Expatriate As the Subaltern in V. S. Naipaul's a House for Mr. Biswas
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"Other" in V. S. Naipaul's "A House for Mr. Biswas"
Advances in Language and Literary Studies ISSN: 2203-4714 Vol. 7 No. 1; February 2016 Australian International Academic Centre, Australia Flourishing Creativity & Literacy The Situation of Colonial 'Other' in V. S. Naipaul’s A House for Mr. Biswas Tahereh Siamardi (Corresponding author) Department of English Literature, Karaj Branch, Islamic Azad University, Karaj, Iran PO Box 31485-313, Karaj, Iran E-mail: [email protected] Reza Deedari Department of English Literature, Karaj Branch, Islamic Azad University, Karaj, Iran PO Box: 31485-313, Karaj, Iran Email: [email protected] Doi:10.7575/aiac.alls.v.7n.1p.122 Received: 15/09/2015 URL: http://dx.doi.org/10.7575/aiac.alls.v.7n.1p.122 Accepted: 11/11/2015 Abstract The focus of the present study is to demonstrate traces of Homi k. Bhabha’s notion of identity in V.S. Naipaul’s A House for Mr. Biswas (1961). As a prominent postcolonial figure, Bhabha has contemplated over the formation of identity in the colonizing circumstances. He discusses on what happens to the colonizer and the colonized while interacting each other, arguing that both the colonizer and the colonized influence one another during which their identity is formed, fragmented and alienated. In considering Naipaul’s A House for Mr. Biswas as postcolonial text, by the help of postcolonial theories of Homi Bhabha, it is argued that, mentioned novel sums up Naipaul’s approach to how individuals relate to places. This novel shows that individuals’ quest for home and a place of belonging is complicated first, by the reality of homelessness, and second, by the socio-cultural complexities peculiar to every place. -
Representation of Postcolonial Identity in Naipaul's Works
Vol. 4(10), pp. 451-455, December, 2013 DOI: 10.5897/IJEL2013.0481 International Journal of English and Literature ISSN 2141-2626 ©2013 Academic Journals http://www.academicjournals.org/IJEL Review Representation of postcolonial identity in Naipaul's works Bijender Singh V.P.O. Jagsi, Tehsil Gohana, District Sonepat, Haryana, India. Accepted 29 July, 2013 This paper attempts to explore representation of postcolonial identity in V. S. Naipaul’s three works A House for Mr. Biswas, A Bend in the River and An Enigma of Arrival. This paper attempts to relate how these three works are replete with the theme of identity as the chief protagonists of all these three novels hanker after to find a place for them in the world to assert their identities. Their minds vacillate between two contradictory cultures existing in that time. Researcher attempts to analyze the different strands of identity to make the work more comprehensive and to radicalize its global demand. The origin of the word ‘identity’ and its literary importance has been projected through this paper along with the different meanings of identity having a slight difference in their meaning. Postcolonial Diasporic authors and their works have been mentioned in the paper to carry out further research on the theme of postcolonial identity. V. S. Naipaul’s earned vacuity of female authors by challenging them and their rabble-rousing strengthened his identity in the world, has been assessed and analyzed. It has been studied how in these three novels, main protagonists try to claim their place in the world that is full of challenges in their real life and consequently, the environment of these novels poses a cultural-clash to make their journey of life more complicated and hard to live in antagonistic surroundings. -
V. S. Naipaul's a House for Mr Biswas: a Satire on Hinduism
V. S. NAIPAUL’S A HOUSE FOR MR BISWAS: A SATIRE ON HINDUISM Bijender Singh Research Scholar Dravidian University, Kuppam Andhra Pradesh, India Abstract Present paper is an attempt to explore how V.S. Naipaul’s novel A House for Mr Biswas is a satire on Hindu customs, traditions, rituals and rites. Naipaul’s novels are about his peregrination of orthodoxies prevalent in Hinduism. Through the paper the researcher tries to highlight that some Hindu Brahmins of high society claim themselves of supreme caste but their actions are inferior even to those people who are considered from the lowest stratum of society. They claim with proud to be Brahmins and follow the Hindu rituals blindly but they have no any quest for religion, salvation, sacrifice or goodness. They follow the Hindu rituals impassively because their ancestors did so. But they defy and infringe all rules and customs of the Hindu religion whenever the rituals come on their way. Hindus are famous for vegetarianism and their love for Hindu religious books. But in this novel they discard all rules to grind their own axes and follow the western culture blindly. These Hindus don’t refrain even from eating meat whereas even the egg is not touched in Hindu families. Such kind of themes have been projected and studied extensively in this paper. Key-Words: Hinduism, Traditions, Rituals, Post-Colony, Satire, Humanity. V. S. Naipaul’s A House for Mr. Biswas is a story of Indian Hindu migrants whose grand-parents have been migrated in Trinidad and Tobago as indentured labourers on the sugarcane estates and started living there permanently. -
Introductory Discussions on the Novel, “A Bend in the River”
Compiled and Circulated by Samir Kuilya,Faculty Member,Dept. of English, Narajole Raj College =================================== Introductory Discussions on The Novel, “A Bend in the River” Sir Vidiadhar Surajprasad Naipaul (1932–2018), publicly known as V. S. Naipaul, was a British-Trinidadian writer of Indian descent. He was best known for writing pessimistic novels and travel accounts of the developing world. Naipaul was born and brought up on the island of Trinidad, located in the Caribbean Sea off the northeastern coast of Venezuela. His grandparents started to live in Trinidad in the nineteenth century as contractual servants. He secured free passage from India in exchange for a set period of labour on one of the island’s plantations. In 1950, Naipaul received a scholarship to study in England, and he chose to attend Oxford University. Following the completion of his studies there, he settled in London. He immediately began a long and productive writing career that spanned five decades and saw the publication of fourteen novels and sixteen works of nonfiction. Naipaul received numberless high honours for his work, including the prestigious Booker Prize for his 1971 novel In a Free State and a knighthood in 1989. In 2001, the Swedish Academy awarded Naipaul the Nobel Prize in Literature, praising the “vigilant style” of his prose and his commitment to unveiling the hidden “history of the anquished.” In A Bend in the River (1979), Naipaul’s exploration of alienation and dislocation takes on special complexity as the ethnically Indian protagonist must navigate two separate but connected forms of colonization: that of the British Empire, which dominated East Africa throughout his childhood, and that of an emerging African regime, which sees everything of foreign origin as a threat to African independence. -
Contemporaneity and VS Naipaul's a Bend in the River
Concentric: Literary and Cultural Studies 46.2 September 2020: 247-267 DOI: 10.6240/concentric.lit.202009_46(2).0011 Inscribing African History: Contemporaneity and V. S. Naipaul’s A Bend in the River Dexu Zhang Department of English Northeastern University, China Abstract This article proposes a thesis that goes against the negativity of the prevalent assessment of Naipaul’s work: that his literary project partakes in writing third-world history and reconstructing humanism of the global south. In his transnational novels especially, Naipaul often mobilizes contemporaneity as a vehicle to challenge hegemonic European time, and accordingly calls for a new form of rewriting (post-)imperial history. In light of the notion of time and contemporaneity, I read A Bend in the River (1979) as Naipaul’s attempt to write a post-Orientalist history of Africa that refuses to be historicized as the West’s Other. Contrary to the popular view that Naipaul consigns Africa to a primitive time zone, this novel enacts an indigenous temporality in parallel with European time which denies that Africa is Europe’s contemporary, unravelling their fundamental coevalness. Through a vivid depiction of (non-)interactions between characters, Naipaul uses literary realism to attempt historiography in African terms, one that contests and expands the way we think and imagine African history. Keywords African history, historiography, time, contemporaneity, A Bend in the River, Naipaul I would like to acknowledge the valuable suggestions made by the two anonymous readers and the editors. My thanks also go to Gaurav Desai and Grant Hamilton for their incisive comments on earlier drafts of this article. -
IDENTITY and HOME in THREE CARIBBEAN AUTHORS By
IDENTITY AND HOME IN THREE CARIBBEAN AUTHORS By HARBHAJAN S. HIRA Bachelor of Science Guru Nanak Dev University Amritsar, Punjab (India) 1974 Master of Arts in English Hamburg University Hamburg, Germany 1987 Master of Arts in English California State University, Stanislaus Turlock, California 2001 Master of Arts in Education California State University, Dominguez Hills Carson, California 2007 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY July, 2020 IDENTITY AND HOME IN THREE CARIBBEAN AUTHORS Dissertation Approved: Dr. Timothy Murphy Dissertation Adviser Dr. Katherine Hallemeier Dr. Martin Wallen Dr. Alyson Greiner ii ACKNOWLEDGEMENTS Several persons have helped making this project successful. My thanks go to Dr. Katherine Hallemeier, who provided feedback with an unprecedented speed in the final weeks of writing. Thanks are due to Professor Emeritus Martin Wallen as well. In spite of his retirement in 2019, Dr. Wallen kindly agreed to stay on the committee and help me get across the finish line. I also enormously benefited from his course on species, race, and surveillance, where I first discussed theorists such as Du Bois and Fanon. I want to thank Dr. Alyson Greiner of Geography too, who provided all the support that can be expected of an outside committee member. A big THANK YOU goes to Dr. Timothy Murphy, however. As my advisor and chair of the committee, he has been instrumental in securing the success of the project. He meticulously read and commented on every single chapter over the past year and a half. -
Locating VS Naipaul
V.S. Naipaul Homelessness and Exiled Identity Roshan Cader 12461997 Supervisors: Professor Dirk Klopper and Dr. Ashraf Jamal November 2008 Thesis presented in partial fulfilment of the requirements for the degree of Master of Arts (English) at the University of Stellenbosch Declaration I, Roshan Cader, hereby declare that the work contained in this research assignment/thesis is my own original work and that I have not previously in its entirety or in part submitted it at any university for a degree. Signature:……………………….. Date:…………………………….. 2 Abstract Thinking through notions of homelessness and exile, this study aims to explore how V.S. Naipaul engages with questions of the construction of self and the world after empire, as represented in four key texts: The Mimic Men, A Bend in the River, The Enigma of Arrival and A Way in the World. These texts not only map the mobility of the writer traversing vast geographical and cultural terrains as a testament to his nomadic existence, but also follow the writer’s experimentation with the novel genre. Drawing on postcolonial theory, modernist literary poetics, and aspects of critical and postmodern theory, this study illuminates the position of the migrant figure in a liminal space, a space that unsettles the authorising claims of Enlightenment thought and disrupts teleological narrative structures and coherent, homogenous constructions of the self. What emerges is the contiguity of the postcolonial, the modern and the modernist subject. This study engages with the concepts of “double consciousness” and “entanglements” to foreground the complex web and often conflicting temporalities, discourses and cultural assemblages affecting postcolonial subjectivities and unsettling narratives of origin and authenticity. -
V.S. Naipaul's Half a Life, Magic Seeds and Globalisation1
V.S. Naipaul’s Half a life, Magic seeds and globalisation1 Robert Balfour School of Languages, Literacies, Media & Drama Education University of KwaZulu-Natal DURBAN E-mail: [email protected] Abstract V.S. Naipaul’s Half a life, Magic seeds and globalisation Naipaul’s work has been described as an examination of “the clash between belief and unbelief, the unravelling of the British Empire, the migration of peoples” (Donadio, 2005). Contro- versial both in terms of his perceptions of postcolonial nations (Said, 1978) and of postcolonial literary criticism (King, 1993), Naipaul, who won the Nobel Prize for Literature in 2001, at an earlier point declared the novel dead and postcolonial nations half-baked. Despite his provocative pronouncements and his readers’ criticisms (the most stringent and extensive critique by Nixon (1992)), Naipaul is too important to be marginalised. While major contemporaries have ceased to be productive (Walcott, Ondaatje, Soyinka) Naipaul’s voice continues to be heard, his tones new, his perspective flexible enough to apprehend new phenomena in culture and politics, and his critique sufficiently disturbing to merit critical attention. Despite accusations of being a postcolonial lackey, a reactionary, a racist, and a misogynist, he has survived, and not only because of his elegant prose. My purpose in this article is to explore his 21st century writing as a critical understanding of the postcolonial phenomenon of globalisation as a cultural and economic force which is a development and consequence of imperialism and decolo- nisation. I shall argue that as a phenomenon, globalisation 1 I am grateful for the thoughtful and thorough comments made by the reviewers of this article to bring greater clarity and purpose to my writing. -
Paper: 06; Module No: 13: E Text
Paper: 06; Module No: 13: E Text (A) Personal Details: Role Name Affiliation Principal Investigator: Prof. Tutun Mukherjee University of Hyderabad Paper Coordinator: Prof. T Vijay Kumar Osmania University, Hyderabad Content Writer: Dr. Alice Samson, NALSAR, Assistant Professor Hyderabad Content Reviewer: Prof. T. Vijay Kumar Osmania University Language Editor: Prof. T. Vijay Kumar Osmania University (B) Description of Module: Items Description of Module Subject Name: English Paper No & Name: Paper 06: African and Caribbean Writing in English Module No & Name: Module No.13 V. S. Naipaul: A House for Mr Biswas V. S. Naipaul: A House for Mr Biswas Pre-requisites: None Objectives: To Examine Naipaul’s Life and Work with Special reference to A House For Mr. Biswas Key Words: Naipaul, A House for Mr Biswas, Caribbean Prose 1 Summary: The lesson, through a reading of the novel A House for Mr. Biswas, introduces the reader to the life and works of Sir V.S. Naipaul. It contextualises the novel, discusses the plot, the main characters and the main themes that are addressed in the novel. Module-I: Introduction to A House for Mr. Biswas Listed amongst the 100 best novels written in English language in the twentieth century, V.S. Naipaul’s A House for Mr. Biswas is one of the most significant novels to have been written by a Caribbean author. The novel describes the travails of the protagonist Mohun Biswas, who seeks to own a house in Trinidad. The novel is set in the first half of the twentieth century. Even as the novel depicts the desires and insecurities of Mohun, it rather humorously depicts the lives of the various members of the gregarious Tulsi household. -
Writing-A-House-For-Mr.-Biswas.Pdf
The New York Review of Books Writing 'A House for Mr. Biswas' By V. S. Naipaul Of all my books A House for Mr. Biswas is the one closest to me. It is the most personal, created out of what I saw and felt as a child. It also contains, I believe, some of my funniest writing. I began as a comic writer and still consider myself one. In middle age now, I have no higher literary ambition than to write a piece of comedy that might complement or match this early book. The book took three years to write. It felt like a career; and there was a short period, toward the end of the writing, when I do believe I knew all or much of the book by heart. The labor ended; the book began to recede. And I found that I was unwilling to reenter the world I had created, unwilling to expose myself again to the emotions that lay below the comedy. I became nervous of the book. I haven't read it since I passed the proofs in May 1961. My first direct contact with the book since the proofreading came two years ago, in 1981. I was in Cyprus, in the house of a friend. Late one evening the radio was turned on, to the BBC World Service. I was expecting a news bulletin. Instead, an installment of my book was announced. The previous year the book had been serialized on the BBC in England as "A Book at Bedtime." The serialization was now being repeated on the World Service. -
Appendix A: Naipaul's Family, a House for Mr Biswas and the Mimic
Appendix A: Naipaul’s Family, A House for Mr Biswas and The Mimic Men Naipaul’s fiction makes imaginative use of actual people. His father Seepersad (1906–53) is the model for Mr Biswas. After Seepersad’s father died when he was six years old, Seepersad and his impoverished mother became dependent on his mother’s sister (Tara of Biswas) and her wealthy husband (Ajodha) who owned rum shops, taxis and other busi- nesses. After some schooling Seepersad became a sign-painter; he painted a sign for the general store connected to Lion House (Hanuman House in Biswas) owned by the Capildeos (the Tulsis) of Chaguanas and married Bropatie Capildeo (Shama). Although his seven children were born in Lion House he usually resided elsewhere. After he had painted advertising signs for the Trinidad Guardian (the Sentinel in Biswas), the editor allowed him to submit articles, then hired him as a reporter. As Seepersad had a highly developed sense of humour his reports and interviews made him well known. After several moves Seepersad became the newspaper’s Chaguanas correspondent but lived by himself in a wooden house away from Lion House until he had a mental collapse – possibly influenced by his resig- nation from the paper after the editor had been fired and its policy changed, and possibly by a fierce quarrel with the very orthodox Hindu Capildeos about religious reform. After his nervous breakdown he became an overseer on a Capildeo estate (Green Vale) and then a shopkeeper (The Chase). He rejoined the Guardian, and moved to Port of Spain where for ten years he lived in various houses owned by the Capildeos before acquiring his own house (the Sikkim Street house). -
Scepticism and Cynicism in V.S. Naipaul's a Bend in the River
PEOPLE’S DEMOCRATIC REPUBLIC OF ALGERIA MINISTRY OF HIGHER EDUCATION AND SCIENTIFIC RESEARCH UNIVERSITY OF MOHAMED BOUDIAF - M’SILA FACULTY OF LETTERS AND LANGUAGES DOMAIN: FOREIGN LANGUAGES DEPARTMENT OF ENGLISH STREAM: ENGLISH LANGUAGE N°:……………………………………….. OPTION: LITERATURE & CIVILIZATION SCEPTICISM AND CYNICISM IN V.S. NAIPAUL’S A BEND IN THE RIVER Dissertation Submitted to the Department of Letters and English in Partial Fulfilment of the Requirements for the Master’s Degree Candidate: Ms. Fadila AMEUR Panel of Examiners Ms. Amel BENIA University of M’sila Chairperson Mr. Bachir SAHED University of M’sila Supervisor Ms. Nassima AMIROUCHE University of M’sila Examiner 2020 PEOPLE’S DEMOCRATIC REPUBLIC OF ALGERIA MINISTRY OF HIGHER EDUCATION AND SCIENTIFIC RESEARCH UNIVERSITY OF MOHAMED BOUDIAF - M’SILA FACULTY OF LETTERS AND LANGUAGES DOMAIN: FOREIGN LANGUAGES DEPARTMENT OF ENGLISH STREAM: ENGLISH LANGUAGE N°:……………………………………….. OPTION: LITERATURE & CIVILIZATION SCEPTICISM AND CYNICISM IN V.S. NAIPAUL’S A BEND IN THE RIVER Dissertation Submitted to the Department of Letters and English in Partial Fulfilment of the Requirements for the Master’s Degree Candidate: Supervisor: Ms. Fadila AMEUR Mr. Bachir SAHED 2020 DECLARATION I hereby declare that except where due acknowledgement is made; this dissertation is the result of my own work and has not been submitted previously. ACKNOWLEDGEMENTS In the name of Allah, the Compassionate, the Merciful Praise to Allah who gave me the will and ability to achieve this work. For him, I owe all the blessings I enjoy every day. I ask him to accept this work as an offering to help others. I am honoured to express my sincere gratitude to my honourable teacher Mr.