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JANUARY 2002 Contents

 Literature

 Pakistani Literature
 - Evolution & Trends

 V S Naipaul
 
 
His Nobel Lecture

 Visual Arts

 South Asian Art - shared
 cultural frontier
- shared
 cultural frontier

 Rare photographs of Indian
 nobility found at Lafayette

 Outlook

 The Jullundur Brigade

 Technology

 India & China - major global
 players by 2025

 Foreign Investors in India's 
 IT Industry

 People

 Muzaffar Ali

 Sports

 Shandur Polo Festival

 Chogan - the original Polo

 Indian Polo turns Blue Chip

 Books

 'Knock at Every Alien Door'
 - Serialisation of an
 unpublished novel by
 Joseph Harris

 Society

Boston Peace March

 

 
the craft shop

the print gallery

Books

Silk Road on Wheels

The Road to Freedom

Enduring Spirit

Parsis-Zoroastrians of
India

The Moonlight Garden

Contemporary Art in Bangladesh

 

 

 

Page  1  of  5

 

V.S. Naipaul:  'Two Worlds'

 

Nobel Lecture December 7, 2001

 Sir_V_S_Naipaul_receiving_his_Nobel_Prize_from_HM_the_King_at_the_Stockholm_Concert_Hall_Photo_Hans_Mehlin.jpg (35737 bytes) naipaul-lecture.jpg (12372 bytes) 
L-R: Sir V S Naipaul receiving the Nobel Prize from His Majesty the King  at the Stockholm Concert Hall. Photo Hans Mehlin; Naipaul delivering his Nobel lecture.

This is unusual for me. I have given readings and not lectures. I have told people who ask for lectures that I have no lecture to give. And that is true. It might seem strange that a man who has dealt in words and emotions and ideas for nearly fifty years shouldn't have a few to spare, so to speak. But everything of value about me is in my books. Whatever extra there is in me at any given moment isn't fully formed. I am hardly aware of it; it awaits the next book. It will - with luck - come to me during the actual writing, and it will take me by surprise. That element of surprise is what I look for when I am writing. It is my way of judging what I am doing - which is never an easy thing to do.

Proust has written with great penetration of the difference between the writer as writer and the writer as a social being. You will find his thoughts in some of his essays in Against Sainte-Beuve, a book reconstituted from his early papers. The nineteenth-century French critic Sainte-Beuve believed that to understand a writer it was necessary to know as much as possible about the exterior man, the details of his life. It is a beguiling method, using the man to illuminate the work. It might seem unassailable. But Proust is able very convincingly to pick it apart. "This method of Sainte-Beuve," Proust writes, "ignores what a very slight degree of self-acquaintance teaches us: that a book is the product of a different self from the self we manifest in our habits, in our social life, in our vices. If we would try to understand that particular self, it is by searching our own bosoms, and trying to reconstruct it there, that we may arrive at it."

Those words of Proust should be with us whenever we are reading the biography of a writer - or the biography of anyone who depends on what can be called inspiration. All the details of the life and the quirks and the friendships can be laid out for us, but the mystery of the writing will remain. No amount of documentation, however fascinating, can take us there. The biography of a writer - or even the autobiography - will always have this incompleteness.

Proust is a master of happy amplification, and I would like to go back to Against Sainte-Beuve just for a little. "In fact," Proust writes, "it is the secretions of one's innermost self, written in solitude and for oneself alone that one gives to the public. What one bestows on private life - in conversation...or in those drawing-room essays that are scarcely more than conversation in print - is the product of a quite superficial self, not of the innermost self which one can only recover by putting aside the world and the self that frequents the world." When he wrote that, Proust had not yet found the subject that was to lead him to the happiness of his great literary labour. And you can tell from what I have quoted that he was a man trusting to his intuition and waiting for luck. I have quoted these words before in other places. The reason is that they define how I have gone about my business. I have trusted to intuition. I did it at the beginning. I do it even now. I have no idea how things might turn out, where in my writing I might go next. I have trusted to my intuition to find the subjects, and I have written intuitively. I have an idea when I start, I have a shape; but I will fully understand what I have written only after some years.

I said earlier that everything of value about me is in my books. I will go further now. I will say I am the sum of my books. Each book, intuitively sensed and, in the case of fiction, intuitively worked out, stands on what has gone before, and grows out of it. I feel that at any stage of my literary career it could have been said that the last book contained all the others. It's been like this because of my background. My background is at once exceedingly simple and exceedingly confused. I was born in Trinidad. It is a small island in the mouth of the great Orinoco river of Venezuela. So Trinidad is not strictly of South America, and not strictly of the Caribbean. It was developed as a New World plantation colony, and when I was born in 1932 it had a population of about 400,000. Of this, about 150,000 were Indians, Hindus and Muslims, nearly all of peasant origin, and nearly all from the Gangetic plain. This was my very small community. The bulk of this migration from India occurred after 1880. The deal was like this. People indentured themselves for five years to serve on the estates. At the end of this time they were given a small piece of land, perhaps five acres, or a passage back to India. In 1917, because of agitation by Gandhi and others, the indenture system was abolished. And perhaps because of this, or for some other reason, the pledge of land or repatriation was dishonoured for many of the later arrivals. These people were absolutely destitute. They slept in the streets of Port of Spain, the capital. When I was a child I saw them. I suppose I didn't know they were destitute - I suppose that idea came much later - and they made no impression on me. This was part of the cruelty of the plantation colony.


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