Naipaul Quotes

We've searched our database for all the quotes and captions related to Naipaul. Here they are! All 100 of them:

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The only lies for which we are truly punished are those we tell ourselves.
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V.S. Naipaul (In a Free State)
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The world is what it is; men who are nothing, who allow themselves to become nothing, have no place in it.
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V.S. Naipaul (A Bend in the River)
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Most people are not really free. They are confined by the niche in the world that they carve out for themselves. They limit themselves to fewer possibilities by the narrowness of their vision.
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V.S. Naipaul
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Non-fiction can distort; facts can be realigned. But fiction never lies.
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V.S. Naipaul (A Bend in the River)
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After all, we make ourselves according to the ideas we have of our possibilities.
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V.S. Naipaul (A Bend in the River)
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It is wrong to have an ideal view of the world. That's where the mischief starts. That's where everything starts unravelling...
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V.S. Naipaul (Magic Seeds)
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His ignorance seemed to widen with everything he read.
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V.S. Naipaul (Half a Life)
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Like many isolated people, they were wrapped up in themselves and not too interested in the world outside.
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V.S. Naipaul (A Bend in the River)
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And it was strange, I thought, that sorrow lasts and can make a man look forward to death, but the mood of victory fills a moment and then is over
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V.S. Naipaul
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It isn't that there's no right and wrong here. There's no right.
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V.S. Naipaul (A Bend in the River)
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government that breaks its own laws can also easily break you.
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V.S. Naipaul (A Bend in the River (Picador Collection))
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Small things start us in new ways of thinking
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V.S. Naipaul (A Bend in the River)
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Life is a helluva thing. You can see trouble coming and you can't do a damn thing to prevent it coming. You just got to sit and watch and wait.
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V.S. Naipaul
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Anybody can be decisive during a panic; it takes a strong man to act during a boom.
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V.S. Naipaul (A Bend in the River (Picador Collection))
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Certain emotions bridge the years and link unlikely places.
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V.S. Naipaul
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How ridiculous were the attentions the weak paid one another in the shadow of the strong!
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V.S. Naipaul (A House for Mr Biswas)
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I'm the kind of writer that people think other people are reading.
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V.S. Naipaul (The Doom Murders (Inspector Sheehan Mysteries #1))
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Look, boys, it ever strike you that the world not real at all? It ever strike you that we have the only mind in the world and you just thinking up everything else? Like me here, having the only mind in the world, and thinking up you people here, thinking up the war and all the houses and the ships and them in the harbour. That ever cross your mind?
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V.S. Naipaul (Miguel Street)
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If a writer knows everything that is going to happen, then his book is dead before he begins it.
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V.S. Naipaul
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It was a light which gave solidity to everything and drew colour out from the heart of objects.
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V.S. Naipaul
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A stranger could drive through Miguel Street and just say β€œSum!” because he could see no more. But we who lived there saw our street as a world, where everybody was quite different from everybody else. Mam-man was mad; George was stupid; Big Foot was a bully; hat was an adventurer; Popo was a philosopher; and Morgan was our comedian.
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V.S. Naipaul (Miguel Street)
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He read political books. They gave him phrases which he could only speak to himself and use on Shama. They also revealed one region after another of misery and injustice and left him feeling more helpless and more isolated than ever. Then it was that he discovered the solace of Dickens. Without difficulty he transferred characters and settings to people and places he knew. In the grotesques of Dickens everything he feared and suffered from was ridiculed and diminished, so that his own anger, his own contempt became unnecessary, and he was given strength to bear the most difficult part of his day: dressing in the morning, that daily affirmation of faith in oneself, which at times for him was almost like an act of sacrifice.
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V.S. Naipaul (A House for Mr Biswas)
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The world is what it is: those who are nothing, who allow themselves to become nothing, have no place in it.
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Sir Vidya Naipaul
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How could people like these, without words to put to their emotions and passions, manage? They could, at best, only suffer dumbly. Their pains and humiliations would work themselves out in their characters alone: like evil spirits possessing a body, so that the body itself might appear innocent of what it did.
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V.S. Naipaul (The Enigma of Arrival: A Novel in Five Sections)
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It isn't easy to turn your back on the past. It isn't something you can decide to do just like that. It is something you have to arm yourself for, or grief will ambush and destroy you.
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V.S. Naipaul (A Bend in the River)
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It was as Nazruddin had said, when I asked him about visas and he had said that bank notes were better. 'You can always get into those places. What is hard is to get out. That is a private fight. Everybody has to find his own way.
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V.S. Naipaul (A Bend in the River)
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A businessman is someone who buys at ten and is happy to get out at twelve. The other kind of man buys at ten, sees it rise to eighteen and does nothing. He is waiting for it to get to twenty. The beauty of numbers. When it drops to ten again he waits for it to get back to eighteen. When it drops to two he waits for it to get back to ten. Well, it gets back there. But he has wasted a quarter of his life. And all he's got out of his money is a little mathematical excitement.
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V.S. Naipaul (A Bend in the River)
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Some lesser husbands built a latrine on the hillside.
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V.S. Naipaul (A House for Mr Biswas)
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doing many more things until it seemed that ritual had replaced grief.
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V.S. Naipaul (The Mystic Masseur)
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paradise seemed further away than India, but Hell had become a bit closer
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V.S. Naipaul
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Going home at night! It wasn't often that I was on the river at night. I never liked it. I never felt in control. In the darkness of river and forest you could be sure only of what you could see β€” and even on a moonlight night you couldn't see much. When you made a noise β€” dipped a paddle in the water β€” you heard yourself as though you were another person. The river and the forest were like presences, and much more powerful than you. You felt unprotected, an intruder ... You felt the land taking you back to something that was familiar, something you had known at some time but had forgotten or ignored, but which was always there. You felt the land taking you back to what was there a hundred years ago, to what had been there always.
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V.S. Naipaul (A Bend in the River)
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I often wonder what would have happened to me if I hadn't made that decision. I suppose I would have sunk. I suppose I would have found some kind of hole and tried to hide or pass. After all, we make ourselves according to the ideas we have of our possibilities. I would have hidden in my hole and been crippled by my sentimentality, doing what I was doing, and doing it well, but always looking for the wailing wall. And I would never have seen the world as the rich place that it is. You wouldn't have seen me here in Africa, doing what I do.
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V.S. Naipaul (A Bend in the River)
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A departure can feel like a desertion, a judgement on the place and people left behind.
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V.S. Naipaul (A Bend in the River)
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A complying memory has obliterated many of them and edited my childhood down to a brief cinematic blur.
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V.S. Naipaul
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But this is madness. I am going in the wrong direction. There can’t be a new life at the end of this.
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V.S. Naipaul (A Bend in the River (Picador Collection))
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On the front cover of Newsweek reviews "A House for Mr. Biswas" as "a marvelous prose epic that matches the best 19th century novels for richness of comic insight and final, tragic power.
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V.S. Naipaul (A House for Mr Biswas)
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Conrad,Nabokov, Naipaul - these are writers known for having managed to migrate between languages, cultures, countries, continents, even civilizations. Their imaginations were fed by exile, a nourishment drawn not through roots but through rootlessness. My imagination however, requires that I stay in the same street, in the same house, gazing at the same view. Istanbul's fate is my fate. I am attached to this city because it has made me who I am.
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Orhan Pamuk
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Out of its squalor and human decay, its eruptions of butchery, India produced so many people of grace and beauty, ruled by elaborate courtesy. Producing too much life, it denied the value of life; yet it permitted a unique human development to so many. Nowhere were people so heightened, rounded and individualistic; nowhere did they offer themselves so fully and with such assurance. To know Indians was to take a delight in people as people; every encounter was an adventure. I did not want India to sink [out of my memory]; the mere thought was painful.
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V.S. Naipaul (An Area of Darkness: A Discovery of India)
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We are never finished with grief.Β It is part of the fabric of living.Β It is always waiting to happen.Β Love makes memories and life precious; the grief that comes to us is proportionate to that love and is inescapable.
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V.S. Naipaul
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It is well that Indians are unable to look at their country directly, for the distress they would see would drive them mad. And it is well that they have no sense of history, for how then would they be able to continue to squat amid their ruins, and which Indian would be able to read the history of his country for the last thousand years without anger and pain? It is better to retreat into fantasy and fatalism, to trust to the stars in which the fortunes of all are written
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V.S. Naipaul (An Area of Darkness: His Discovery of India (Picador Collection))
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How terrible it would have been, at this time, to be without it; to have died among the Tulsis, amid the squalour of that large, disintegrating and indifferent family; to have left Shama and the children among them, in one room; or worse, to have lived without even attempting to lay claim to one’s portion of the earth; to have lived and died as one had been born, unnecessary and unaccommodated.
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V.S. Naipaul (A House for Mr Biswas)
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What matters in the end in literature, what is always there, is the truly good. And -- though played out forms can throw up miraculous sports like The Importance of Being Earnest or Decline and Fall-- what is good is always what is new, in both form and content. What is good forgets whatever models it might have had, and is unexpected; we have to catch it on the wing. ((p. 62, Reading & Writing)
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V.S. Naipaul
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To go back home was to play with impressions in this way, the way I played with the first pair of glasses I had, looking at a world now sharp and small and not quite real, now standard in size and real but blurred.
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V.S. Naipaul (A Way in the World)
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... and it was extraordinary to me that some of the newspapers could have found good words for the butchery on the coast. But people are like that bout places in which they aren't really interested and where thy don't have to live.
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V.S. Naipaul (A Bend in the River)
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That was the best time. The last day, the day of leaving. It was a good journey. It became different at the other end.
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V.S. Naipaul (A Bend in the River)
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How we flounder when emotion overtakes us.
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V.S. Naipaul
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Certain ideas overwhelm us by their simplicity.
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V.S. Naipaul (The Mimic Men)
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And so my satisfactions had only been brothel satisfactions, which hadn’t been satisfactions at all.
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V.S. Naipaul (A Bend in the River (Picador Collection))
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It made smuggling easy; but I was nervous of getting involved, because a government that breaks its own laws can also easily break you.
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V.S. Naipaul (A Bend in the River (Picador Collection))
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Neither my father nor grandfather could put dates to their stories. Not because they had forgotten or were confused; the past was simply the past.
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V.S. Naipaul (A Bend in the River (Picador Collection))
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We had become what the world outside had made us; we had to live in the world as it existed.
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V.S. Naipaul (A Bend in the River (Picador Collection))
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Change had come over him without his knowing. There had been no precise point at which the city had lost its romance and promise, no point at which he had begun to consider himself old, his career closed, and his visions of the future became only visions of Anand's future. Each realization had been delayed and had come, not as a surprise, but as a statement of a condition long accepted.
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V.S. Naipaul (A House for Mr Biswas)
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Zafar argues that the greatest influence on a writer may be on her psychic dispositions as a writer. Reading Philip Roth, writes Zafar, might clear the way of inhibitions that held you back from writing about reckless desire, the temptations of power, and the immanence of rage, or reading Naipaul might convince you to seize the ego that so wants to be loved, drag it outside, put it up against a wall, and shoot it.
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Zia Haider Rahman (In the Light of What We Know)
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For the first time in his life he began to experience a kind of true pride. He felt himself, so to speak, taking up space when he walked in the streets; and he wondered whether this was how other people felt all the time, without effort, all the secure people he met in London and Africa.
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V.S. Naipaul
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They say that men should look at the mother of the girl they intend to marry," Yvette said. "Girls who did what I did should consider the wife a man has discarded or worn out, and know thye are not going to do much better.
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V.S. Naipaul (A Bend in the River)
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In my late thirties the dream of disappointment and exhaustion had been the dream of the exploding head: the dream of a noise in my head so loud and long that I felt with the brain that survived that the brain could not survive; that this was death. Now, in my early fifties, after my illness, after I had left the manor cottage and put an end to that section of my life, I began to be awakened by thoughts of death, the end of things; and sometimes not even by thoughts so specific, not even by fear rational or fantastic, but by a great melancholy. This melancholy penetrated my mind while I slept; and then, when I awakened in response to its prompting, I was so poisoned by it, made so much not a doer (as men must be, every day of their lives), that it took the best part of the day to shake it off. And that wasted or dark day added to the gloom preparing for the night.
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V.S. Naipaul (The Enigma of Arrival: A Novel in Five Sections)
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To awaken to history was to cease to live instinctively. It was to begin to see oneself and one’s group the way the outside world saw one; and it was to know a kind of rage. India was now full of this rage. There had been a general awakening. But everyone awakened first to his own group or community; every group thought itself unique in its awakening; and every group sought to separate its rage from the rage of other groups.
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V.S. Naipaul (India: A Million Mutinies Now (Vintage International))
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As for the young man carrying the groceries, he was a thin, fair-skinned young man, and I would have said that he had been born in the house. He had the vacant, dog-like expressions that house-born slaves, as I remembered, liked to put on when they were in public with their masters and performing some simple task. This fellow was pretending that the Waitrose groceries were a great burden, but this was just an act, to draw attention to himself and the lady he served. He, too, had mistaken me for an Arab, and when we crossed he had dropped the burdened-down expression and given me a look of wistful inquisitiveness, like a puppy that wanted to play but had just been made to understand that it wasn't playtime.
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V.S. Naipaul (A Bend in the River)
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Divorce of the intellect from body-labour has made of us the shortest-lived, most resourceless and most exploited nation on earth.(This is about Indians - due to caste division).
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Shiva Naipaul
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Me black and beautiful’ was the first thing she taught me. Then she pointed to the policeman with the gun outside and taught me: β€˜He pig.
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V.S. Naipaul (In a Free State)
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It was in that garage that Alec worked, no longer wearing red bodices or peeing blue, but doing mysterious greasy things.
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V.S. Naipaul (2 Novels: A House For Mr. Biswas, A Bend In The River)
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[In]the too solid three-dimensional city, I could never feel myself as anything but spectral, disintegrating, pointless, fluid.
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V.S. Naipaul
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But the people I found, the people I was attracted to were not unlike myself. They were trying to find order in their world, looking for the centre..
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V.S. Naipaul
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His attitude, since he had begun to feel towards a character, was that I owed him something, simply because I seemed willing to help.
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V.S. Naipaul (A Bend in the River (Picador Collection))
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Whereas before he had waited for me to ask questions, now it was he who put up little ideas, little debating points, as though he wanted to get a discussion going.
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V.S. Naipaul (A Bend in the River (Picador Collection))
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Small things can start us off in new ways of thinking, and I was started off by the postage stamps of our area.
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V.S. Naipaul (A Bend in the River (Picador Collection))
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Though it was a comfort on occasion to play with the idea that outside this place a whole life waited for me, all the relationships that bind a man to the earth and give him a feeling of having a place.
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V.S. Naipaul (A Bend in the River (Picador Collection))
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It seemed as easy as that, if you came late to the world and found ready-made those things that other countries and peoples had taken so long to arrive at – writing, printing, universities, books, knowledge.
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V.S. Naipaul (A Bend in the River (Picador Collection))
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India is old, and India continues. But all the disciplines and skills that India now seeks to exercise are borrowed. Even the ideas Indians have of the achievements of their civilization are essentially the ideas given them by European scholars in the nineteenth century. India by itself could not have rediscovered or assessed its past. Its past was too much with it, was still being lived out in the ritual, the laws, the magic – the complex instinctive life that muffles response and buries even the idea of inquiry.
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V.S. Naipaul (India: A Wounded Civilization (Picador Collection))
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In his original design the solicitor's clerk seemed to have forgotten the need for a staircase to link both the floors, and what he had provided had the appearance of an afterthought. Doorways had been punched in the eastern wall and a rough wooden staircase - heavy planks on an uneven frame with one warped unpainted banister, the whole covered with a sloping roof of corrugated iron - hung precariously at the back of the house, in striking contrast with the white-pointed brickwork of the front, the white woodwork and the frosted glass of doors and windows. For this house Mr.Biswas had paid five thousand five hundred dollars.
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V.S. Naipaul (A House for Mr Biswas)
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For Baby, the marriage was a bad one, but it never entered her head that she might complain or refuse to marry Ram. . . . Fortunately, in her eyes what others might have considered an injustice, she considered a law of life.
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Shiva Naipaul (Fireflies (Twentieth Century Classics))
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The world is what it is; men who are nothing, who allow themselves to become nothing, have no place in it.... It wasn't only the sand drifts and the mud and the narrow, winding, broken roads up in the mountains. There was all that business at the frontier posts, all that haggling in the forest outside wooden huts that flew strange flags. I had to talk myself and my Peugeot past the men with guns -- just to drive through bush and more bush. And then I had to talk even harder, and shed a few more bank notes and give away more of my tinned food, to get myself -- and the Peugeot -- out of the places I had talked us into. Some of these palavers could take half a day....
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V.S. Naipaul
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We have nothing. We solace ourselves with the great men of our tribe, the Gandhi and the Nehru, and we castrate ourselves. 'Here, take my manhood and invest it for me. Take my manhood and be a greater man yourself, for my sake!
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V.S. Naipaul (A Bend in the River)
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What Raja Ram Mohun Roy began as a reform movment early in the 19th century Devendranath Tagore made into a religion. It transformed the Bengali middle class. Rabindranath Tagore expanded that religion into a culture. And that culture became Nehru’s politics.
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V.S. Naipaul (India: A Million Mutinies Now (Vintage International))
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I knew there was something that separated me from Ferdinand and the life of the bush about me. And it was because I had no means in my day-to-day life of asserting this difference, of exhibiting my true self, that I fell into the stupidity of exhibiting my things.
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V.S. Naipaul (A Bend in the River)
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...Anand, look at the back of my hands. No hair. The sign of an advanced race, boy. And look at yours. No hair either. But you never know. With some of your mother's bad blood flowing in your veins you could wake up one morning and find yourself hairy like a monkey
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V.S. Naipaul
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If you get too attached to your roots in the old sense, you might actually become unrooted, fossilized. At least in form, at least in style, you must get into the new stream, get the new roots. More of India is doing that. Style becomes substance in one generation. Things that one starts to do because other people are doing it – like wearing long pants, in my father’s case – become natural for the next generation.
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V.S. Naipaul (India: A Million Mutinies Now (Vintage International))
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Ah, sahib. I know you just come to comfort a old man left to live by hisself. Soomintra say I too old-fashion. And Leela, she always by you. Why you don’t sit down, sahib? It ain’t dirty. Is just how it does look.’ Ganesh didn’t sit down. β€˜Ramlogan, I come to buy over your taxis.
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V.S. Naipaul (The Mystic Masseur and Miguel Street)
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With our cynicism, created by years of insecurity, how did we look on men? We judged the salesmen in the van der Weyden by the companies they represented, their ability to offer us concessions. Knowing such men, having access to the services they offered, and being flattered by them that we were not ordinary customers paying the full price or having to take our place in the queue, we thought we had mastered the world.
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V.S. Naipaul (A Bend in the River)
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The medieval mind, which saw only continuity, seemed so unassailable. It existed in a world which, with all its ups and downs, remained harmoniously ordered and could be taken for granted. It had not developed a sense of history, which is a sense of loss; it had developed no true sense of beauty, which is a gift of assessment. While it was enclosed, this made it secure. Exposed, its world became a fairyland, exceedingly fragile. It was one step from the Kashmiri devotional songs to the commercial jingles of Radio Ceylon; it was one step from the roses of Kashmir to a potful of plasticdaisies.
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V.S. Naipaul (An Area of Darkness)
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But the airplane is a wonderful thing. You are still in one place when you arrive at the other. The airplane is faster than the heart. You arrive quickly and you leave quickly. You don't grieve too much. And there is something else about the airplane. You can go back many times to the same place. And something strange happens if you go back often enough. You stop grieving for the past. You see that the past is something in your mind alone, that it doesn't exist in real life. You trample on the past, you crush it. In the beginning it is like trampling on a garden. In the end you are just walking on ground. That is the way we have to learn to live now. The past is here." He touched his heart. "It isn't there." And he pointed at the dusty road.
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V.S. Naipaul (A Bend in the River)
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I would say to her, in that mixed river language we used, β€˜One day, Beth, somebody will snatch your case. It isn’t safe to travel about with money like that.’ β€˜The day that happens, Mis’ Salim, I will know the time has come to stay home.’ It was a strange way of thinking. But she was a strange woman.
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V.S. Naipaul (A Bend in the River (Picador Collection))
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I had talked of Raymond's pain when I was thinking of my own, and Yvette had talked of Raymond's needs when was thinking of her won. We had begun to talk, if not in opposites, at least indirectly, lying and not lying, making those signals at the truth which people in certain situations find it necessary to make.
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V.S. Naipaul (A Bend in the River)
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I shared in the boom. I was energetic in my own modest way. But I was also restless. You so quickly get used to peace. It is like being well – you take it for granted, and forget that when you were ill to be well again had seemed everything. And with peace and the boom I began to see the town as ordinary, for the first time.
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V.S. Naipaul (A Bend in the River (Picador Collection))
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At this point I feel I would be remiss to not mention the prevalence of a specific kind of person who enters the field of book publishing. This is the English lit major who never should have left academia, a genius who has read all of V.S. Naipaul but can’t photocopy title pages right side up. This person is very thin, possibly vegan, probably Ivy League. He or she feels as if answering the phone in a chipper voice is a form of legalized prostitution. He or she has a single quirky fashion piece, usually red or black, and waxes poetic about typewriters and the British, having never truly known either. Regardless of sex, they all want to be David Foster Wallace when they grow up.
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Sloane Crosley (I Was Told There'd Be Cake: Essays)
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Out of all its squalor and human decay, its eruptions of butchery, India produced so many people of grace and beauty, ruled by elaborate courtesy. Producing too much life, it denied the value of life; yet it permitted a unique human development to so many. Nowhere were people so heightened, rounded and individualistic; nowhere did they offer themselves so fully and with such assurance. To know Indians was to take a delight in people as people; every encounter was an adventure. I did not want India to sink; the mere thought was painful.
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V.S. Naipaul (An Area of Darkness: A Discovery of India)
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Though no one recognized his strength, Anand was among the strong. His satirical sense kept him aloof. At first this was only a pose, and imitation of his father. But satire led to contempt, and at Shorthills contempt, quick, deep, inclusive, became part of his nature. It led to inadequacies, to self-awareness and a lasting loneliness. But it made him unassailable.
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V.S. Naipaul (A House for Mr Biswas)
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If you look at a column of ants on the march you will see that there are some who are stragglers or have lost their way. The column has no time for them; it goes on. Sometimes the stragglers die. But even this has no effect on the column. There is a little disturbance around the corpse, which is eventually carried offβ€”and then it appears so light. And all the time the great busyness continues, and that apparent sociability, that rite of meeting and greeting which ants travelling in opposite directions, to and from their nest, perform without fail. So
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V.S. Naipaul (A Bend in the River)
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We heard of ambushes on roads we knew, of villages attacked, of headmen and officials killed. It was at this time that Mahesh said something which I remembered. It wasn't the kind of thing I was expecting from him - so careful of his looks and clothes, so spoiled, so obsessed with his lovely wife. Mahesh said to me: "What do you do? You live here, and you ask that? You do what we all do. You carry on.
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V.S. Naipaul (A Bend in the River)
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Independence was worked for by people more or less at the top; the freedom it brought has worked its way down. People everywhere have ideas now of who they are and what they owe themselves. The process quickened with the economic development that came after independence; what was hidden in 1962, or not easy to see, what perhaps was only in a state of becoming, has become clearer. The liberation of spirit that has come to India could not come as release alone. In India, with its layer below layer of distress and cruelty, it had to come as disturbance. It had to come as rage and revolt. India was now a country of a million little mutinies.
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V.S. Naipaul (India: A Million Mutinies Now)
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Their primary idea was the old Bengali idea of the Motherland, the idea that Bengal had given to the rest of India, Debu said: the idea that India had to be a country one could be proud of. The idea had decayed in Bengal since independence, Debu said. β€˜In my class the idea is still there, but it is a remnant of the past – considered an anachronism – and in the class above, the industrialists and businessmen, the idea exists more or less as a negative quantity.
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V.S. Naipaul (India: A Million Mutinies Now (Vintage International))
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It was not long after that Ganesh saw a big new notice in the shop, painted on cardboard. β€˜Is Leela self who write that,’ Ramlogan said. β€˜I didn’t ask she to write it, mind you. She just sit down quiet quiet one morning after tea and write it off.’ It read: NOTICE NOTICE, IS. HEREBY; PROVIDED: THAT, SEATS! ARE, PROVIDED. FOR; FEMALE: SHOP, ASSISTANTS! Ganesh said, β€˜Leela know a lot of punctuation marks.’ That is it, sahib. All day the girl just sitting down and talking about these puncturation marks. She is like that, sahib.
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V.S. Naipaul (The Mystic Masseur and Miguel Street)
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My family were not fools. My father and his brothers were trader, businessmen; in their own way they had to keep up with the times. They could assess situations; they took risks and sometimes they could be very bold. But they were buried so deep in their lives that they were not able to stand back and consider the nature of their lives. They did what they had to do. When things went wrong they had the consolations of religion. This wasn't just a readiness to accept Fate; this was a quiet and profound conviction about the vanity of all human endeavour.
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V.S. Naipaul
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Indian poverty is more dehumanizing than any machine; and, more than in any machine civilization, men in India are units, locked up in the straitest obedience by their idea of their dharma. The scientist returning to India sheds the individuality he acquired during his time abroad; he regains the security of his caste identity, and the world is once more simplified. There are minute rules, as comforting as bandages; individual perception and judgement, which once called forth his creativity, are relinquished as burdens, and the man is once more a unit in his herd, his science reduced to a skill. The blight of caste is not only untouchability and the consequent deification in India of filth; the blight, in India that tries to grow, is also the over-all obedience it imposes, its ready-made satisfactions, the diminishing of adventurousness, the pushing away of men of individuality and the possibility of excellence.
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V.S. Naipaul (India: A Wounded Civilization)
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Le Corbusier’s unrendered concrete towers, after 27 years of Punjab sun and monsoon and sub-Himalayan winter, looked stained and diseased, and showed now as quite plain structures, with an applied flashiness: megalomaniac architecture: people reduced to units, individuality reserved only to the architect, imposing his ideas of colour in an inflated MirΓ³esque mural on one building, and imposing an iconography of his own with a giant hand set in a vast flat area of concrete paving, which would have been unbearable in winter and summer and the monsoon. India had encouraged yet another outsider to build a monument to himself.
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V.S. Naipaul (India: A Million Mutinies Now (Vintage International))
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It was only after I'd grown up and left that I developed an attitude [towards the South]. And at first my attitude was that I was ashamed of it. But the older I got the more I realize that the transgressions of the South were the transgressions of mankind, and that there were certain things that were superior. There is a cultural attitude in the South that embraces respect for family...and in some ways for country. Although patriotism is not among the highest virtues on my list, still, the patriot believes in something larger than himself, and it is therefore a virtue. There is an attitude in the South that there is more to life than the moment.
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V.S. Naipaul
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Man doesn't realize his real purpose on earth so long as he rolls in comforts. It is absolutely true that adversity teaches a man a bitter lesson, toughens his fiber and moulds his character. In other words, an altogether new man is born out of adversity which helpfully destroys one's ego and makes one humble and selfless. Prolonged suffering opens the eyes to hate the things for which one craved before unduly, leading eventually even to a state of resignation. It then dawns on us that continued yearnings brings us intense agony. But the stoic mind is least perturbed by the vicissitudes of life. It is well within our efforts to conquer grief. It's simple. Develop an attitude of detachment even while remaining in the thick of terrestrial pleasures.
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V.S. Naipaul
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...if he insists on a version of you that is funnier, stranger, more eccentric and profound than you suspect yourself to be - capable of doing more good and more harm in the world than you've ever imagined - it is all but impossible not to believe, at least in his presence and for a while after you've left him, that he alone sees through to your essence, weighs your true qualities and appreciates you more fully than anyone else ever has. It is only after knowing him some time that you begin to realize that you are, to him, an essentially fictional character, one he has invested with nearly limitless capacities for tragedy and comedy not because that is your true nature but because he needs to live in a world propelled by extreme and commanding figures.
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V.S. Naipaul (A Bend in the River)
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When we land at a place like London Airport we are concerned only not to appear foolish. It is more beautiful and more complex than anything we could have dreamed of, but we are concerned only to let people see that we can manage and we are not overawed. We might even pretend that we had expected better. That is the nature of our stupidity and incompetence. And that was how I spent my time at the university in England, not being overawed, always being slightly disappointed, understanding nothing, accepting everything, getting nothing. I saw and understood so little that even at the end of my time at the university I could distinguish buildings only by their size, and I was hardly aware of the passing of the seasons. And yet I was an intelligent man and could cram for examinations.
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V.S. Naipaul (A Bend in the River)
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For years and years, even during the time of my first visit in 1962, it has been said that Calcutta was dying, that its port was silting up, its antiquated industry declining, but Calcutta hadn't died. It hadn't done much, but it had gone on; and it had begun to appear that the prophecy has been excessive. Now it occurred to me that perhaps this was what happened when cities died. They don't die with a bang; they didn't die only when they were abandoned. Perhaps, they died like this: when everybody was suffering, when transport was so hard that working people gave up jobs they needed because the fear the suffering of the travel; When no one had clean water or air; No one could go walking. Perhaps city died when they lost amenities that cities provided, the visual excitement, the heightened sense of human possibility, and became simply places where there were too many people, and people suffered.
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V.S. Naipaul