The virtues of R. K. Narayan are Indian failings magically transmuted. I say this without disrespect: he is a writer whose work I admire and enjoy. He seems forever headed for that aimlessness of Indian fiction—which comes from a profound doubt about the purpose and value of fiction—but he is forever rescued by his honesty, his sense of humour and above all by his attitude of total acceptance. He operates from deep within his society. Some years ago he told me in London that, whatever happened, India would go on. He said it casually; it was a conviction so deep it required no stressing. It is a negative attitude, part of that older India which was incapable of self-assessment. It has this result: the India of Narayan's novels is not the India the visitor sees. He tells an Indian truth. Too much that is overwhelming has been left out; too much has been taken for granted. There is a contradiction in Narayan, between his form, which implies concern, and his attitude, which denies it; and in this calm contradiction lies his magic which some have called Tchekovian. He is inimitable, and it cannot be supposed that his is the synthesis at which Indian writing will arrive. The younger writers in English have moved far from Narayan. In those novels which tell of the difficulties of the Europe-returned student they are still only expressing a personal bewilderment; the novels themselves are documents of the Indian confusion. The only writer who, while working from within the society, is yet able to impose on it a vision which is an acceptable type of comment, is R. Prawer Jhabvala. And she is European. (pp. 227-28)
V. S. Naipaul, "Fantasy and Ruins," in his An Area of Darkness (copyright © 1964 by V. S. Naipaul; reprinted by permission of the author), A. Deutsch, 1964, pp. 197-229.∗
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