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The Nature of Passion (London: George Allen & Unwin, 1956). in Search of Love and Beauty (London: John Murray, 1983)

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The Nature of Passion (London: George Allen & Unwin, 1956). in Search of Love and Beauty (London: John Murray, 1983) Notes When citing Ruth Jhabvala's novels, I have given page numbers in the text, using the following editions: AmritalTo Whom She Will (New York: W. W. Norton, 1956). The Nature of Passion (London: George Allen & Unwin, 1956). Esmond in India (London: George Allen & Unwin, 1958). The Householder (London: John Murray, 1960). Get Ready for Battle (London: John Murray, 1962). A Backward Place (London: John Murray, 1965). A New Dominion (London: John Murray, 1972). Heat and Dust (London: John Murray, 1975). In Search of Love and Beauty (London: John Murray, 1983). Three Continents (New York: William Morrow, 1987). Notes to Chapter 1: Introduction 1. Dorothy Rabinowitz, review of Travelers, World 2, no. 12 (1973) p. 66; reprinted in Contemporary Literary Criticism: Excerpts from the Criticism of the Works of Today's Novelists, ed. Carolyn Riley (Detroit: Gale Research, 1975) vol. 4, p. 256. 2. Barbara Grizzuti Harrison, 'We're Off to See the Guru', MS, December 1973, p. 28; reprinted in Contemporary Literary Criticism, p. 257. 3. Unsigned review in the Observer, 7 June 1981, p. 33; as cited by R. J. Crane, 'Ruth Prawer Jhabvala: a Checklist of Primary and Secondary Sources', Journal of Commonwealth Literature, 20, no. 1 (1985) p. 203. 4. Reissued by Penguin Books in 1981. 5. Bernard Weinraub, 'The Artistry of Ruth Prawer Jhabvala', New York Times Magazine, 11 September 1983, p. 112. 6. From a letter to Yasmine Gooneratne, quoted in Yasmine Gooneratne, Silence, Exile and Cunning: The Fiction of Ruth Prawer Jhabvala (New Delhi: Orient Longman, 1983) p. 2. 7. Siegbart Soloman Prawer (1925- ) is the author of a number of literary critical studies suggesting interesting commonalities with his sister's work: for example, Caligari's Children: The Film as Tale of Terror (Oxford: Clarendon Press, 1980; New York: Oxford University Press, 1980), or Heine's Jewish Comedy: A Study of His Portraits of Jews and Judaism (Oxford: Clarendon Press, 1983; New York: Oxford University Press, 1983). 8. From Ramlal Agarwal, 'An Interview with Ruth Prawer Jhabvala', Quest, 91 (1974) p. 36. 228 Notes 229 9. Gooneratne, Silence, Exile and Cunning, p. 2. 10. Ruth Prawer Jhabvala, 'Moonlight, Jasmine and Rickets', New York Times, 23 April 1973, p. 35: 'When one writes about India as a European and in English (as I do), inevitably, one writes not for Indian but for Western readers.' 11. John Updike, 'Raman and Daisy and Olivia and the Nawab', review of Heat and Dust in the New Yorker, 5 July 1978, p. 83. 12. Ramlal Agarwal, in Times of India (Bombay), 25 March 1973. 13. Ibid., pp. 33--4. 14. Ibid., p. 34. 15. Gooneratne, Silence, Exile and Cunning, p. 18. 16. Ibid., p. 17. 17. Hayden Moore Williams, The Fiction of Ruth Prawer Jhabvala (Calcutta Writer's Workshop, 1973) p. 65. 18. Vasant Shahane, 'Jhabvala's Heat and Dust: a Cross-Cultural Encoun­ ter', in Aspects of Indian Writing in English, ed. M. K. Naik (Madras: Macmillan, 1979) p. 230. 19. Ibid., p. 223. 20. And probably in the view of most who would call themselves feminists. See, for example, Margo Jefferson, 'The Bostonians Misses the Boat', MS, October 1984, p. 33. However, it seems only fair to add that one 'neo-Conservative' found the film irritatingly feminist, and denounced Jhabvala for having spinelessly capitulated to the forces of trendy feminism! (See Richard Grenier, 'The Bostonians Inside Out', Commen­ tary, October 1984, p. 60.) 21. As quoted in Weinraub, 'The Artistry of Ruth Prawer Jhabvala', p. 64 (no source given). 22. Ruth Prawer Jhabvala, 'Myself in India', An Experience of India (New York: W. W. Norton, 1971) p. 19. 23. Charlotte Bronte, Shirley (1849), as quoted in Ellen Moers, Literary Women: The Great Women Writers (New York: Anchor Books, 1977) p.192. 24. Jhabvala, 'Myself in India', p. 7. 25. To Whom She Will (London: George Allen & Unwin, 1955) p. 1. 26. Richard Nyrop et al., Area Handbookfor India (Washington, D.C., 1975) p.205. 27. Jhabvala, 'Myself in India', p. 8. 28. Hayden Moore Williams, 'The Yogi and the Babbitt: Themes and Characters of the New India in the Novels of R. Prawer Jhabvala', Twentieth-Century Literature, 15, no. 2 (1969) pp. 81-90. 29. Compare Carol P. Christ, Diving Deep and Surfacing: Women Writers on Spiritual Quest (Boston, Mass.: Beacon Press, 1980). Notes to Chapter 2: Dangerous Quest 1. Charlotte Bronte wrote to her friend Ellen Nussey that passion is particularly dangerous for women. For ladies, 'une grande passion is une grande folie .... Mediocrity in all things is wisdom.' Since 230 Notes reciprocal passion is rare, women are at risk: 'God help her, if she is left to love passionately and alone.' From Fran<,;oise Basche, Relative Creatures: Victorian Women in Society and the Novel (New York: Schocken Books, 1974) p. 166. 2. Kate Millett, Sexual Politics (New York: Doubleday, 1970) pp. 440-72. 3. Her friends caution her that he's no good. But 'I know that he's not bad, I know he's only sad.' Sung by the heroine as social worker in 'The Leader of the Pack', by Greenwich, Barry and Martin; The Shangri-Las, 1964. In Roger Lax and Frederick Smith, The Great Song Thesaurus (New York: Oxford University Press, 1984). 4. See H. Adlerfer, B. Jaker and B. Nelson, Diary of a Conference on Sexuality: The Scholar and the Feminist. Towards a Politics of Sexuality (Barnard College, New York, 1982). 5. Susan Griffin, Pornography and Silence (New York: Harper Colophon, 1981) passim. 6. See, for example, The Female Gothic, ed. Juliann E. Fleenor (Montreal: Eden Press, 1983), or Tania Modleski, Loving with a Vengeance (New York: Methuen Books, 1984). The term 'Female Gothic' is coined by Ellen Moers in Literary Women: The Great Women Writers (New York: Anchor Books, 1977) ch. 5. 7. Susan Sontag, 'The Pornographic Imagination', in Styles of Radical Will (New York: Farrar, Strauss & Giroux, 1969) p. 200. 8. Jessica Benjamin, 'Master and Slave: The Fantasy of Erotic Domina­ tion', in Powers of Desire: The Politics of Sexuality, ed. Ann Snitow, Christine Stansell and Sharon Thompson (New York: Monthly Review Press, 1983) p. 282. 9. Rene Girard, Deceit, Desire and the Novel: Self and Other in Literary Structure, trans. Yvonne Freccero (Baltimore, Md: Johns Hopkins Press, 1965) p. 176. 10. Ibid., pp. 182-3. 11. Sontag, 'Pornographic Imagination', p. 188. Note to Chapter 3: Gurus: Short Stories 1. Ruth Jhabvala frequently uses the image of British cemetaries in India to conflate a number of themes: the vanished British presence, the cultural separateness of the British. In Heat and Dust, Olivia's wish to be cremated is one of the only clues that her retreat to the mountaintop is a willed embrace of Indianness. Notes to Chapter 4: Gurus: A New Dominion or Travelers 1. The Concise Oxford Dictionary, 7th edn (Oxford: Clarendon Press, 1982). 2. James Ivory and Ruth Prawer Jhabvala, Autobiography of a Princess, Being the Adventures of an American Film Director in the Land of the Maharajas, compiled by James Ivory, screenplay by Ruth Prawer Jhabvala (New York: Harper & Row, 1975) p. 36. 3. In an interview with R. Agarwal, Quest, 91 (1974) pp. 33-6. Notes 231 4. V. S. Pritchett, 'Ruth Prawer Jhabvala: Snares and Delusions', in The Tale-Bearers: Literary Essays (New York: Random House, 1980) p. 98. 5. Ellen Moers, Literary Women: The Great Women Writers (New York: Anchor Books, 1977) ch. 5. 6. Joanna Russ, 'Somebody is Trying to Kill Me and I Think It's My Husband', in The Female Gothic, ed. Juliann E. Fleenor (Montreal: Eden Press, 1983) pp. 31-57. 7. Susan Brownmiller, Femininity (New York: Simon & Schuster, 1984) p.197. 8. S. Sondhi, 'Dowry Deaths in India', MS, January 1983, p. 22. Sondhi reports that two dowry deaths take place every day in Delhi alone. 9. Ann Bar Snitow, 'Mass Market Romance: Pornography for Women is Different', in Powers of Desire: The Politics of Sexuality, ed. Ann Snitow, Christine Stansell and Sharon Thompson (New York: Monthly Review Press, 1983) pp. 245--63. See also Tanya Modleski, 'The Disappearing Act: Harlequin Romances', in Loving with a Vengeance: Mass-Produced Fantasies for Women (New York: Methuen, 1984) ch. II. Notes to Chapter 5: 'The Housewife' 1. P. Lal, Great Sanskrit Plays in Modern Translation (New York: New Directions, 1957) p. 74. 2. Ibid., pp. :>-74. Notes to Chapter 6: 'Desecration' 1. Gita Mehta, Karma Cola: Marketing the Mystic East (New York: Simon & Schuster, 1979) pp. 68--9. 2. Susan Sontag, 'The Pornographic Imagination', in Styles of Radical Will (New York: Farrar, Strauss & Giroux, 1969) p. 50. 3. Ann Bar Snitow, 'Mass Market Romance: Pornography for Women is Different', in Powers of Desire: The Politics of Sexuality, ed. Ann Snitow, Christine Stansell and Sharon Thompson (New York: Monthly Review Press, 1983) p. 250. 4. Ibid., p. 255. 5. Rene Girard, Violence and the Sacred (Baltimore, Md and London: Johns Hopkins Press, 1977) p. 55. Originally published in Paris, 1972. 6. Jessica Benjamin, 'Master and Slave: the Fantasy of Erotic Domination', in Powers of Desire, ed. Snitow et al., p. 290. See 'Pauline Reage', The Story of 0, trans. s. d'Estree (New York: Grove Press, 1965). 7. Girard discusses this idea in Deceit, Desire and the Novel: Self and Other in Literary Structure, trans. Yvonne Freccero (Baltimore, Md: Johns Hopkins Press, 1965) p. 112. 8. In this instance I refer readers to the American edition for the sake of convenience (it seems to be in wider circulation). 9. Ruth Prawer Jhabvala, 'Better than Dead', New Yorker, 24 May 1958. 10. Jean de la Fontaine, 'Le Loup et l' Agneau', Fables Choisis (Paris, 1668- 9).
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