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International Journal of the Frontiers of English Literature and the Patterns of ELT ISSN : 2320 - 2505

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International Journal of the Frontiers of English Literature and the Patterns of ELT ISSN : 2320 - 2505 International Journal of The Frontiers of English Literature and The Patterns of ELT ISSN : 2320 - 2505 1 Page January 2013 www.englishjournal.mgit.ac.in Volume I, Issue 1 International Journal of The Frontiers of English Literature and The Patterns of ELT ISSN : 2320 - 2505 Another One Bites the Dark: Reading Jeet Thayil’s Narcopolis as a Continuum of Aravind Adiga’s Dark India Exploration K. Koteshwar Research Scholar The English and Foreign Languages University, Hyderabad. e-mail : [email protected] Jeet Thayil’s first novel, Narcopolis is set mostly in Bombay in the 70s and 80s, and sets out to tell the city's secret history, when opium gave way to new cheap heroin. Thayil has said, he wrote the novel, “to create a kind of memorial, to inscribe certain names in stone”. As one of the characters (in Narcopolis) says, “it is only by repeating the names of the dead that we honor them. I wanted to honor the people I knew in the opium dens, the marginalized, the addicted and deranged, people who are routinely called the lowest of the low; and I wanted to make some record of a world that no longer exists, except within the pages of a book.” he told the Indian newspaper, The Hindu, that he had been an alcoholic (like many of the Bombay poets) and an addict for almost two decades: "I spent most of that time sitting in bars, getting very drunk, talking about writers and writing, and never writing. It was a colossal waste. I feel very fortunate that I got a second chance." Thayil has been writing poetry since his adolescence, paying careful attention to form. In his prose, as in his poetry, he has introduced new areas of feelings and emotions to Indian literature, and has often concerned himself with the pleasures and pains of drugs and alcohol, sex and death that are not traditionally connected with the firmament of Indian literature. About Narcopolis, Thayil said, “I've always been suspicious of the novel that paints India in soft focus, a place of loved children and loving elders, of monsoons and mangoes and spices. To equal Bombay as a subject you would have to go much further than the merely nostalgic will allow. The grotesque may be a more accurate means of carrying out such an enterprise.” Narcopolis, was a serious contender to win the Booker prize. Narcopolis is a one-of-a- kind 'Joycean' novel to emerge from India in the last several decades. It is the most powerful and hard-hitting narrative of its time. For once, you have a book whose writer has moved beyond the desire to show off that he can flawlessly write in English, be overly descriptive and appeal to 2 vanilla-skinned audiences with dollops of purple prose on semi-autobiographical sentimentality, Page January 2013 www.englishjournal.mgit.ac.in Volume I, Issue 1 International Journal of The Frontiers of English Literature and The Patterns of ELT ISSN : 2320 - 2505 concerns of economic growth and displacement anxiety of immigration. Here is a story that is not out to prove ephemeral beauty, Indianness, or some eager feral subaltern/suburban fantasy. It is a howl of anguished pain and frustrations of a poet, a hallucinatory ride, a rush of blood to the head, to flip you over to the dark, twisted fairytale set in the side lanes of a mushrooming metropolis, dealing with the blows of heroin addiction, savage lust and moral ambiguity. The story is mostly set in Bombay, in the hoary 70s-80s, at a time when Hindu-Muslim tensions are about to flare up, the pavement stone killer is making headlines for smashing homeless people's sleeping skulls, and the nights are full of promise, perversions and endless nasha. It all takes place on Shuklaji Street, the dilapidated hub of sin in a cosmopolitan city where dreams hang upside down on sale, where behind closed doors hide opium dens, and its gutters overflow with poverty and sodomy, and on its gully walk pimps, prostitutes, beggars and thieves all gambling fate for a living. Out here all characters stumble to lurk and vanquish like flies to excrete looking for a hit, nightmare and fix; ready to trade in good health, life and family for smoke, talk and futility. Narcopolis speaks of a deranged, starved and epileptical wisdom that's crawled to the surface from the bottomless pit circling our rudderless culture to reveal its true face. Jeet Thayil uses a language that is filled with graphic sexual imagery and violence to portray a side of life that exists on the footpath, merging with dust, sharing needles, and crumbling beneath the starry dynamo, which doesn't shield or hide when you roll up the tinted glasses of your air-conditioned car, in a bad part of town. The sentiment and apathy of his motley characters is infectious, poisonous, drug-induced, stained by semen, and diseased by junk. "This chooth country, cunt country, how the fuck are you supposed live here without drugs?" goes one particular rant about how the entire nation is run by conniving, cheating and murderous communities out to outdo each other, all apart from Bombay, which is why it is the Narcopolis, the capital of Opium, and the hero or heroin of this story. It also gives you a glimpse of a man, a former addict, whose own experiences crawls and slip under the mask of his characters like smoke, who survived and suffered a long time ago from being burnt or consumed by dancing too close to the flame. Jeet Thayil tantalizes and heralds a new era of fiction writing from India that has finally learned to grow up, and isn't afraid of what its mummy-papa, uncle-aunty ought to feel and think, 3 or facing the wrath of God or death, to tell its story. Thayil will set dangerous and dexterous Page January 2013 www.englishjournal.mgit.ac.in Volume I, Issue 1 International Journal of The Frontiers of English Literature and The Patterns of ELT ISSN : 2320 - 2505 precedents for Indian writers to also consider obliterating self-censorship that knifes through them, and rid them of the ghosts of colonial past, and help them finally write from the heart, soul and pain. The beauty of Narcopolis is that it's cleverly crafted, and it's poetical, gritty, historical, perverse and novel in form. This is the story from the other side of midnight, which needs to be heard, and more often. It is authentic, beautiful and offensive as smoke, which needs to be pulled and sucked harder till the senses are numbed and the hum of the motor in our heads is gently running. Narcopolis explores the seamy underside of Mumbai peopled by drug hawkers, pimps, prostitutes, renegades, out-of-job criminals, small-time showmen and narco-dens that often become of the breeding ground of gripping underworld soaps. By choosing to tell an opiated socio-political history, Thayil looks at a city over three decades and track its unraveling, from the open-minded cosmopolitan Bombay of the 1960s, 70s and 80s to the divided right-wing McMumbai of today. The period coincided with a change in the drugs that roiled the city's underclasses. The slow poetic world of opium was replaced by the quick brutal degradation of heroin. In India, the literary novel is greeted with derision or silence by book reviewers, expected to produce 800 words and given a day to do it. I suppose they must be excused for the shoddy, the half-baked and the uncomprehending. We see the Indian scene flooded with best-selling bad writing, better books often ignored. What does this indicate about literary culture here in India Because of court patronage which is insidious and widespread, the lack of a critical tradition and a market economy that controls the book trade, Indian writers are not encouraged to take risks or be experimental. They are encouraged to stay with the tried and tested, the commercial and cliched. Excellent novelists and poets toil in obscurity. Jeet Thayil's first novel Narcopolis, described as a compelling tale of Mumbai's hazy world of opium addiction, has made it to the six-author short list for the Man Booker Prize 2012. Four years after Aravind Adiga’s famous “Guildhall triumph”, another Indian writer competed for the £50,000 Man Booker Prize. Jeet Thayil’s Narcopolis has been shortlisted for this year’s award for his debut novel, Narcopolis, a dark tale about the opium and heroin dens of Mumbai thought to be based on his own experiences of what one critic described as the city’s “seedy 4 underbelly”. The novel has been hailed as a “blistering debut” with The Guardian comparing it Page January 2013 www.englishjournal.mgit.ac.in Volume I, Issue 1 International Journal of The Frontiers of English Literature and The Patterns of ELT ISSN : 2320 - 2505 to the likes of William Burroughs’s Junky and Thomas de Quincey’s Confessions of an English Opium Eater. Thayil described Narcopolis in an interview as “Bombay’s secret history” as distinct from its “official” history of “money and glamour.” “You can sanitise…as much as you like, but…can’t get rid of the grime,” Indian writers or those of Indian origin have traditionally fared well at the Booker. The last Indian to win the coveted prize was Aravind Adiga for White Tiger in 2008. Before him, Kiran Desai won it for The Inheritance of Loss (2006). In his first fiction title Narcopolis, poet Jeet Thayil revisits the metropolis of his childhood to uncover the secret history of Mumbai, where drugs and sex counter the sanitised versions of the stories we narrate about it.
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