By I. Coovadia
This publication strains the ways that difficulties of imaginitive authority and authorship constitution the fiction and non-fiction of V.S. Naipaul and resonate in postcolonial literature. Imraan Coovadia argues that the post-colonial societies Naipaul experiences in novels such as A Bend within the River and Guerillas are outlined by way of the fragility in their authority. Coovadia demonstrates via shut analyzing, how Naipaul, born in Trinidad to an Indian family members and resident of the United Kingdom, asserts his imaginative authority over many alternative events around the globe via a posh literary rhetoric.
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Yet similar debates— think of the charged discussions of J. M. Coetzee’s Disgrace or, in an earlier decade, Saul Bellow’s Mr. Sammler’s Planet—have been equally heated without the question of authorial competence emerging with equal urgency. One might disagree with Coetzee’s diagnosis of the South African situation in Disgrace or object to Bellow’s depiction of African American characters like the pickpocket in Mr. Sammler’s Planet, without denying their right and ability to represent such material.
In the course of his academic career, Ramsay Muir published numerous monographs and pamphlets on geopolitical topics, including, in 1915, The Making of British India, 1756–1858 and, in 1917, at the height of the conflict with Wilhelmine Germany, an apologia entitled The Character of the British Empire. As these titles suggest, John Ramsay Muir was a sympathetic theorist of British empire building, which he compares favorably with the German and other European variants. He was unusual in the period, if not altogether alone, in combining political liberalism with his emphatic defense of British overlordship.
The slaves are even violent (“very rough”) with those they consider beneath themselves. S. com - licensed to Fu Jen Catholic University - PalgraveConnect - 2011-03-04 Authority and Misquotation in A Bend in the River ● Authority and Authorship in V. S. Naipaul The comedy of these lines, like much of A Bend in the River and the related travel writing, goes a long way to extinguishing a reader’s enlightened impulses. ” While Naipaul’s point is that even the most oppressed members of society create their own lines of distinction and their own hierarchies, he puts this point in a way that is most damaging toward liberal assumptions about universal human dignity and about where dignity comes from.