Imaginary homelands essa.., p.2

Imaginary Homelands: Essays and Criticism 1981-1991, page 2


Imaginary Homelands: Essays and Criticism 1981-1991

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  This is why I made my narrator, Saleem, suspect in his narration; his mistakes are the mistakes of a fallible memory compounded by quirks of character and of circumstance, and his vision is fragmentary. It may be that when the Indian writer who writes from outside India tries to reflect that world, he is obliged to deal in broken mirrors, some of whose fragments have been irretrievably lost.

  But there is a paradox here. The broken mirror may actually be as valuable as the one which is supposedly unflawed. Let me again try and explain this from my own experience. Before beginning Midnight’s Children, I spent many months trying simply to recall as much of the Bombay of the 1950s and 1960s as I could; and not only Bombay—Kashmir, too, and Delhi and Aligarh, which, in my book, I’ve moved to Agra to heighten a certain joke about the Taj Mahal. I was genuinely amazed by how much came back to me. I found myself remembering what clothes people had worn on certain days, and school scenes, and whole passages of Bombay dialogue verbatim, or so it seemed; I even remembered advertisements, film-posters, the neon Jeep sign on Marine Drive, toothpaste ads for Binaca and for Kolynos, and a footbridge over the local railway line which bore, on one side, the legend ‘Esso puts a tiger in your tank’ and, on the other, the curiously contradictory admonition: ‘Drive like Hell and you will get there.’ Old songs came back to me from nowhere: a street entertainer’s version of ‘Good Night, Ladies’, and, from the film Mr 420 (a very appropriate source for my narrator to have used), the hit number ‘Mera Joota Hai Japani’,* which could almost be Saleem’s theme song.

  I knew that I had tapped a rich seam; but the point I want to make is that of course I’m not gifted with total recall, and it was precisely the partial nature of these memories, their fragmentation, that made them so evocative for me. The shards of memory acquired greater status, greater resonance, because they were remains; fragmentation made trivial things seem like symbols, and the mundane acquired numinous qualities. There is an obvious parallel here with archaeology. The broken pots of antiquity, from which the past can sometimes, but always provisionally, be reconstructed, are exciting to discover, even if they are pieces of the most quotidian objects.

  It may be argued that the past is a country from which we have all emigrated, that its loss is part of our common humanity. Which seems to me self-evidently true; but I suggest that the writer who is out-of-country and even out-of-language may experience this loss in an intensified form. It is made more concrete for him by the physical fact of discontinuity, of his present being in a different place from his past, of his being ‘elsewhere’. This may enable him to speak properly and concretely on a subject of universal significance and appeal.

  But let me go further. The broken glass is not merely a mirror of nostalgia. It is also, I believe, a useful tool with which to work in the present.

  John Fowles begins Daniel Martin with the words: ‘Whole sight: or all the rest is desolation.’ But human beings do not perceive things whole; we are not gods but wounded creatures, cracked lenses, capable only of fractured perceptions. Partial beings, in all the senses of that phrase. Meaning is a shaky edifice we build out of scraps, dogmas, childhood injuries, newspaper articles, chance remarks, old films, small victories, people hated, people loved; perhaps it is because our sense of what is the case is constructed from such inadequate materials that we defend it so fiercely, even to the death. The Fowles position seems to me a way of succumbing to the guru-illusion. Writers are no longer sages, dispensing the wisdom of the centuries. And those of us who have been forced by cultural displacement to accept the provisional nature of all truths, all certainties, have perhaps had modernism forced upon us. We can’t lay claim to Olympus, and are thus released to describe our worlds in the way in which all of us, whether writers or not, perceive it from day to day.

  In Midnight’s Children, my narrator Saleem uses, at one point, the metaphor of a cinema screen to discuss this business of perception: ‘Suppose yourself in a large cinema, sitting at first in the back row, and gradually moving up, … until your nose is almost pressed against the screen. Gradually the stars’ faces dissolve into dancing grain; tiny details assume grotesque proportions; … it becomes clear that the illusion itself is reality.’ The movement towards the cinema screen is a metaphor for the narrative’s movement through time towards the present, and the book itself, as it nears contemporary events, quite deliberately loses deep perspective, becomes more ‘partial’. I wasn’t trying to write about (for instance) the Emergency in the same way as I wrote about events half a century earlier. I felt it would be dishonest to pretend, when writing about the day before yesterday, that it was possible to see the whole picture. I showed certain blobs and slabs of the scene.

  I once took part in a conference on modern writing at New College, Oxford. Various novelists, myself included, were talking earnestly of such matters as the need for new ways of describing the world. Then the playwright Howard Brenton suggested that this might be a somewhat limited aim: does literature seek to do no more than to describe? Flustered, all the novelists at once began talking about politics.

  Let me apply Brenton’s question to the specific case of Indian writers, in England, writing about India. Can they do no more than describe, from a distance, the world that they have left? Or does the distance open any other doors?

  These are of course political questions, and must be answered at least partly in political terms. I must say first of all that description is itself a political act. The black American writer Richard Wright once wrote that black and white Americans were engaged in a war over the nature of reality. Their descriptions were incompatible. So it is clear that redescribing a world is the necessary first step towards changing it. And particularly at times when the State takes reality into its own hands, and sets about distorting it, altering the past to fit its present needs, then the making of the alternative realities of art, including the novel of memory, becomes politicized. ‘The struggle of man against power,’ Milan Kundera has written, ‘is the struggle of memory against forgetting.’ Writers and politicians are natural rivals. Both groups try to make the world in their own images; they fight for the same territory. And the novel is one way of denying the official, politicians’ version of truth.

  The ‘State truth’ about the war in Bangladesh, for instance, is that no atrocities were committed by the Pakistani army in what was then the East Wing. This version is sanctified by many persons who would describe themselves as intellectuals. And the official version of the Emergency in India was well expressed by Mrs Gandhi in a recent BBC interview. She said that there were some people around who claimed that bad things had happened during the Emergency, forced sterilizations, things like that; but, she stated, this was all false. Nothing of this type had ever occurred. The interviewer, Mr Robert Kee, did not probe this statement at all. Instead he told Mrs Gandhi and the Panorama audience that she had proved, many times over, her right to be called a democrat.

  So literature can, and perhaps must, give the lie to official facts. But is this a proper function of those of us who write from outside India? Or are we just dilettantes in such affairs, because we are not involved in their day-to-day unfolding, because by speaking out we take no risks, because our personal safety is not threatened? What right do we have to speak at all?

  My answer is very simple. Literature is self-validating. That is to say, a book is not justified by its author’s worthiness to write it, but by the quality of what has been written. There are terrible books that arise directly out of experience, and extraordinary imaginative feats dealing with themes which the author has been obliged to approach from the outside.

  Literature is not in the business of copyrighting certain themes for certain groups. And as for risk: the real risks of any artist are taken in the work, in pushing the work to the limits of what is possible, in the attempt to increase the sum of what it is possible to think. Books become good when they go to this edge and risk falling over it—when they endanger the artist by reason of what he has,
or has not, artistically dared.

  So if I am to speak for Indian writers in England I would say this, paraphrasing G. V. Desani’s H. Hatterr: The migrations of the fifties and sixties happened. ‘We are. We are here’. And we are not willing to be excluded from any part of our heritage; which heritage includes both a Bradford-born Indian kid’s right to be treated as a full member of British society, and also the right of any member of this post-diaspora community to draw on its roots for its art, just as all the world’s community of displaced writers has always done. (I’m thinking, for instance, of Grass’s Danzig-become-Gdansk, of Joyce’s abandoned Dublin, of Isaac Bashevis Singer and Maxine Hong Kingston and Milan Kundera and many others. It’s a long list.)

  Let me override at once the faintly defensive note that has crept into these last few remarks. The Indian writer, looking back at India, does so through guilt-tinted spectacles. (I am of course, once more, talking about myself.) I am speaking now of those of us who emigrated … and I suspect that there are times when the move seems wrong to us all, when we seem, to ourselves, post-lapsarian men and women. We are Hindus who have crossed the black water; we are Muslims who eat pork. And as a result—as my use of the Christian notion of the Fall indicates—we are now partly of the West. Our identity is at once plural and partial. Sometimes we feel that we straddle two cultures; at other times, that we fall between two stools. But however ambiguous and shifting this ground may be, it is not an infertile territory for a writer to occupy. If literature is in part the business of finding new angles at which to enter reality, then once again our distance, our long geographical perspective, may provide us with such angles. Or it may be that that is simply what we must think in order to do our work.

  Midnight’s Children enters its subject from the point of view of a secular man. I am a member of that generation of Indians who were sold the secular ideal. One of the things I liked, and still like, about India is that it is based on a non-sectarian philosophy. I was not raised in a narrowly Muslim environment; I do not consider Hindu culture to be either alien from me or more important than the Islamic heritage. I believe this has something to do with the nature of Bombay, a metropolis in which the multiplicity of commingled faiths and cultures curiously creates a remarkably secular ambience. Saleem Sinai makes use, eclectically, of whatever elements from whatever sources he chooses. It may have been easier for his author to do this from outside modern India than inside it.

  I want to make one last point about the description of India that Midnight’s Children attempts. It is a point about pessimism. The book has been criticised in India for its allegedly despairing tone. And the despair of the writer-from-outside may indeed look a little easy, a little pat. But I do not see the book as despairing or nihilistic. The point of view of the narrator is not entirely that of the author. What I tried to do was to set up a tension in the text, a paradoxical opposition between the form and content of the narrative. The story of Saleem does indeed lead him to despair. But the story is told in a manner designed to echo, as closely as my abilities allowed, the Indian talent for non-stop self-regeneration. This is why the narrative constantly throws up new stories, why it ‘teems’. The form—multitudinous, hinting at the infinite possibilities of the country—is the optimistic counterweight to Saleem’s personal tragedy. I do not think that a book written in such a manner can really be called a despairing work.

  England’s Indian writers are by no means all the same type of animal. Some of us, for instance, are Pakistani. Others Bangladeshi. Others West, or East, or even South African. And V. S. Naipaul, by now, is something else entirely. This word ‘Indian’ is getting to be a pretty scattered concept. Indian writers in England include political exiles, first-generation migrants, affluent expatriates whose residence here is frequently temporary, naturalized Britons, and people born here who may never have laid eyes on the subcontinent. Clearly, nothing that I say can apply across all these categories. But one of the interesting things about this diverse community is that, as far as Indo-British fiction is concerned, its existence changes the ball game, because that fiction is in future going to come as much from addresses in London, Birmingham and Yorkshire as from Delhi or Bombay.

  One of the changes has to do with attitudes towards the use of English. Many have referred to the argument about the appropriateness of this language to Indian themes. And I hope all of us share the view that we can’t simply use the language in the way the British did; that it needs remaking for our own purposes. Those of us who do use English do so in spite of our ambiguity towards it, or perhaps because of that, perhaps because we can find in that linguistic struggle a reflection of other struggles taking place in the real world, struggles between the cultures within ourselves and the influences at work upon our societies. To conquer English may be to complete the process of making ourselves free.

  But the British Indian writer simply does not have the option of rejecting English, anyway. His children, her children, will grow up speaking it, probably as a first language; and in the forging of a British Indian identity the English language is of central importance. It must, in spite of everything, be embraced. (The word ‘translation’ comes, etymologically, from the Latin for ‘bearing across’. Having been borne across the world, we are translated men. It is normally supposed that something always gets lost in translation; I cling, obstinately, to the notion that something can also be gained.)

  To be an Indian writer in this society is to face, every day, problems of definition. What does it mean to be ‘Indian’ outside India? How can culture be preserved without becoming ossified? How should we discuss the need for change within ourselves and our community without seeming to play into the hands of our racial enemies? What are the consequences, both spiritual and practical, of refusing to make any concessions to Western ideas and practices? What are the consequences of embracing those ideas and practices and turning away from the ones that came here with us? These questions are all a single, existential question: How are we to live in the world?

  I do not propose to offer, prescriptively, any answers to these questions; only to state that these are some of the issues with which each of us will have to come to terms.

  To turn my eyes outwards now, and to say a little about the relationship between the Indian writer and the majority white culture in whose midst he lives, and with which his work will sooner or later have to deal:

  In common with many Bombay-raised middle-class children of my generation, I grew up with an intimate knowledge of, and even sense of friendship with, a certain kind of England: a dream-England composed of Test Matches at Lord’s presided over by the voice of John Arlott, at which Freddie Trueman bowled unceasingly and without success at Polly Umrigar; of Enid Blyton and Billy Bunter, in which we were even prepared to smile indulgently at portraits such as ‘Hurree Jamset Ram Singh’, ‘the dusky nabob of Bhanipur’. I wanted to come to England. I couldn’t wait. And to be fair, England has done all right by me; but I find it a little difficult to be properly grateful. I can’t escape the view that my relatively easy ride is not the result of the dream-England’s famous sense of tolerance and fair play, but of my social class, my freak fair skin and my ‘English’ English accent. Take away any of these, and the story would have been very different. Because of course the dream-England is no more than a dream.

  Sadly, it’s a dream from which too many white Britons refuse to awake. Recently, on a live radio programme, a professional humorist asked me, in all seriousness, why I objected to being called a wog. He said he had always thought it a rather charming word, a term of endearment. ‘I was at the zoo the other day,’ he revealed, ‘and a zoo keeper told me that the wogs were best with the animals; they stuck their fingers in their ears and wiggled them about and the animals felt at home.’ The ghost of Hurree Jamset Ram Singh walks among us still.

  As Richard Wright found long ago in America, black and white descriptions of society are no longer compatible. Fantasy, or the mingling of fantasy and naturalism
, is one way of dealing with these problems. It offers a way of echoing in the form of our work the issues faced by all of us: how to build a new, ‘modern’ world out of an old, legend-haunted civilization, an old culture which we have brought into the heart of a newer one. But whatever technical solutions we may find, Indian writers in these islands, like others who have migrated into the north from the south, are capable of writing from a kind of double perspective: because they, we, are at one and the same time insiders and outsiders in this society. This stereoscopic vision is perhaps what we can offer in place of ‘whole sight’.

  There is one last idea that I should like to explore, even though it may, on first hearing, seem to contradict much of what I’ve so far said. It is this: of all the many elephant traps lying ahead of us, the largest and most dangerous pitfall would be the adoption of a ghetto mentality. To forget that there is a world beyond the community to which we belong, to confine ourselves within narrowly defined cultural frontiers, would be, I believe, to go voluntarily into that form of internal exile which in South Africa is called the ‘homeland’. We must guard against creating, for the most virtuous of reasons, British-Indian literary equivalents of Bophuthatswana or the Transkei.

  This raises immediately the question of whom one is writing ‘for’. My own, short, answer is that I have never had a reader in mind. I have ideas, people, events, shapes, and I write ‘for’ those things, and hope that the completed work will be of interest to others. But which others? In the case of Midnight’s Children I certainly felt that if its subcontinental readers had rejected the work, I should have thought it a failure, no matter what the reaction in the West. So I would say that I write ‘for’ people who feel part of the things I write ‘about’, but also for everyone else whom I can reach. In this I am of the same opinion as the black American writer Ralph Ellison, who, in his collection of essays Shadow and Act, says that he finds something precious in being black in America at this time; but that he is also reaching for more than that. ‘I was taken very early,’ he writes, ‘with a passion to link together all I loved within the Negro community and all those things I felt in the world which lay beyond.’

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