By I. Coovadia
This publication strains the ways that difficulties of innovative authority and authorship constitution the fiction and non-fiction of V.S. Naipaul and resonate in postcolonial literature. Imraan Coovadia argues that the post-colonial societies Naipaul reports in novels such asA Bend within the RiverandGuerillasare outlined through the fragility in their authority. Coovadia demonstrates via shut studying, how Naipaul, born in Trinidad to an Indian kinfolk and resident of the United Kingdom,asserts hisimaginative authority over many various events around the globe via a posh literary rhetoric.
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This publication strains the ways that difficulties of ingenious authority and authorship constitution the fiction and non-fiction of V. S. Naipaul and resonate in postcolonial literature. Imraan Coovadia argues that the post-colonial societies Naipaul reports in novels such asA Bend within the RiverandGuerillasare outlined via the fragility in their authority.
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Extra resources for Authority and Authorship in V. S. Naipaul
This old boy’s club comes to include the reader him- or herself. Pliny’s observation is taken straight by Ferdinand who identifies himself as this “novi,” or new man in a new and emerging continent. While his mother is a simple trader, Ferdinand is ambitious, educated, and his prospects are good as long as the country is viable. Yet for Naipaul, who insists on the circularity of African history, the motto is ironic, an irony shared by author and reader (although not by Huismans, a believer in African progress as well as a reader of Virgil, who suffers the fate of Naipaul’s true believers by having “his head cut off and spiked” in the Naipaulian bush ).
50 O Authority and Authorship in V. S. Naipaul They do not grasp what Naipaul means the reader to see immediately—that is, the relativity, or symmetry, of their anxieties. To those around them, of course, they are equally strange. To Salim, Naipaul, and Naipaul’s readers both groups are similarly strange. ” Here the “safe homes” are, of course, the slave plantations of the Americas where they face a lifetime of servitude. This final phrase of Salim’s paragraph—“safe homes across the sea”—functions as a punch line (which shifts the audience from one set of expectations to another).
9 I have suggested that an interest in authority is central to Naipaul, and in this sense, A Bend in the River, set in a fictional state and executed almost without plot or chronology, is the most characteristic of Naipaul’s works. The Virgilian tag is one of a number of the novel’s references to the classical past. Naipaul’s characters, as well as their author, exploit classical authority. The use of Latin inside A Bend in the River simultaneously obscures and empowers. It obscures because it is not available to those without some classical education; and at the very least, a Latin phrase in an English text is bound to slow down even a reader with some knowledge of school Latin.