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• W1935708759 abstract "Following the excitement surrounding the novel's appearance in 1948--T.S. Eliot famously claimed, In all my experience, I have not met with anything like it. --Desani and All About H. Hatterr were largely disregarded until being briefly rediscovered in the 1970s by American academics following the novel's reissue and the author's move to the University of Texas in Austin in 1968 to teach philosophy. Although in recent years writers of no less stature than Salman Rushdie and Arundhati Roy have laid claim to Desani as a major influence upon their work, no significant new readings of All About H. Hatterr have been attempted that resituate the novel in its own significant historical moment or that complicate the modernist readings that have proven so influential in dehistorizing Desani in the first place. My purpose in this essay is both to historically recontcxtualize All About H. Hatterr and to offer a modernist reading of the novel that does not merely locate Desani on the tattered stylistic coattails of James Joyce but rather reinvestigates the author's complex relationship to his most celebrated source of influence as a calculated re-authoring and as a critical response to the excesses of Indian nationalist discourse. First, however, some general comments about the novel's overall structure. The narrative structure of All About H. Hatterr consists of seven episodes containing numerous encounters by H. Hatterr with various sages and holy men, who invariably turn out to be more (or often less) than they seem. Each chapter is prefaced with a Digest, which poses the central question(s) supposedly asked or answered by the action of the chapter. For example, from chapter one: The following raises the questions: Can fellers reclaim blood from lice? Has a man a chance in the world, or is it the fate of an icicle in Hades? By St Mungo, is there any justice-giustizia in the Globe? Or is it survival of the fittest and yet another man gone West? If a feller can survive the kiss of a cobra, can he survive the kiss of an embittered woman? Has endurance any antiseptic influence on men and things? What say you of this secondhand goods dealer? Read on fellers ... (39) Following the digest is an Instruction, featuring a conversation between Hatterr and a series of Indian Sages, of Calcutta, Rangoon, Madras, Bombay, Mogalsari-Varanasi, and, finally, of All-India. The first of these is worth noting because it contains instruction for reading the book. The Sage of Calcutta tells the story: once an Indian Maharaja was engaged, as was his wont, in sexual congress with a chambermaid, when a booming voice commands him, Stop fool! Running to the window, the Maharaja sees only a dove flying away. Offering a reward of half his empire and his empress in marriage to whoever can identify the source of the voice, the Maharaja is approached by a humble potter who claims that he owned a talking parrot whose cage was snatched away by a hawk at precisely the time of the Maharja's engagement with the chambermaid. The bird cried out Stop fool! at the hawk and not the Maharaja. Though infuriated by this revelation, the Maharaja nevertheless keeps his promise and offers half his kingdom and his empress in marriage to the poor potter. Hatterr is perplexed as to the moral of the tale and submits to the Sage that the chamber-maid must have been relieved to hear that the voice belonged merely to the parrot and not to a deity. Rebuking him for such a ridiculous answer, the Sage reveals that the moral of the story is in fact that A wise man, therefore, must master the craft of dispelling credible illusions. He should be suspicious (41). For it was not the potter's bird who admonished the Maharaj but rather the Empress herself, an adept ventriloquist speaking through a length of bamboo tube. What interests me most in this curious tale is that there are no embedded clues leading us to its eventual resolution. …" @default.
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• W1935708759 title "“Ambiguity at its Best!”: HistoricizingG.V. Desani’s All About H. Hatterr" @default.
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