When you read
VS Naipaul for the first time, it is like when you have tasted ice for the
first time (to use another of my favorite writers). You never forget it. I read
VS for the first time when I travelled to India in the early 1980s. I made a mistake
of taking his book “The Wounded Civilization”. I cannot remember if my Indian friends suggested it, or I just read about
it in newspapers, or perhaps I simply ran into it in a bookstore and bought it. I do know however that I had never heard
of Naipaul’s name before.
I read the
book while in Delhi and Bombay and it filled me with fear and despair. I was
not naïve (even when I was young). I was not a do-gooder. But I just felt reading
through the book that detailed all the failings of India, to be riding, or
rather to have been submerged, under an enormous wave of hopelessness. Nothing
could be done to make peoples’ lives better regardless of how much you wanted to
do so: every effort was doomed to fail, to come to naught, even turn into its
opposite. It was a miracle that India existed at all: so hopeless it was. Naipaul
would later change his views (in “A Million Mutinies Now”), but my point is no whether
he was right or wrong on India then—but that he was a writer of uncommon ability
to pack in words the emotions that would not leave you for days.
Eventually,
I had to quit reading the book while I was in India. It happened to me only
once again. When I was in Djibouti in the early 1990s, I, not suspecting anything,
bought in Belgrade, a short booklet that was Ivo Andric’s Ph D dissertation about
the Ottoman rule in Bosnia. The bleakness of the description of that rule in a
non-fiction book (Andric’s only non-fiction) was so powerful that I decided to
stop reading since I feared that it might influence my relations with people in
Djibouti, overwhelming majority of them Muslim.
I continued reading
Naipaul after India. I think I read most of his non-fiction, but not much of his fiction (“A house for Mr. Biswas”
and “Half a Life” being the only ones). I loved all his books; long after I have
forgotten the details, a sharp observation would still be with me. I can declaim
a number of them even now. When Naipaul died last August I thought the world
had lost perhaps its greatest writer.
But I did not
think much about him, nor was I planning to read more of his books. However: a couple
of weeks ago, in Washington, I saw in a used bookstore a well-preserved copy of
Paul Theroux’s “Sir
Vidia’s Shadow: A Friendship Across Five Continents”. The book attracted
my attention also because inside the book there was a photograph of the
youthfully-looking Paul Theroux with a caption the like of which I have never
seen before. It said that the photo could be used only if writing reviews of
the book and that all other uses were prohibited. I do not think any weirder injunction
to the book readers is easy to imagine.
Theroux’s
book is excellent. Theroux, whose wittings were largely unknown to me (I read
many years ago one or two of his short pieces in The New Yorker or in the NYRB),
had written a sympathetic (yes, I think so) and riveting book on his friendship
with, and the strange individual that was, VS Naipaul. The book led to the break-up
of their relationship. Still it is difficult, for even an admirer of Naipaul,
to say that the book was unfair to him--with the exception of one chapter where
Theroux, quite unnnecessarily, repeats the gossip about Naipaul that he did not
witness. Theroux describes himself multiple times as disciple of Naipaul’s, having
benefited enormously from his literary comments and knowledge, even after both
men have achieved a measure of fame and when the difference in their age (less
than ten years) had become rather negligible compared to what it was when then first
met in Kenya, and when Theroux was in the early 20s.
From a very
bourgeois morality standpoint, one can criticize Theroux for revealing thoughts
that were said in privacy or in confidence and that one does not wish to see
repeated, especially not in print. (Although with VS who obviously had an
exhibitionist streak one is not even sure that he really did not want these things
reported.)
But the
rules for ordinary mortals are different from the rules for great men. What might
be considered a breach of confidence in an ordinary relationship, was in this
case (perhaps) driven by the need to describe one of the foremost writers of
the era, the way he was. And the singular character of Naipaul, the solitary,
often child-like, complex, utterly egocentric and selfish man, provides a great
literary subject—so much so that the book can be read as much as a work of fiction
as a description of an actual friendship.
For Naipaul himself
can appeal to us on the same grounds: that the private actions of great people
cannot be judged by the same yardstick we use in everyday life. His treatment of
his two wives/partners is nothing but heartless and egotistic insensitivity. But when we read
Tolstoy’s “Anna Karenina” do we think
about how he treated Sophie? When we
read Kafka do we think about the day when after the engagement party to Felice Bauer, with her entire family present, he abruptly cancelled the wedding? When we read Naipaul we no more
think about how he treated Pat Naipaul and Margaret Gooding. It is a gender
inequity issue for which Naipaul is not the only example. Who
cooked Adam Smith’s dinner? And who took care of Karl Marx’s kids,
including the one that he conceived with the family maid? Moreover, it could be
thought not only that without his two wives Naipaul would not have become what
he did (which is a pretty conventional way), but—more extremely—that without
him treating them in such an awful way he wouldn’t have written the books that
he did.
Towards the
end of his life Naipaul had become a caricature of everything that he despised in
his youth. He was an OBE, Sir Vidia; he moved in the company of ambassadors, politicians
and tycoons; he travelled not as on ordinary person, but as the president of
the Republic of Letters; he was feted, wined and dined for free. He did not
need even to pretend not to have noticed restaurant bills as when he was
younger, poorer and associated with Theroux.
But he was also one of the most powerful writers of the second half
of the 20th century, a man who set out from deep poverty and the world
periphery to reach the top. Like Kafka, Naipaul is impossible to classify in
any of our ordinary niches, for he was neither Trinidadian, nor Indian, nor British,
nor Hindu, nor religious, nor an atheist. A perfect citizen of nowhere. A real
globalist.
* Nye-Powell,
with the appropriately exaggerated pronunciation, is Naipaul's own
mocking of his name, of the Anglicized gentleman that he would become in his old age, and of his fame, which
he never doubted would come, whether during his life or posthumously.