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• W2319351512 abstract "Despite the hullabaloo about his nativity, attitude and education, the fact remains that V.S.Naipaul as a writer belongs to the Indian diaspora. Apparently, his description of India in the three travelogues as dark, wounded and mutinous does not go down well with the readers in this country. But that description is not totally incorrect and beneath that lies obviously the affinity for his roots. Bruce King is right when he says: While Naipaul is a rationalist, secular, a strong believer in Western individualism and scepticism, he is emotionally attracted towards Indian fatalism, passivity and philosophical notions of the world as illusion. Both world views vie with each other in his writings.(pp.7-8) Naipaul is thoroughly critical of Indian novelists over dependence on myths and lack of concern for the present condition of men. In An Area of Darkness he writes: The novel is of the west. It is a part of that western concern with the condition of men, a response to the here and now. In India thoughtful men have preferred to turn their back on the here and now. (p.214) However, the novel that Naipaul writes is not strictly a novel in the western sense of the term. According to Bruce King “.......he created his own, original, blend of fiction, reportage and autobiography” and again “he was at the forefront of bringing together various kinds of writing in fiction.”(p.5) These various kinds of writing that go into the writing of his fiction also includes mythology in small doses. Besides mythology, he also incorporates modern variants of myth such as pre-figurations and intertextuality, sometimes copiously, in his fiction. Again it must not be forgotten here that a myth or its modern variants in literature may be used either in affirmation or in denial i.e. a myth may be used as an ideal and point of reference or one may espouse the cause of a different ideology as a reaction to a particular myth. A pointed analysis of Half a Life vividly brings out the mythological motif behind this non-fiction novel of Mr Naipaul. ******** John J. White in his stimulating book Mythology in The Modern Novel distinguishes a mythological work from what is called a mythical one and maintains that a mythical novel is one which is commonly associated with a dynamic quality, a “mana” seldom present in a work that he describes as mythological. Being divested of this kind of religious connotation mythology becomes an equivalent of any ordinary allusion and this is further reinforced by his use of the term “pre-figuration” instead of myth. He considers the use of myth as a technique and explains that a myth introduced into a novel can prefigure and anticipate the plot in several possible ways: Ordinarily the term “pre-figuration” means “coming before” and it offers a system of comments on modern events. Liberally extending the term he maintains that even these pre-figurations include literary plot “pre-figurations” such as Shakespeare‟s plays in Aldous Huxley‟s Brave New World, Chekhov‟s The Seagull and in Macdonald Harris‟s Trepleff. As it is well known, many novels refer to other works and discourses. As a genre, the novel consciously gives space to other works. This is what nowadays goes by the name of intertextuality and this is a feature which Bakhtin appreciated in the novel. Going back to the middle ages; it was often seen, the relationship to another‟s word was equally complex and ambiguous. The boundary lines between someone else‟s speech and one‟s own speech were flexible, ambiguous, often deliberately distorted and confused. Certain types of texts were constructed like mosaics out of the texts of others. The term intertextuality, writes Pramod K. Nayar, “refers to the allusions, references to other works, echoes, quotes and citations and even plagiarized sections of a work”. (p.30)" @default.
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• W2319351512 date "2014-01-01" @default.
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• W2319351512 title "Dual Affinity in V. S. Naipaul’s Half a Life" @default.
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• W2319351512 doi "https://doi.org/10.9790/0837-19734448" @default.
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