KITAAB

V.S. Naipaul, the Nobel laureate who died at 85 on Saturday, had so many gifts as a writer — suppleness, wit, an unsparing eye for detail — that he could seemingly do whatever he wanted. What he did want, it became apparent, was to rarely please anyone but himself. The world’s readers flocked to his many novels and books of reportage for “his fastidious scorn,” as the critic Clive James wrote, “not for his large heart.” In his obvious greatness, in the hard truths he dealt, Naipaul attracted and repelled.

He was a walking sack of contradictions, in some ways the archetypal writer of the shifting and migratory 20th century. His life was a series of journeys between old world and new. He was a cool and sometimes snappish mediator between continents. Indian by descent, Trinidadian by birth, Naipaul attended Oxford and lived in London, where he came to wear elegant suits and move in elite social circles. “When I talk about being an exile or a refugee I’m not just using a metaphor,” he said. “I’m speaking literally.”

His breakthrough book, after three comic works set in the Caribbean, was “A House for Mr. Biswas” (1961), a masterpiece composed when Naipaul was 29. It has lost none of its sweep and sly humor. It’s about a character, based on Naipaul’s father, who begins his life as a sign painter in Trinidad and Tobago and improbably rises to become a journalist. The first sign he paints reads, in words the industrious Naipaul seemed to take to heart: “IDLERS KEEP OUT BY ORDER.”

The richest and most eminently re-readable books of Naipaul’s fiction after “A House for Mr. Biswas” include “In a Free State,” an intimate suite of stories concerned with colonialism and the vagaries of power. Set in Egypt, America, Africa and England, it won the Booker Prize in 1971. “Guerrillas” was called “probably the best novel of 1975” by the editors of The New York Times Book Review. It is Naipaul’s most propulsive book. Set in an unnamed Caribbean country where the air is thick with postcolonial British dominion, it offers a complex portrait of the manners and motives of third world revolutionaries. It is an uncanny meditation on displacement. You never quite know where the novel is heading. Its author would later say, “Plot is for those who already know the world; narrative is for those who want to discover it.” His last great novel, set in postcolonial Central Africa, may have been “A Bend in the River” (1979).

Read more at the New York Times link here