing world is an extraordinarily shoddy, dirty, dingy world," he said in an interview in 1984. "I took writing too seriously. I was wrong. I was punished for it. I was punished by neglect."
He travels to Africa and South America, rubbishes both and is duly awarded the Booker prize in 1971 for In a Free State. The 1979 novel, A Bend in the River, is set in Zaire, echoing the Conradian darkness.
He has thus seemed to parrot Western stereotypes of subject races. In him, Western readers generally find a confirmation, almost comforting, of their record on slavery and segregation - the reclining master labelling his labouring servants lazy.
In his latest creation, Half a Life, an Indian named William Somerset Chandran comes to Africa, to Mozambique, still under Portuguese colonialism, and yearns for racial segregation, anticipating apartheid. Willie, a neglected writer, despises his Brahmin father for deracialising him by marrying his mother, who comes from the lowest of the low dark-skinned Indian castes.
Naipaul's Nobel is controversial, coming after he had attacked Islam for the September 11 attacks. Against the bombardment of Afghanistan, it is hardly surprising that the view in the Islamic world was that his prize was more about Western Christian sentiments than literature.
Still, Naipaul's works remain unassailable. His excesses make him, if anything, more human. He is not a hypocrite. It is easy to pity him when you move from his earliest to his latest books. The boy in Miguel Street ends, 30 years later, in The Enigma, a broken, ageing man. He is essentially as much a victim of colonial dismemberment of society as his characters. The titke for the book comes from a painting by Georgio de Chirico depicting a stranded seafarer.
Yet even the Nobel has received the rough edge of Naipaul's tongue, as when he accused the committee of pissing on literature when Wole Soyinka won it in 1986. "What has he written?" he asked.[O]
Kampala
October 2001
When V.S. Naipaul won the 2001 Nobel Prize for literature, it brought to an end annual speculation which had lasted nearly 30 years over whether the Stockholm announcers would say, "...V.S..."
He was one of the four or so perennial contenders bet on each year, only to be tripped up by a surprise winner.
The celebrated writer of such classics as Miguel Street, A House for Mr. Biswas and A Bend in the River, has made himself into the most controversial interpreters of colonialism, migration and the postcolonial disintegration of the Third World. In a 46-year career, he has built a reputation as the dispenser of crackling but brutal wit. Many of his 26 novels and travel books chart the progress that his characters, all Naipaul really, make from Trinidad to the English countryside.
It begins on Miguel Street (1959) and ends on an ominous note in The Enigma of Arrival (1987), to be resurrected again in A Way in the World (1994), and a Half a Life, (2001) - the last a not too successful novel, though.
His books are perhaps the most brilliant to come out of the Third World in the past 50 years. He wrote with a severity matched by few contemporaries. Hence from the 1970s, he seemed the natural candidate for the Nobel Prize, but spent that time in anxiety, sweeping up lesser prizes along the way.
The Nobel Committee picked out The Engima of Arrival as an outstanding book. Salman Rushdie, a writer Naipaul holds in contempt, once said it was a book devoid of love, while Paul Theroux, a friend of Naipaul's of 30 years till a bitter break up in 1996, called it a "strange, but major" book.
It is this division that has marked the man's career. While both critics and supporters agree on the superiority of his prose, the critics see outright racism where supporters see "incorruptible scrutiny."
Outside his books, he has attacked those he despises with brutal dismissiveness. He considers most writers inferior to himself. Soyinka wrote "nothing," while Charles Dickens "died of self- parody", and E.M Forster's Passage to India was "false."
This is from a man who declared that the novel was dead, only to write Half a Life.
His attitudes to the poor mirror those of Margaret Thatcher, under whose premiership he received a knighthood from the Queen and became Sir Vidia in 1990.
His life and writing start with the narrator of Miguel Street, a young boy who, like Naipaul, hates his birthplace, Trinidad, and finally manages to leave it. Naipaul too, when his chance to escape came in 1950, with a scholarship to Oxford, pounced on it, and never returned. In England, he fashioned himself into upper-class gentleman, lost his accent and married an Englishwoman, Patricia Hale. One of his more famous characters, Ganesh Ramsumair, goes to England and re-invents himself as G. Ramsay Muir in The Mystique Masseur, published in 1957.
The book that secured Naipaul's fame was A House for Mr Biswas. An unassailable masterpiece of staggering proportions, it charts the life and death of Mr Mohun Biswas, whose struggles with poverty represent the fractured lives of people in British colonies.
His early books are acknowledged as his best. They tell of the poverty faced by the Indians who came to the West Indies from Uttar Pradesh, India in the 1880s to work on the sugar plantations. What marks him out is that he writes without sentimentality. The tragic and the comical both come out absolutely deadpan.
Ganesh Ramsumair in The Mystique Masseur, Naipaul's first published novel, embodies the Third World lapsing into fraud and mediocrity. He metamorphoses chameleon-like from a failed teacher, into a turbaned, Sanskrit-chanting, incense-burning faith healer and then into the be-suited diplomat, G. Ramsay Muir, MBE.
This satirical treatment of Ganesh echoes Wole Soyinka's treatment of the beach preacher in the play, The Trials of Brother Jero.
Naipaul's prose style was a radical departure for the time, achieving a severity of structure, which compacted meaning, colour and situation in terse sentences.
Unfortunately, Naipaul turned his caustic genius on the victims of Western hegemony. He dismissed blacks, just as he did lower caste Indians, with blatant brutality. Black people appear in A House for Mr. Biswas as a fat woman swaggering uselessly, as bad workmen (given only first names saucily borrowed from real life black Caribbean novelists George Lamming and Edward Kamau Brathwaite, Trinidadians Samuel Selvon), and as a boy who emerges best in national exams, but spends his time chasing women.
At Makerere in 1966, as a writer-in-residence, he is described in Theroux's Sir Vidia's Shadow accompanying his houseboy to buy fried grasshoppers. He smiles, watching him munch. "Good, eh, Andrew?" he asks the servant. "Delicious, eh? Mazoori (mzuri), eh?"
The best thing to do, he says, making Patricia burst into tears, is to "whip those noisy Africans."
In Nairobi, a big man in a suit comes to see US Ambassador Attwood. Naipaul dismisses him as another black beggar. "Maboya," Sir Vidiadhar Surajprasad Naipaul, a man who effortlessly enunciates labyrinthine Indian words, mispronounces Tom Mboya's name as he does all African words (Makerere is Maka-ray-ray). This was three years before Mboya was killed.
Following the deportation of some Indians from Kenya, he entreats the Indian High Commissioner to have Mombasa shelled. "Punish them," he tells the rattled diplomat. "When Mombasa is in flames, they will think twice about persecuting Indians here."
Fellow Caribbean Nobel Laureate, Derek Walcott, who called him VS Nightfall in a poem, wrote: "The myth of Naipaul as a phenomenon, as a singular, contradictory genius... has long been a farce. It is a myth he chooses to encourage - though he alone knows why.
"There is something alarmingly venal in all this dislocation and despair. Besides, it is not true. There is instead another truth: Naipaul's prejudice. If Naipaul's attitude towards Negroes, with its nasty little sneers... was turned on Jews, for example, how many people would praise him for his frankness?" The beauty of his early books sits uneasily with the charge of misogyny.
Yet even the creator of Miguel Street had to struggle almost all his life. Publishers were not always forthcoming with money. "My grief is that the publishing world, the book writing world is an extraordinarily shoddy, dirty, dingy world," he said in an interview in 1984. "I took writing too seriously. I was wrong. I was punished for it. I was punished by neglect."
He travels to Africa and South America, rubbishes both and is duly awarded the Booker prize in 1971 for In a Free State. The 1979 novel, A Bend in the River, is set in Zaire, echoing the Conradian darkness.
He has thus seemed to parrot Western stereotypes of subject races. In him, Western readers generally find a confirmation, almost comforting, of their record on slavery and segregation - the reclining master labelling his labouring servants lazy.
In his latest creation, Half a Life, an Indian named William Somerset Chandran comes to Africa, to Mozambique, still under Portuguese colonialism, and yearns for racial segregation, anticipating apartheid. Willie, a neglected writer, despises his Brahmin father for deracialising him by marrying his mother, who comes from the lowest of the low dark-skinned Indian castes.
Naipaul's Nobel is controversial, coming after he had attacked Islam for the September 11 attacks. Against the bombardment of Afghanistan, it is hardly surprising that the view in the Islamic world was that his prize was more about Western Christian sentiments than literature.
Still, Naipaul's works remain unassailable. His excesses make him, if anything, more human. He is not a hypocrite. It is easy to pity him when you move from his earliest to his latest books. The boy in Miguel Street ends, 30 years later, in The Enigma, a broken, ageing man. He is essentially as much a victim of colonial dismemberment of society as his characters. The titke for the book comes from a painting by Georgio de Chirico depicting a stranded seafarer.
Yet even the Nobel has received the rough edge of Naipaul's tongue, as when he accused the committee of pissing on literature when Wole Soyinka won it in 1986. "What has he written?" he asked.[O]
