JANUARY   2002
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JANUARY 2002 Contents


 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


 The Jullundur Brigade


 India & China - major global
 players by 2025

 Foreign Investors in India's 
 IT Industry


 Muzaffar Ali


 Shandur Polo Festival

 Chogan - the original Polo

 Indian Polo turns Blue Chip


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 unpublished novel by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


Boston Peace March


the craft shop

the print gallery


Silk Road on Wheels

The Road to Freedom

Enduring Spirit

Parsis-Zoroastrians of

The Moonlight Garden

Contemporary Art in Bangladesh



Page  5  of  5


V.S. Naipaul:  'Two Worlds'


Nobel Lecture December 7, 2001


naipaul-lecture.jpg (12372 bytes)

When I began I had no idea of the way ahead. I wished only to do a book. I was trying to write in England, where I stayed on after my years at the university, and it seemed to me that my experience was very thin, was not truly of the stuff of books. I could find in no book anything that came near my background. The young French or English person who wished to write would have found any number of models to set him on his way. I had none. My father's stories about our Indian community belonged to the past. My world was quite different. It was more urban, more mixed. The simple physical details of the chaotic life of our extended family - sleeping rooms or sleeping spaces, eating times, the sheer number of people - seemed impossible to handle. There was too much to be explained, both about my home life and about the world outside. And at the same time there was also too much about us - like our own ancestry and history - that I didn't know.

At last one day there came to me the idea of starting with the Port of Spain street to which we had moved from Chaguanas. There was no big corrugated-iron gate shutting out the world there. The life of the street was open to me. It was an intense pleasure for me to observe it from the verandah. This street life was what I began to write about. I wished to write fast, to avoid too much self-questioning, and so I simplified. I suppressed the child-narrator's background. I ignored the racial and social complexities of the street. I explained nothing. I stayed at ground level, so to speak. I presented people only as they appeared on the street. I wrote a story a day. The first stories were very short. I was worried about the material lasting long enough. But then the writing did its magic. The material began to present itself to me from many sources. The stories became longer; they couldn't be written in a day. And then the inspiration, which at one stage had seemed very easy, rolling me along, came to an end. But a book had been written, and I had in my own mind become a writer.

The distance between the writer and his material grew with the two later books; the vision was wider. And then intuition led me to a large book about our family life. During this book my writing ambition grew. But when it was over I felt I had done all that I could do with my island material. No matter how much I meditated on it, no further fiction would come. Accident, then, rescued me. I became a traveller. I travelled in the Caribbean region and understood much more about the colonial set-up of which I had been part. I went to India, my ancestral land, for a year; it was a journey that broke my life in two. The books that I wrote about these two journeys took me to new realms of emotion, gave me a world-view I had never had, extended me technically. I was able in the fiction that then came to me to take in England as well as the Caribbean - and how hard that was to do. I was able also to take in all the racial groups of the island, which I had never before been able to do.

This new fiction was about colonial shame and fantasy, a book, in fact, about how the powerless lie about themselves, and lie to themselves, since it is their only resource. The book was called The Mimic Men. And it was not about mimics. It was about colonial men mimicking the condition of manhood, men who had grown to distrust everything about themselves. Some pages of this book were read to me the other day - I hadn't looked at it for more than thirty years - and it occurred to me that I had been writing about colonial schizophrenia. But I hadn't thought of it like that. I had never used abstract words to describe any writing purpose of mine. If I had, I would never have been able to do the book. The book was done intuitively, and only out of close observation.

I have done this little survey of the early part of my career to try to show the stages by which, in just ten years, my birthplace had altered or developed in my writing: from the comedy of street life to a study of a kind of widespread schizophrenia. What was simple had become complicated. Both fiction and the travel-book form have given me my way of looking; and you will understand why for me all literary forms are equally valuable. It came to me, for instance, when I set out to write my third book about India - twenty-six years after the first - that what was most important about a travel book were the people the writer travelled among. The people had to define themselves. A simple enough idea, but it required a new kind of book; it called for a new way of travelling. And it was the very method I used later when I went, for the second time, into the Muslim world.

I have always moved by intuition alone. I have no system, literary or political. I have no guiding political idea. I think that probably lies with my ancestry. The Indian writer R K Narayan, who died this year, had no political idea. My father, who wrote his stories in a very dark time, and for no reward, had no political idea. Perhaps it is because we have been far from authority for many centuries. It gives us a special point of view. I feel we are more inclined to see the humour and pity of things.

Nearly thirty years ago I went to Argentina. It was at the time of the guerrilla crisis. People were waiting for the old dictator Perón to come back from exile. The country was full of hate. Peronists were waiting to settle old scores. One such man said to me, "There is good torture and bad torture." Good torture was what you did to the enemies of the people. Bad torture was what the enemies of the people did to you. People on the other side were saying the same thing. There was no true debate about anything. There was only passion and the borrowed political jargon of Europe. I wrote, "Where jargon turns living issues into abstractions, and where jargon ends by competing with jargon, people don't have causes. They only have enemies." And the passions of Argentina are still working themselves out,still defeating reason and consuming lives. No resolution is in sight.

I am near the end of my work now. I am glad to have done what I have done, glad creatively to have pushed myself as far as I could go. Because of the intuitive way in which I have written, and also because of the baffling nature of my material, every book has come as a blessing. Every book has amazed me; up to the moment of writing I never knew it was there. But the greatest miracle for me was getting started. I feel - and the anxiety is still vivid to me - that I might easily have failed before I began.

I will end as I began, with one of the marvellous little essays of Proust in Against Sainte-Beuve. "The beautiful things we shall write if we have talent," Proust says, "are inside us, indistinct, like the memory of a melody which delights us though we are unable to recapture its outline. Those who are obsessed by this blurred memory of truths they have never known are the men who are gifted... Talent is like a sort of memory which will enable them finally to bring this indistinct music closer to them, to hear it clearly, to note it down..."

Talent, Proust says. I would say luck, and much labour.





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