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|V. S. Naipaul|
|Born||Vidiadhar Surajprasad Naipaul[nb 1]
17 August 1932
Chaguanas, Trinidad and Tobago
|Occupation||Novelist, travel writer, essayist|
|Notable work(s)||A House for Mr. Biswas
In a Free State
A Bend in the River
The Enigma of Arrival
|Notable award(s)||Booker Prize
Nobel Prize in Literature
Patricia Ann Hale Naipaul (1955–96)Nadira Naipaul
Vidiadhar Surajprasad Naipaul (// or //; b. 17 August 1932), is a Trinidad-born Nobel Prize-winning British writer known for the comic early novels of Trinidad, the bleaker later novels of the wider world, and the chronicles of his life and travels.
Naipaul has published more than 30 books, both of fiction and nonfiction, over some 50 years.
Naipaul married Patricia Ann Hale in 1955. She served as first reader, editor, and critic of his writings until her death in 1996. To her Naipaul dedicated his A House for Mr. Biswas.
Background and early life: TrinidadEdit
V. S. Naipaul, familiarly Vidia Naipaul, was born on 17 August 1932 in the small town of Chaguanas on the island of Trinidad, then part of the British crown colony of Trinidad and Tobago. He was the second child and first son born to mother Droapatie (née Capildeo) and father Seepersad Naipaul. A half-century earlier, his paternal grandfather had emigrated from India to work as an indentured servant in the nearby sugar plantations. Some dozen years later his maternal grandfather would do the same. Many Indians, their prospects blighted by the Great Famine of 1876–78, or similar calamities, had emigrated to outposts of the British Empire such as Trinidad, Fiji, Guyana, and Suriname. Although slavery had been abolished in these places in 1833, slave labour was still in demand, and indenture was the subterfuge being employed to meet that demand.
In the largely peasant Indian immigrant community, Naipaul's father, Seepersad Naipaul, had fashioned the unlikely career of an English-language journalist. In 1929, he had begun contributing stories to the Trinidad Guardian, and in 1932, the year of his first son's birth, he became the provincial Chaguanas correspondent. In "A prologue to an autobiography," (1983), Naipaul describes how Seepersad's great reverence for writers and for the writing life spawned the dreams and aspirations of his eldest son.
The Naipauls were Hindu Brahmins according to the genealogy they had reconstructed in the New World. Their ancestors back in India had been guided by ritual restrictions. These included those on food—including the prohibition against eating flesh—drink, attire and social interaction. The New World was to loosen those restrictions. By the time of Naipaul's earliest childhood memories, chicken and fish were commonly eaten at the family's dining table, and Christmas was celebrated with a big dinner. Their clothing was changing. The men now wore only western clothes. For the women, the sari, the draped, unchanged garment of India, was being accessorized with belts and heeled footwear, its hemline rising in imitation of the skirt; in Naipaul's generation, the sari was to disappear altogether as an item of daily wear. Disappearing too were the languages of the old country. Naipaul and his siblings were encouraged to speak only English. At school, other languages were taught, but these were usually Spanish and Latin.
It was a family caught in such cultural transition that moved to Trinidad's capital Port of Spain, at first when Naipaul was seven, and then more permanently when he was nine. His father was now working at the Guardian 's headquarters.
Education: Port of Spain and Oxford, 1943–53Edit
Naipaul was soon enrolled in Queen's Royal College (QRC), an urban, cosmopolitan, high performing school, which was designed and functioned in the fashion of an English boys' public school, Naipaul enjoying his classes in Latin, French, Spanish, and Science. Still not quite 17, he won a Trinidad Government scholarship to study abroad. In the introduction to the 20th-anniversary edition of A House for Mr. Biswas, he reflected that the scholarship would have allowed him to study any subject at any institution of higher learning in the British Commonwealth, but that he chose to go to Oxford to do a simple degree in English. He went, he wrote, "in order at last to write...." In August 1950, Naipaul boarded a Pan Am flight to New York, continuing the next day by boat to London. He left Trinidad, like the narrator of Miguel Street, hardening himself to the emotion displayed by his family, and "not looking back," though, in old world fashion, he carried with him a baked whole chicken and roti bread made by his mother. For recording the impressions he was about to soak up, he purchased a pad of paper and a copying pencil, which a Pan Am stewardess (who, in his description, was "white and American and to me radiant and beautiful and adult") sharpened for him, Naipaul noting, "I had bought the pad and pencil because I was travelling to become a writer, and I had to start." The copious notes and letters from that time were to become the basis for the chapter "Journey" in The Enigma of Arrival.
Arriving at Oxford for the Michaelmas term, 1950, Naipaul felt he was sufficiently prepared academically; in the judgment of his Latin tutor, Peter Bayley, Naipaul showed promise and poise. But, a year on, by his reckoning, his attempts at writing felt contrived. Unsure of his ability and his calling, and lonely besides, Naipaul fell into a slump. His family in Trinidad began to worry, and by late March 1952, plans were afoot for a return home in the summer. His father put down a quarter of the passage. But the return that summer never came to pass. In early April, in the vacs before the Trinity term, Naipaul took an impulsive trip to Spain, and quickly and grandly spent all he had saved. Attempting an explanation to his family, he called it "a nervous breakdown." Thirty years later, he was to call it "something like a mental illness."
Meanwhile, earlier that year, at a college play, Naipaul had met Patricia Ann Hale, a young woman his age, who was studying history. Hale and Naipaul soon became intimate. With her support, Naipaul began to recover and slowly again to write. In turn, she became a partner in dreaming up his career. When they told their families, however, the response was unenthusiastic; from hers it was even hostile. The couple did not stop seeing one another, but increasingly kept their intimacies under wraps. In June 1953, both Naipaul and Hale graduated, both receiving, in his words, "a damn, bloody, ... second." J. R. R. Tolkien, professor of Anglo-Saxon at Oxford, however, thought Naipaul's Anglo-Saxon paper to have been the best in the university.
Back in Trinidad, Naipaul's father had had a coronary thrombosis in early 1953, and lost his job at the Guardian in the summer. Then, in October 1953, Seepersad Naipaul died. By Hindu tenets, it fell to Naipaul to light the funeral pyre—it was the mandatory ritual of the eldest son, the highest duty. But since there was not the time nor the money for Naipaul to return, his eight-year-old brother, Shiva Naipaul, performed the final rites of cremation. "The event marked him," Naipaul wrote about his brother. "That death and cremation were his private wound."
London, Caribbean Voices, marriage, 1954–56Edit
Through the summer and autumn of 1953 Naipaul was financially strapped, his prospects for employment in frugal post-war Britain unpromising, his applications to jobs overseas repeatedly rejected, and his attempts at writing still haphazard and running into dead ends. He was feeling the pressure of his family in Port of Spain, which was now expecting the newly minted graduate to help out. Working off and on at odd jobs, borrowing money from Pat or his family in Trinidad, Naipaul reluctantly enrolled for a B. Litt. post-graduate degree at Oxford in English Literature, with focus on Spanish literature. In December 1953, he failed his first B. Litt. exam. Although he passed the second written examination, his viva voce, in February 1954, with F. P. Wilson, an Elizabethan scholar and Merton Professor of English Literature at the University of Oxford, did not go well. He was failed overall for the B. Litt. degree.[nb 2] With that also ended all hopes of being supported for academic studies at Oxford.
Now indigent, Naipaul moved to London, where he gratingly accepted shelter in the flat of a cousin. Pat, who in the mean time had won a scholarship for further studies at the University of Birmingham, moved out of her parents' flat to independent lodgings, where Naipaul could visit her. For the remainder of 1954, Naipaul showed snatches of behaviour—some characteristic of later years, some not—that tried the patience of his ragtag support group. He railed against Trinidad and Trinidadians; he railed at the British who he felt had plucked him out of Trinidad and left him hanging, without opportunity; he took refuge in illness, but when help was offered, he often rebuffed it. He was increasingly dependent on Pat, who calmly carried on, offering him in equal measure money, practical advice, encouragement, and rebuke, but all the while firmly expressing her love. But in spite of efforts made by friends, no gainful employment appeared. Then, in December 1954, Naipaul got his lucky break. Henry Swanzy, producer of the BBC weekly program, Caribbean Voices, offered Naipaul a three-month renewable contract as presenter of the program. Swanzy, on whose program a generation of Caribbean writers had debuted, including George Lamming, Samuel Selvon, the 19-year-old Derek Walcott and, earlier, Naipaul himself, was being transferred to Accra to manage the Gold Coast Broadcasting System. Naipaul would stay in the part-time job for four years, and Pat would remain the critical breadwinner for the couple.
In January 1955, Naipaul moved to new lodgings, a small flat in Kilburn, and he and Pat married, neither telling their families or friends—their wedding guests limited to the two witnesses required by law. Pat, continued to live in Birmingham, but visited on the weekends. At the BBC, Naipaul presented the program once a week, wrote short reviews and conducted interviews. The sparsely furnished freelancers' room in the old Langham Hotel flowed with the banter of Caribbean writers and would-be writers, providing camaraderie and fellowship. Still, for Naipaul, the writer's life, that "fair reward for the long ambition", seemed out of grasp. Then, one afternoon in the summer of 1955, in such surroundings, inspiration struck, and Naipaul typed out in one sitting a 3,000-word story based on a Port of Spain memory of a man, preternaturally placid, called Bogart in the story. Three fellow writers, John Stockbridge, Andrew Salkey, and Gordon Woolford, who read the story later, were struck by it and encouraged him to go on. In five weeks, Naipaul had written his first publishable book, Miguel Street, a collection of linked stories of that Port of Spain street. Although the book would not be published right away, Naipaul's talent caught the attention of publishers and his spirits began to lift.
Early Trinidad novels: 1956–58Edit
Diana Athill, Naipaul's editor, liked Miguel Street, but the publisher, André Deutsch, thought a series of linked stories by an unknown Caribbean writer unlikely to sell profitably in Britain. He encouraged Naipaul to write a novel instead. Without enthusiasm, without consolation, Naipaul wrote The Mystic Masseur quickly in Autumn 1955. On 8 December, 1955, his novel was accepted by the publisher, Naipaul receiving a £125 payment, and wiring Trinidad, "NOVEL ACCEPTED LOVE. VIDO"
In late August 1956, six years after arriving in England, three years after his father's death, and in the face of much pressure from his family in Trinidad, especially his mother, to visit, Naipaul boarded TSS Cavina, an Elders&Fyffes passenger-carrying banana boat, in Bristol. Ever conscious of his ambition to be a writer, he sent back to Pat graphic, harsh, humorous, descriptions of the ship's passengers, most returning West Indians, and recorded their conversations in the West Indian dialect. Once in Trinidad, his early letters spoke to the wealth created there during the intervening years, and the material gains on display, in contrast to the prevailing frugal economy in post-war Britain. Trinidad was in its last phase before decolonization, and there was a new-found confidence, and a more strident assertion of rights and privileges. However, there were also avowals of racial separateness—in contrast to the fluid, open racial attitudes of Naipaul's childhood—and there was violence. In the elections of 1956, the party supported by the majority blacks and Indian Muslims narrowly won, leading to an increased sense of gloom in Naipaul. This showed not only in his letters, but also in his excessive churlishness and criticism of his family during his stay. Naipaul accompanied a politician uncle, a candidate of the primarily-Hindu party, to his campaign rallies. During these and other events he was gathering ideas for later literary use. By the time he left Trinidad, he had written to Pat about plans for a new novelette on a rural election in Trinidad. These ideas would transmute upon his return to England into the comic novel The Suffrage of Elvira.
Back in England, Deutsch informed Naipaul that the The Mystic Masseur would not be published for another ten months. Naipaul's anger at the publisher coupled with his anxiety about surviving kindled more creative energy: The Suffrage of Elvira was written with great speed during the early months of 1957. Good news finally came in June with the publication of Masseur. The reviews were generally complimentary, though some were patronizing; Naipaul copied out many of the reviews by hand for his mother, including the Daily Telegraph's, "V. S. Naipaul is a young writer who contrives to blend Oxford wit with with home-grown rambunctiousness and not do harm to either." Still awaiting his book royalties, in summer 1957, Naipaul accepted his only full-time employment, the position of editorial assistant at the Cement and Concrete Association (C&CA). The association published the magazine Concrete Quarterly. Although he hated the desk job and remained in it for a mere ten weeks, the salary of £1,000 a year provided financial stability, allowing him to send money to Trinidad. The C&CA was also to be the office setting for Naipaul's later novel, Mr. Stone's and the Knight's Companion. Around this same time, writer Francis Wyndham, who had taken Naipaul under his wing, introduced him to novelist Anthony Powell. Powell, in turn, convinced the publisher of the the New Statesman, Kingsley Martin, to give Naipaul a part-time job reviewing books. Naipaul would review books once a month from 1957 to 1961.
With many West Indian writers now active in England, Caribbean Voices was judged to have achieved its purpose and slated to terminate in August 1958. Naipaul's relations with his BBC employers began to fray. Despite three years of hosting the program and three completed novels, he had been unable to make the transition to mainstream BBC programming. He claimed later that he was told those jobs were reserved for Europeans. In July 1958, after turning up late for a program, Naipaul was reprimanded by the producers, and, in his words, "broke with the BBC."
His novels, with promotional help from his publisher, would soon receive critical acclaim. The Mystic Masseur was awarded the John Llewellyn Rhys Prize in 1958, and Miguel Street the Somerset Maugham Award in 1961, W. Somerset Maugham himself approving the first-ever selection of a non-European.
A House for Mr Biswas 1957–60Edit
Not long after Naipaul began writing A House for Mr Biswas, he and Pat moved across town from their attic flat in Muswell Hill to an upstairs flat in Streatham Hill. It was the first home in which they felt comfortable. In his forward to the 1983 Alfred A. Knopf edition of the book, Naipaul was to write:
"I had more than changed flats: for the first time in my life I enjoyed solitude and freedom in a house. And just as, in the novel, I was able to let myself go, so in the solitude of the quiet, friendly house in Streatham Hill I could let myself go. ... The two years spent on this novel in Streatham Hill remain the most consuming, the most fulfilled, the happiest years of my life. They were my Eden."
The book is an imagined version of his father's life as fashioned from the trove of childhood memories. The story as it evolved became so real for Naipaul, that he later claimed it had "destroyed memory" in some respects. The protagonist, Mohun Biswas, referred to throughout the book as Mr Biswas, is propelled by the forces of circumstance into a succession of vocations: apprentice to a Hindu priest; a signboard painter; a grocery store proprietor in the "heart of the sugarcane area;" a driver, or "sub-overseer," in a dark, damp and overgrown estate; and a reporter for The Trinidad Sentinel. What ambition or resourcefulness Mr Biswas possesses is inevitably undermined by his dependence on his powerful in-laws and the vagaries of opportunity in a colonial society. His in-laws, the Tulsis, with whom he lives much of the time, are a large extended family, and are caricatured with great humour, and some unkindness, in the novel. There is a melancholic streak in Mr Biswas which makes him at times directionless and clumsy, but it also stirs flashes of anger and of sniping wit. Humour underpins the many tense relationships in the book. Eventually, as times change, as two of his children go abroad for college, and as ill-health overcomes him, he buys a house, with money borrowed from a friend, and moves into it with his wife and remaining children, and in small measure strikes out on his own before he dies at age 46. According to author Patrick French, A House for Mr Biswas is "universal in the way that the work of Dickens or Tolstoy is universal; the book makes no apologies for itself, and does not contextualize or exoticize its characters. It reveals a complete world."
The writing of the book consumed Naipaul. In 1983, he was to write:
The book took three years to write. It felt like a career; and there was a short period, towards the end of the writing, when I do believe I knew all or much of the book by heart. The labour ended; the book began to recede. And I found that I was unwilling to re-enter 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.
The reviews of the book both in the British press and the Caribbean were generous. In The Observer, Colin McInnes wrote that the book had the "unforced pace of a masterpiece: it is relaxed, yet on every page alert." Francis Wyndham, writing in the London Magazine, suggested that the book was "one of the clearest and subtlest illustrations ever shown of the effects of colonialism ...." In his Trinidad Guardian review, Derek Walcott, judged Naipaul to be "one of the most mature of West Indian writers."
The Middle Passage, India, An Area of Darkness 1961–63Edit
In September 1960, Naipaul was sounded out about visiting Trinidad as a guest of the government and giving a few lectures. Soon an invitation arrived offering an all-expenses-paid trip and a stipend. He and Pat, both exhausted after the completion of A House for Mr Biswas, spent the next five months in the Caribbean. In Port-of-Spain, Naipaul was invited by Dr. Eric Williams, Premier of Trinidad and Tobago within the short-lived West Indies Federation, to visit other countries of the region and write a book on the Caribbean. The Middle Passage: Impressions of Five Societies – British, French and Dutch in the West Indies and South America, Naipaul's first work of travel writing, was the result. To gather material for the book, Naipaul and Pat traveled to British Guiana, Suriname, Martinique and Jamaica.
The book begins with perceptive, lively, but unflattering and gratuitously descriptive portraits of the fellow passengers bound for Trinidad. Although he was later criticized for the insensitivity of these descriptions, he stood by his book, claiming it was "a very funny book," and that he was employing a form of irreverent West Indian humour. Naipaul does not attempt to be detached, continually reminding the reader of his own ties to the region. For him, the West Indies are islands colonized only for the purpose of employing slaves for the production of other peoples' goods; he states, "The history of the islands can never be told satisfactorily. Brutality is not the only difficulty. History is built around achievement and creation; and nothing was created in the West Indies." As the narrative progresses, Naipaul becomes more sympathetic and insightful, noting that no African names remain on the islands; that slavery had engendered "self-contempt," impelling the descendants of the slaves to idealize European civilization and to look down on all others; that the debasement of identity has created racial animosity and rivalry among the brutalized peoples. Since he does not see nationalism as having taken root in these societies, only cults of personality, he does not celebrate the coming of independence, though he never suggests a return to colonial subjecthood.
In early 1962, Naipaul and Pat, arrived in India on a year-long visit. It was Naipaul's first visit to the land of his ancestors. The title of the resulting book, An Area of Darkness, was not so much a reference to India as to Naipaul's effort to understand India. Soon after arrival, Naipaul was overwhelmed by two feelings. First, for the first time in his life, he felt anonymous, even faceless. He was no longer identified, he felt, as part of a special ethnic group as he had in Trinidad or England and this made him anxious. Second, he was upset by what he saw was the resigned or evasive Indian reaction to poverty and suffering. After a month in Bombay and Delhi, Naipaul and Pat spent five months in Kashmir, staying in a lakeside hotel, "Hotel Liward," in Srinagar. Here, Naipaul was exceptionally productive. He wrote a novella Mr. Stone and the Knight's Companion, set in London, and based, in part, on his experiences working for the Cement and Concrete Association, and, in part, on his relationship with Pat. He wrote a number of short stories which were eventually published in the collection A Flag on the Island. Most memorably, his evolving relationship with the hotel manager, Mr. Butt, and especially his assistant, Mr. Aziz, became the subject of the middle section of An Area of Darkness, Naipaul bringing his novelistic skills and economy of style to bear with good effect. During the rest of his stay, his frustration with some aspects of India mounted even as he felt attraction to other aspects. Gorakhpur, in eastern Uttar Pradesh, he wrote later, had "reduced him to the early-Indian stage of (his) hysteria." During his visit to his ancestral village, soon afterwards, Naipaul impatiently turned down a request for assistance and made a quick getaway. But in a letter, he also wrote: "As you can imagine I fell in love with these beautiful people, their so beautiful women who have all the boldness and independence ... of Brahmin women ... and their enchanting fairy-tale village."
Just before he left India, Naipaul was asked by the editor of the Illustrated Weekly of India, a prominent, established, English-language magazine, to write a monthly "Letter from London" for the magazine. Naipaul accepted for a fee of £30 a letter. He wrote a monthly letter for the next two years. It would be the only time he would write regularly on the contemporary culture in England, his country of domicile. The topics included cricket, the Beetles, the Profumo affair, advertising in the London Tube, and the Queen.
Africa, The Mimic Men, The Loss of El Dorado, 1964–69Edit
Naipaul had spent an overwrought year in India and, after An Area of Darkness was completed back in London, he felt creatively drained. He felt he had used up his Trinidad material, but neither India, nor the writing of Mr Stone and the Knight's Companion, his only attempt at a novel set in Britain with white British characters, had spurred new ideas for imaginative writing. His finances too were low, and Pat went back to teaching to supplement them. Naipaul's books had received much critical acclaim, but they were not yet money makers. Socially, he was now breaking away from the Caribbean Voices circle, but no doors had opened to mainstream British society.
That changed when Naipaul was introduced to Antonia Fraser, at the time the wife of conservative politician Hugh Fraser. Fraser introduced Naipaul to her social circle of upper-class British politicians, writers, and performing artists. In this circle was the wealthy second Baron Glenconner, father of novelist Emma Tennant and owner of estates in Trinidad, who arranged for an unsecured loan of £7,200 for Naipaul. Naipaul and Pat bought a three-floor house on Stockwell Park Crescent.
In late 1964, Naipaul was asked to write an original script for an American movie. He spent the next few months in Trinidad writing the story, a novella named, A Flag on the Island. The finished version was not to the director's liking and the movie was never made. In the story, set in the present time—1964, the island is not named. The main character is an American named "Frankie" who affects the mannerisms of Frank Sinatra. Frankie has links to the island from serving there during World War II. He revisits reluctantly when his ship anchors there during a hurricane. Naipaul wilfully makes the pace of the book feverish, the narrative haphazard, the characters loud, the protagonist fickle or deceptive, and the dialogue confusing. Balancing the present time is Frankie's less disordered, though comfortless, memory of 20 years before. Then he had become a part of a community on the island. He had tried to help his poor friends by giving away the ample US Army supplies he had. Not everyone was happy about receiving help and not everyone benefited. Frankie was left chastened about finding tidy solutions to the island's social problems. This theme, indirectly developed in the story, is one to which Naipaul would return again.
In A Free State, Guerillas, 1970–76Edit
A Bend in the River, Among the Believers 1977–84Edit
The Enigma of Arrival 1985–1989Edit
A Way in the World 1990–1995Edit
The last period, 1996–presentEdit
In awarding Naipaul the 2001 Nobel Prize in Literature, the Swedish Academy praised his work "for having united perceptive narrative and incorruptible scrutiny in works that compel us to see the presence of suppressed histories." The Committee added, "Naipaul is a modern philosophe carrying on the tradition that started originally with Lettres persanes and Candide. In a vigilant style, which has been deservedly admired, he transforms rage into precision and allows events to speak with their own inherent irony." The Committee also noted Naipaul's affinity with the novelist Joseph Conrad:
Naipaul is Conrad's heir as the annalist of the destinies of empires in the moral sense: what they do to human beings. His authority as a narrator is grounded in the memory of what others have forgotten, the history of the vanquished.
His fiction and especially his travel writing have been criticised for their allegedly unsympathetic portrayal of the Third World. Edward Said, for example, argues that Naipaul "allowed himself quite consciously to be turned into a witness for the Western prosecution", promoting what Said classifies as "colonial mythologies about wogs and darkies". Said believes that Naipaul's worldview may be most salient in the author's book-length essay The Middle Passage, which Naipaul composed after returning to the Caribbean after ten years of exile in England, and the work An Area of Darkness.
The actual world has for Naipaul a radiance that diminishes all ideas of it. The pink haze of the bauxite dust on the first page of Guerrillas tells us what we need to know about the history and social organization of the unnamed island on which the action takes place, tells us in one image who runs the island and for whose profit the island is run and at what cost to the life of the island this profit has historically been obtained, but all of this implicit information pales in the presence of the physical fact, the dust itself... The world Naipaul sees is of course no void at all: it is a world dense with physical and social phenomena, brutally alive with the complications and contradictions of actual human endeavour... This world of Naipaul's is in fact charged with what can only be described as a romantic view of reality, an almost unbearable tension between the idea and the physical fact...
- The Mystic Masseur (1957) – film version: The Mystic Masseur (2001)
- The Suffrage of Elvira (1958)
- Miguel Street (1959)
- A House for Mr Biswas (1961)
- Mr. Stone and the Knights Companion (1963)
- The Mimic Men (1967)
- A Flag on the Island (1967)
- In a Free State (1971) – Booker Prize
- Guerrillas (1975)
- A Bend in the River (1979)
- The Enigma of Arrival (1987)
- A Way in the World (1994)
- Half a Life (2001)
- The Nightwatchman's Occurrence Book: And Other Comic Inventions (Stories) – (2002)
- Magic Seeds (2004)
- The Middle Passage: Impressions of Five Societies – British, French and Dutch in the West Indies and South America (1962)
- An Area of Darkness (1964)
- The Loss of El Dorado (1969)
- The Overcrowded Barracoon and Other Articles (1972)
- India: A Wounded Civilization (1977)
- A Congo Diary (1980)
- The Return of Eva Perón and the Killings in Trinidad (1980)
- Among the Believers: An Islamic Journey (1981)
- Finding the Centre: Two Narratives (1984)
- A Turn in the South (1989)
- India: A Million Mutinies Now (1990)
- Beyond Belief: Islamic Excursions among the Converted Peoples (1998)
- Between Father and Son: Family Letters (1999, edited by Gillon Aitken)
- The Masque of Africa (2010)
- : // //// (two words are concatenated in the second name) Meaning: vidiādhar (Hindi "possessed of learning," (p. 921) from vidyā (Sanskrit "knowledge, learning," p. 921) + dhar (Sanskrit "holding, supporting," p. 524)); sūrajprasād (from sūraj (Hindi "sun," p. 1036) + prasād (Sanskrit "gift, boon, blessing," p. 666)) from McGregor, R. S. (1993), The Oxford Hindi-English Dictionary, Oxford University Press.
- According to Naipaul's authorized biographer Patrick French, Wilson was "a retired professor ... who was renowned for being taciturn and socially awkward." and that Naipaul blamed Wilson for failing him—in Naipaul's words—"deliberately and out of racial feeling." However, according to Wilson's ODNB biographers, Wilson retired later, in 1957, and was, "a master of social graces and a witty conversationalist."
- "The Nobel Prize in Literature 2001". Nobelprize.org.
- Naipaul 1987, p. 352.
- French 2008, pp. 1–14.
- Hayward 2002, p. 8.
- French 2008, p. 12.
- Visaria & Visaria 1983, p. 515,a: Quote: "A majority of the emigrants were from rural areas and from 'overcrowded agricultural districts' where 'crop failure could plunge sections of the village community into near-starvation'. In fact, there was a strong correlation between emigration and harvest conditions. Acute scarcity during 1873–5 in Bihar, Oudh and the North West Provinces provoked large-scale emigration through the port of Calcutta. The famine in south India during 1874–8 also resulted in heavy emigration."
- Visaria & Visaria 1983, p. 515,b: Quote: "Most of the emigrants probably left even their villages of origin for the first time in their lives, and they were not fully aware of the hardships involved in long voyages and in living abroad. Diseases — cholera, typhoid, dysentery — were often rampant in depots or temporary abodes for labourers at ports of embarkation and also on ships. Consequently, mortality among the recruits and emigrants was very high. The data on long voyages to British Guiana and the West Indies clearly show that mortality at sea was alarmingly high. Before 1870, on an average about 17 to 20 per cent of the labourers departing from Calcutta port died on the ships before reaching their destination."
- French 2008, p. 5: "When slavery was formally abolished across the British empire in 1834 and cheap labour was needed for the sugar-can plantations, malnourished Indians were shipped over from Calcutta and Madras. ... Black agricultural labourers found their wages being undercut. They looked down on the Indians, who had to work long hours in the cane fields, as the 'new slaves'."
- French 2008, p. 18b:"There was talk of him (Seepersad) becoming a pundit, and he learned some Sanskrit. Soookdeo Misir, ... gave him a basic education. ... by the time he was in his late teens, he had escaped from the likely future as an agricultural labourer in the grim depths of the rural Indian community. He had taught himself how to read and write English, and had conceived the idea of becoming a journalist, a profession that was usually open to Whites and Negroes."
- French 2008, p. 19: "In 1929, the year of his marriage, Seepersad began work as a freelance reporter on the Trinidad Guardian, ..."
- Hayward 2002, p. 7.
- French 2008, pp. 36–37: "Vido spent much of his time at Petit Valley with Pa, who would read to him and sometimes to other children: extracts from Julius Caesar, Nicholas Nickleby, Three Men in a Boat, ... Pa and Vido positioned themselves in an ordered fantasy world derived from European literature ... Aspiration and ambition became the alternative to daily life ..."
- Naipaul 1983c.
- French 2008, pp. 23–25:"The three surviving photographs of Capildeo Maharah (Naipaul's maternal grandfather) show him looking distinctly Brahminical. ... He wears white clothing befitting his caste, his shoes are unlaced to indicate that he has not touched leather with his hand, ... This physical evidence, combined with the certainty that he knew Sanskrit, make his claimed family lineage highly plausible. ... Seepersad's antecedents are vague; he never liked to discuss his childhood. ... Nyepaul (Naipaul's paternal grandfather) may have been a pure Brahmin, a Brahmin-by-boat, or he may have come from another caste background altogether. ... V. S. Naipaul never addressed this inconsistency, preferring to embrace the implied "caste sense" of his mother's family, ..."
- French 2008, p. 55a: "Hinduism had regulations on all things: clothing, ritual pollution, caste distinction, bodily functions, diet."
- French 2008, p. 55b: The Naipaul family were not vegetarian, as most Brahmins are supposed to be; they sometimes ate meat, and treated chicken as a vegetable. At Christmas they would celebrate with baked fowl, dalpuri, nuts and fruit."
- French 2008, pp. 208–209: (caption) Above left: "Vidia with his glamorous sisters, ... Long gone were the days of covered heads and traditional dress for Indian women in Trinidad. Above right: Ma (Naipaul's mother) in heels with an Oxford-returned Vidia, 1956."
- French 2008, p. 26: "What Nanie (Naipaul's maternal grandmother) said, went. .... (quoted) 'Nanie believed in the Hindu way of life but the irony of it is, she would help with the churches and celebrate all the Catholic festivals ... She told us that she wanted us to speak in English, not Hindi, because we had to be educated.'"
- French 2008, pp. 29–37.
- French 2008, p. 30: "Nanie had bought a house, 17 Luis Street, in the Port of Spain suburb of Woodbrook ... This coincided with Seeperdad's recovery from his nervous breakdown, and his success in 1938 in regaining his job as a Guardian journalist. It was decided that the Naipaul family ... would move to Luis Street."
- French 2008, pp. 32–33: "The idyll could not last. In 1940, Seepersad and Droapatie were told by Nanie that they would be moving to a new family commune at a place called Petite valley. ... In 1943, Seepersad could stand it no longer at Petit Valley and the Naipaul family moved in desperation to 17 Luis Street.
- French 2008, pp. 40–41: "QRC was modelled on an English boys' public school, and offered a high standard of education. ... He enjoyed his classes n Latin, French, Spanish and Science. It was a highly competitive school, with metropolitan values. Caribbean dialect was ironed out in favour of standard English, although the students remained bilingual ...."
- French 2008, p. 67.
- French 2008, p. 73a: "Vidia thought that the quality of the education he had received at QRC put him ahead of his (Oxford) contemporaries."
- French 2008, p. 73b: "Peter Bayley remembers Vidia reading a later essay on Milton's Paradise Lost ... 'I knew I had a winner.'"
- French 2008, p. 96: "Peter Bayley had been impressed with Vidia's confidence, ... Vidia, then, was able to adjust and compose himself in a social, formal setting."
- French 2008, p. 93: "When Vidia got back to England, he was in a bad state. Trinidad was off. 'The fact is,' he admitted, 'I spent too much money in Spain. And, during the nervous breakdown (yes, it was that) I had, I grew rash and reckless ... My only opportunity of recuperating from my present chaos is to remain in England this summer and live very cheaply.'"
- Jussawalla 1997, p. 126: "At Oxford he continued to suffer. 'I drifted into something like a mental illness,' he would write."
- French 2008, p. 115.
- French 2008, p. 111.
- French 2008, p. 118.
- French 2008, p. 123.
- Naipaul 1987, p. 346.
- French 2008, pp. 117–128.
- Robertson & Connell 2004.
- French 2008, p. 128: "He remained at Oxford, the staff of the college library having given him and administrative job to tide him over."
- Naipaul 1958c.
- French 2008, pp. 155–156.
- French 2008, p. 160.
- French 2008, p. 161.
- French 2008, p. 163.
- French 2008, pp. 164–165.
- French 2008, p. 165.
- French 2008, pp. 167–168.
- French 2008, p. 169.
- French 2008, pp. 171–172.
- French 2008, p. 173.
- French 2008, pp. 174–175.
- French 2008, pp. 180–181.
- French 2008, pp. 186–187.
- French 2008, p. 179.
- French 2008, pp. 178–179.
- French 2008, pp. 179–180.
- French 2008, p. 185.
- Naipaul 1961.
- French 2008, p. 184.
- Naipaul 1999a, pp. 133, 136.
- French 2008, p. 192.
- French 2008, p. 193.
- French 2008, p. 194.
- Naipaul 1999a, p. 128.
- French 2008, p. 196.
- Naipaul 1964.
- French 2008, p. 201.
- French 2008, pp. 201–202.
- Dooley 2006, p. 37.
- Dooley 2006, pp. 37–38.
- French 2008, p. 202.
- Dooley 2006, p. 39.
- French 2008, p. 203.
- French 2008, p. 230.
- Dooley 2006, p. 44.
- French 2008, p. 215.
- Dooley 2006, pp. 41–42.
- French 2008, p. 217.
- Dooley, pp. 42–43.
- Dooley 2006, pp. 43–44.
- French 2008, pp. 218–219.
- French 2008, pp. 226–227.
- French 2008, pp. 232–233.
- Naipaul 1967, p. 133.
- "The Nobel Prize in Literature 2001: V. S. Naipaul (Press Release)". Svenska Akademien. 11 October 2001.
- Said, Edward W (1 March 2002). "Edward Said on Naipaul". Archived from the original on 10 October 2007. Retrieved 10 October 2008.
- Didion, Joan (12 June 1980). "Without Regret or Hope". The New York Review of Books.
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- King, Bruce (2003), V.S. Naipaul (2nd ed.), Palgrave Macmillan, ISBN 978-1-4039-0456-0
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- Also:Naipaul, V. S. (1983b). "Writing 'A House for Mr. Biswas'". The New York Review of Books, 24 November 1983.
- Naipaul, V. S. (1986), "A prologue to an autobiography", Finding the Center: Two Narratives, Vintage Books, ISBN 978-0-394-74090-4, retrieved 19 September 2013
- Also: Naipaul, V. S. (1983c), "A prologue to an autobiography", Vanity Fair, April 1983
- Naipaul, V.S. (1987), The Enigma of Arrival, New York: Alfred A. Knopf, ISBN 978-0-307-74403-6, retrieved 28 September 2013
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- Boxill, Anthony (1976), "The Little Bastard Worlds of VS Naipaul's The Mimic Men and A Flag on the Island", International Fiction Review 3 (1)
- Buruma, Ian (20 November 2008). "Lessons of the Master". The New York Review of Books.
- Chotiner, Isaac (7 December 2012), V.S. Naipaul on the Arab Spring, Authors He Loathes, and the Books He Will Never Write, New Republic
- Fraser, Peter D. (2010), "Review of V.S. Naipaul: Man and Writer by Gillian Dooley", Caribbean Studies (Institute of Caribbean Studies, UPR, Rio Piedras Campus) 38 (1): 212–215
- Greenberg, Robert M. (Summer, 2000), "Anger and the Alchemy of Literary Method in V. S. Naipaul's Political Fiction: The Case of The Mimic Men", Twentieth Century Literature 46 (2): 214–237
- Marnham, Patrick (April 1994), An Interview with VS Naipaul, Literary Review
- Naipaul, V. S. (17 October 1974). "Conrad's Darkness". The New York Review of Books.
- Miller, Karl (Nov., 1967), "V. S. Naipaul and the New Order, The Mimic Men", The Kenyon Review 29 (5): 685–698
- Naipaul, V. S. (12 February 1987). "The Ceremony of Farewell". The New York Review of Books.
- Naipaul, V. S. (23 April 1987). "On Being a Writer". The New York Review of Books.
- Naipaul, V. S. (31 January 1991). "Our Universal Civilization". The New York Review of Books.
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- Pritchard, William H. (2008), "Naipaul Unveiled: Review of The World Is What It Is, The authorized biography of V. S. Naipaul by Patrick French", The Hudson Review 61 (3): 431–440
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- Visaria, Pravin; Visaria, Leela (1983), "Population (1757–1947)", in Dharma Kumar, Meghnad Desai, The Cambridge Economic History of India, Volume 2, ca. 1757–ca. 1970, Cambridge University Press, ISBN 978-0-521-22802-2
|Wikiquote has a collection of quotations related to: V. S. Naipaul|
- Nobel Lecture: Two Worlds at NobelPrize.org
- Appearances on C-SPAN
- V. S. Naipaul at the Internet Movie Database
- Works by or about V. S. Naipaul in libraries (WorldCat catalog)
- Jonathan Rosen, Tarun Tejpal (Fall 1998). "V. S. Naipaul, The Art of Fiction No. 154". The Paris Review.
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