VS Naipaul (1932-2018): A memorable writer whose books were informed with a dubious political gaze

The Nobel laureate, whose books generated equal measures of criticism and admiration, died on Saturday, August 11.

In an early letter written by VS Naipaul to his sister Kamla, one can find the concerns that would animate his writing career up to the very end.

It was 1949, and a precocious, 17-year-old Naipaul was spending his last few months in Trinidad before leaving for Oxford on a government scholarship. After informing Kamla, who was studying at Benaras Hindu University, that he was finishing filling out his application forms, he went on to write about Beverley Nichols, author of the unflattering and largely-forgotten Verdict on India: “He went to India in 1945, and saw a wretched country, full of pompous mediocrity, with no future. He saw the filth; refused to mention the ‘spiritualness’ that impresses another kind of visitor. Of course the Indians did not like the book, but I think he was telling the truth.” Revealingly, he warned his sister: “Please don’t get contaminated”.

Here, one sees in embryo the prickly fixation on “half-made societies” that was to inform so much of Naipaul’s work. And the word “contaminated” is, of course, a loaded one. In the same letter, he criticised 19th century novels, in particular Samuel Butler’s The Way of All Flesh (“the construction is clumsy”) and Jane Austen’s Emma (“Her work really bored me. It is mere gossip.”) Already, at 17, he was forming his own opinions, looking at novelistic forms with a critical eye, unafraid of going against the grain.

From Trinidad to the world

Naipaul first garnered attention as the author of charming, droll sagas based on childhood memories of Trinidad: The Mystic Masseur (1957) and Miguel Street (1959). In 1961 came the extraordinary A House for Mr Biswas, in which he used components of his father’s life to create the hapless, winsome Mohun Biswas, his run-ins with in-laws, and his struggles to create an identity of his own.

It was at this point that Naipaul reached a crossroads. As he said in his 2001 Nobel Prize lecture, “I felt I had done all that I could do with my island material. No matter how much I meditated on it, no further fiction would come.” From this arose, as he put it in an introduction to India: A Million Mutinies Now, “a wish to understand the currents of history that had created the fluidity of which I found myself a part.”

In pursuit of this goal, perhaps trying to outdo Joseph Conrad himself, Naipaul began to travel: first, to the West Indies, for The Middle Passage (1962), and then to India, for An Area of Darkness (1964). In both these works, his first books of non-fiction, he raised hackles by his unabashed dismissal of what he called “a borrowed culture”. Famously, he wrote: “History is built around achievement and creation; and nothing was created in the West Indies.”

In An Area of Darkness, he asserted that Indians had no sense of history, going on to highlight all the instances of incompetence and insalubriousness that he came across: “It is well that Indians are unable to look at their country directly, for the distress they would see would drive them mad.” He drove home the point in India: A Wounded Civilisation, published in 1977: “The larger crisis is of a wounded old civilisation that has at last become aware of its inadequacies and is without the intellectual means to move ahead.”

Temperamental and alienated

Indian poet and critic Nissim Ezekiel’s response to the influential An Area of Darkness was instructive. While not entirely brushing aside the book’s trenchant observations, he wrote that his “quarrel is that Mr Naipaul is so often uninvolved and unconcerned. He writes exclusively from the point of view of his own dilemma, his temperamental alienation from his own mixed background, his choice and his escape.” Naipaul’s manner, then, was “aloof, sullen, aggressive”. (It could also be alarming, such as when he said, years later, that the destruction of the Babri Masjid “would be a historical statement of India striving to regain her soul”.)

Naipaul was to face similar criticism for his later works on other societies, notably Among the Believers (1981) and Beyond Belief (1998). For the first, he travelled to and wrote about Iran, Pakistan, Malaysia and Indonesia to examine the influence of Islam after the Iranian Revolution. For the second, a sequel, he retraced his steps seventeen years later, and also went further afield.

His pitiless pronouncements on the ossified nature of theocratic societies drew the ire of many. In the words of Edward Said, “He is a man of the Third World who sends back dispatches from the Third World to an implied audience of disenchanted Western liberals who can never hear bad enough things about all the Third World myths – national liberation movements, revolutionary goals, the evils of colonialism.”

His writings on Africa, too, would have come as no surprise to those who had read his earlier books. “Africa has no future,” he loftily asserted in a 1979 interview, and in his last work of non-fiction, The Masque of Africa, published in 2010, he wrote, in a statement clearly intended to shock, “It was hard to arrive at a human understanding of the pigmies, to see them as individuals. Perhaps they weren’t.” It was in response to such declarations that American critic and journalist Vivian Gornick made the compelling observation that “to read Naipaul steadily is to experience something of the dilemma of an attraction that does not generate love...the lack of tenderness wears on the nerves.”

A transformation in fiction

Naipaul’s novels, meanwhile, after his earlier stories set in Trinidad, also began to reflect his uncompromising view of the non-Western world. Moving on from his much-praised The Mimic Men (1967), a study of the marooned postcolonial subject that introduced the concept of mimicry, an important theme in his work, there was the impactful, savage Guerrillas (1975), set on a Caribbean island roiled by revolutionary ideas; and the forceful A Bend in the River (1979), which similarly depicted characters caught up in and wrecked by postcolonial ineptitude in east Africa.

Others such as In A Free State and A Way in the World (1994), made clear his restlessness with the traditional form of the novel. The former, which won the Booker Prize in 1971, is an artfully-linked collection of narratives set in America, England and Africa, revolving around autonomy and the lack of it; the latter, though promoted as a novel, is a sequence of essays, autobiographical musings and historical reconstructions. JM Coetzee, in what may well be a back-handed compliment, said that this mode of writing “in which historical reportage and social analysis flow into and out of autobiographically coloured fiction and travel memoir...may turn out to be Naipaul’s principal legacy to English letters.”

Almost from the start, Naipaul’s prose was praised as being precise and particular. VS Pritchett once called him “the greatest living writer in the English language”, and his gemlike clarity of expression as well as insistence on pointing out hypocrisies and inconsistencies were hugely influential. Along with this, however, it can be said that in his work there are almost always oppositions, not accommodations; clashes, not confluences, be they between people or between civilisations. As literary theorist Terry Eagleton put it: “Great art; terrible politics”.

It’s intriguing to muse on the ways his talent could have expressed itself had Naipaul turned his unforgiving gaze on the colonisers instead of the colonised; or tried to work out ways of how he fit into their world. A wonderful and rare example of the latter can be found in the quiet yet vivid descriptions of the changing English countryside and his place in it in the haunting The Enigma of Arrival.

Intriguing to ponder on such untrodden paths, yes, but also fruitless. The world is what it is, and Sir Vidia was what he was.

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Swara Bhasker: Sharp objects has to be on the radar of every woman who is tired of being “nice”

The actress weighs in on what she loves about the show.

This article has been written by award-winning actor Swara Bhasker.

All women growing up in India, South Asia, or anywhere in the world frankly; will remember in some form or the other that gentle girlhood admonishing, “Nice girls don’t do that.” I kept recalling that gently reasoned reproach as I watched Sharp Objects (you can catch it on Hotstar Premium). Adapted from the author of Gone Girl, Gillian Flynn’s debut novel Sharp Objects has been directed by Jean-Marc Vallée, who has my heart since he gave us Big Little Lies. It stars the multiple-Oscar nominee Amy Adams, who delivers a searing performance as Camille Preaker; and Patricia Clarkson, who is magnetic as the dominating and dark Adora Crellin. As an actress myself, it felt great to watch a show driven by its female performers.

The series is woven around a troubled, alcohol-dependent, self-harming, female journalist Camille (single and in her thirties incidentally) who returns to the small town of her birth and childhood, Wind Gap, Missouri, to report on two similarly gruesome murders of teenage girls. While the series is a murder mystery, it equally delves into the psychology, not just of the principal characters, but also of the town, and thus a culture as a whole.

There is a lot that impresses in Sharp Objects — the manner in which the storytelling gently unwraps a plot that is dark, disturbing and shocking, the stellar and crafty control that Jean-Marc Vallée exercises on his narrative, the cinematography that is fluid and still manages to suggest that something sinister lurks within Wind Gap, the editing which keeps this narrative languid yet sharp and consistently evokes a haunting sensation.

Sharp Objects is also liberating (apart from its positive performance on Bechdel parameters) as content — for female actors and for audiences in giving us female centric and female driven shows that do not bear the burden of providing either role-models or even uplifting messages. 

Instead, it presents a world where women are dangerous and dysfunctional but very real — a world where women are neither pure victims, nor pure aggressors. A world where they occupy the grey areas, complex and contradictory as agents in a power play, in which they control some reigns too.

But to me personally, and perhaps to many young women viewers across the world, what makes Sharp Objects particularly impactful, perhaps almost poignant, is the manner in which it unravels the whole idea, the culture, the entire psychology of that childhood admonishment “Nice girls don’t do that.” Sharp Objects explores the sinister and dark possibilities of what the corollary of that thinking could be.

“Nice girls don’t do that.”

“Who does?”

“Bad girls.”

“So I’m a bad girl.”

“You shouldn’t be a bad girl.”

“Why not?”

“Bad girls get in trouble.”

“What trouble? What happens to bad girls?”

“Bad things.”

“What bad things?”

“Very bad things.”

“How bad?”


“Like what?”


A point the show makes early on is that both the victims of the introductory brutal murders were not your typically nice girly-girls. Camille, the traumatised protagonist carrying a burden from her past was herself not a nice girl. Amma, her deceptive half-sister manipulates the nice girl act to defy her controlling mother. But perhaps the most incisive critique on the whole ‘Be a nice girl’ culture, in fact the whole ‘nice’ culture — nice folks, nice manners, nice homes, nice towns — comes in the form of Adora’s character and the manner in which beneath the whole veneer of nice, a whole town is complicit in damning secrets and not-so-nice acts. At one point early on in the show, Adora tells her firstborn Camille, with whom she has a strained relationship (to put it mildly), “I just want things to be nice with us but maybe I don’t know how..” Interestingly it is this very notion of ‘nice’ that becomes the most oppressive and deceptive experience of young Camille, and later Amma’s growing years.

This ‘Culture of Nice’ is in fact the pervasive ‘Culture of Silence’ that women all over the world, particularly in India, are all too familiar with. 

It takes different forms, but always towards the same goal — to silence the not-so-nice details of what the experiences; sometimes intimate experiences of women might be. This Culture of Silence is propagated from the child’s earliest experience of being parented by society in general. Amongst the values that girls receive in our early years — apart from those of being obedient, dutiful, respectful, homely — we also receive the twin headed Chimera in the form of shame and guilt.

“Have some shame!”

“Oh for shame!”




“Do not bring shame upon…”

Different phrases in different languages, but always with the same implication. Shameful things happen to girls who are not nice and that brings ‘shame’ on the family or everyone associated with the girl. And nice folks do not talk about these things. Nice folks go on as if nothing has happened.

It is this culture of silence that women across the world today, are calling out in many different ways. Whether it is the #MeToo movement or a show like Sharp Objects; or on a lighter and happier note, even a film like Veere Di Wedding punctures this culture of silence, quite simply by refusing to be silenced and saying the not-nice things, or depicting the so called ‘unspeakable’ things that could happen to girls. By talking about the unspeakable, you rob it of the power to shame you; you disallow the ‘Culture of Nice’ to erase your experience. You stand up for yourself and you build your own identity.

And this to me is the most liberating aspect of being an actor, and even just a girl at a time when shows like Sharp Objects and Big Little Lies (another great show on Hotstar Premium), and films like Veere Di Wedding and Anaarkali Of Aarah are being made.

The next time I hear someone say, “Nice girls don’t do that!”, I know what I’m going to say — I don’t give a shit about nice. I’m just a girl! And that’s okay!

Swara is a an award winning actor of the Hindi film industry. Her last few films, including Veere Di Wedding, Anaarkali of Aaraah and Nil Battey Sannata have earned her both critical and commercial success. Swara is an occasional writer of articles and opinion pieces. The occasions are frequent :).

Watch the trailer of Sharp Objects here:


This article was published by the Scroll marketing team with Swara Bhasker on behalf of Hotstar Premium and not by the Scroll editorial team.