Naipaul - 2/7/11 - third assignment questions

1. By now there have been numerous mentions of water hyacinths. What is the significance of this detail? Find several mentions and consider the context, beginning with the first one, on p. 46. 2. One of the most persistent dualities in the book is that between the ordinary and the exotic. Consider the passage on 96 in which Salim reflects that "we had been ordinary - now they (the Africans) were ordinary." On 129, dancing with Yvette: "I never wanted to be ordinary again." But later he finds her ordinary, visiting her house. Comment on these shifts from exotic to ordinary and their significance to the politics of the book. 3. Let's go back to Raymond's speech about the elusiveness of truth on p. 130. Raymond is a historian, but is he a truthful one? Can you relate the figure of Raymond to the opening of the novel and the comments that history and memory as well as lies are European? 4. Can you find a pattern in Salim's relationship to characters about whom he cares - Metty, Ferdinand, Indar, Yvette? How does he feel about them initially? How does his view of each one change? Is there a clue here to his character? 5. Another example of Salim's shifting opinions can be found in his relationship with Yvette. Originally, she is the antidote to the "brothel" pleasures to which he has become accustomed. But later, when she kisses his trousers and at other times, he begins to view her as similar to the "brothel" women. Is Salim a sexual moralist looking for purity? If not, then how do you interpret his attitude? 6. Salim's first sexual encounter with Yvette on pages 174-176 is presented as a major revelation for him. The paragraph beginning "Women make up half of the world..." is particularly striking. With the description in mind, interpret the significance of this event for Salim. Why is this new type of relationship so important to him? 7. On p. 148 Indar discusses an episode during which he feels his masculine pride has been injured. The question of masculinity comes up again for Salim in relation to Mahesh and his excessive devotion to Shoba. He sees Mahesh's weakness echoed in his own excessive devotion to Yvette. How does the theme of injured manliness relate to the larger political themes of the book? 8. Throughout the book Salim has been an observer or outsider, often a mentor to young men, a victim of his own faithfulness. In the later part of the novel, he appears to be more involved, particularly through his affair with Yvette. Has he become more "European," like Nazruddin, or is he as "African" as ever? Or are these distinctions no longer meaningful? Support your answer with reasons. 9. Is beauty a form of power in this book? Mahesh and Shoba are concerned with beauty; Metty benefits, in the short term, from his handsomeness; Indar is concerned with stylishness; and Yvette is notable for her beauty. What is the author's attitude towards concern with appearances - in men and women? 10. Yvette, when she tells the story of her marriage (187-189), clearly feels that she made a foolish decision. Consider here character and her reasons for becoming involved with Salim (does she have any reasons)? Is Naipaul's portrait of her sympathetic? Is she disappointed with Raymond's failures... or for some other reason? 11. Most characters with some exceptions - Nazruddin and Ferdinand - seem to be disappointed in the story. How would you interpret this pattern of dashed hopes as part of Naipaul's vision? What is different about those who seem to fare better? How are the disappointed characters flawed? Discuss a few characters specifically. 12. Consider the description of Ferdinand's departure on the steamer. How does the steamer show changing times - or things staying much the same - in postcolonial times? It's appearance in the story seems jarring - is it a symbol of some sort?