Outside the Whale
- Discussion (6)
Page 2 of 6
Now of course The Far Pavilions is the purest bilge. The great processing machines of TV-soap opera have taken the somewhat more fibrous garbage of the M. M. Kaye book and pureed it into easy-swallow, no-chewing-necessary drivel. Thus, the two central characters, both supposedly raised as Indians, have been lobotomized to the point of being incapable of pronouncing their own names. The man calls himself 'A Shock', and the woman 'An Jooly'. Around and about them there is branding of human flesh and snakery and widow-burning by the natives. There are Pathans who cannot speak Pushto. And, to avoid offending the Christian market, we are asked to believe that the child 'A Shock', while being raised by Hindus and Muslims, somehow knew that neither 'way' was for him, and instinctively, when he wished to raise his voice in prayer, 'prayed to the mountains'. It would be easy to conclude that such material could not possibly be taken seriously by anyone, and that it is therefore unnecessary to get worked up about it. Should we not simply rise above the twaddle, switch off our sets and not care?
I should be happier about this, the quietist option – and I shall have more to say about quietism later on – if I did not believe that it matters, it always matters, to name rubbish as rubbish; that to do otherwise is to legitimize it. I should also mind less were it not for the fact that The Far Pavilions, book as well as TV serial, is only the latest in a very long line of fake portraits inflicted by the West on the East. The creation of a false Orient of cruel-lipped princes and dusky slim-hipped maidens, of ungodliness, fire and the sword, has been brilliantly described by Edward Said in his classic study Orientalism, in which he makes clear that the purpose of such false portraits was to provide moral, cultural and artistic justification for imperialism and for its underpinning ideology, that of the racial superiority of the Caucasian over the Asiatic. Let me add only that stereotypes are easier to shrug off if yours is not the culture being stereotyped; or, at the very least, if your culture has the power to counterpunch against the stereotype. If the TV screens of the West were regularly filled by equally hyped, big-budget productions depicting the realities of India, one could stomach the odd M. M. Kaye. When praying to the mountains is the norm, the stomach begins to heave.
Paul Scott was M. M. Kaye's agent, and it has always seemed to me a damning indictment of his literary judgement that he believed The Far Pavilions to be a good book. Even stranger is the fact that The Raj Quartet and the Kaye novel are founded on identical strategies of what, to be polite, one must call borrowing. In both cases, the central plot-motifs are lifted from earlier and much finer novels. In The Far Pavilions, the hero Ash ('A Shock') – raised an Indian, discovered to be a sahib, and ever afterwards torn between his two selves – will be instantly recognizable as the cardboard cut-out version of Kipling's Kim. And the rape of Daphne Manners in the Bibighar Gardens derives just as plainly from Forster's Passage to India. But because Kaye and Scott are vastly inferior to the writers they follow, they turn what they touch to pure lead. Where Forster's scene in the Marabar caves retains its ambiguity and mystery, Scott gives us not one rape but a gang assault, and one perpetrated, what is more, by peasants. Smelly persons of the worst sort. So class as well as sex is violated; Daphne gets the works. It is useless, I'm sure, to suggest that if a rape must be used as the metaphor of the Indo-British connection, then surely, in the interests of accuracy, it should be the rape of an Indian woman by one or more Englishmen of whatever class...not even Forster dared to write about such a crime. So much more evocative to conjure up white society's fear of the darkie, of big brown cocks.
You will say I am being unfair; Scott is a writer of a different calibre from M. M. Kaye. What's more, very few of the British characters come at all well out of the Quartet – Barbie, Sarah, Daphne, none of the men. (Kaye, reviewing the TV adaptation, found it excessively rude about the British.)
In point of fact, I am not sure that Scott is so much finer an artist. Like Kaye, he has an instinct for the cliche. Sadistic, bottom-flogging policeman Merrick turns out to be (surprise!) a closet homosexual. His grammar-school origins give him (what else?) a chip on the shoulder. And all around him is a galaxy of chinless wonders, regimental grandes dames, lushes, empty-headed blondes, silly-asses, plucky young things, good sorts, bad eggs and Russian counts with eyepatches. The overall effect is rather like a literary version of Mulligatawny soup. It tries to taste Indian, but ends up being ultra-parochially British, only with too much pepper.
And yes, Scott is harsh in his portraits of many British characters; but I want to try and make a rather more difficult point, a point about form. The Quartet's form tells us, in effect, that the history of the end of the Raj was largely composed of the doings of the officer class and its wife. Indians get walk-ons, but remain, for the most part, bit-players in their own history. Once this form has been set, it scarcely matters that individual, fictional Brits get unsympathetic treatment from their author. The form insists that they are the ones whose stories matter, and that is so much less than the whole truth that it must be called a falsehood. It will not do to argue that Scott was attempting only to portray the British in India, and that such was the nature of imperialist society that the Indians would only have had bit parts. It is no defence to say that a work adopts, in its structure, the very ethic which, in its content and tone, it pretends to dislike. It is, in fact, the case for the prosecution.
I cannot end this brief account of the Raj revival without returning to David Lean, a film director whose mere interviews merit reviews. I have already quoted his masterpiece in The Times; here now are three passages from his conversation with Derek Malcolm in the Guardian of 23 January 1984:
Forster was a bit anti-English, anti-Raj and so on. I suppose it's a tricky thing to say, but I'm not so much. I intend to keep the balance more. I don't believe all the English were a lot of idiots. Forster rather made them so. He came down hard against them. I've cut out that bit at the trial where they try to take over the court. Richard [Goodwin, the producer] wanted me to leave it in. But I said no, it just wasn't right. They wouldn't have done that.
As for Aziz, there's a hell of a lot of Indian in him. They're marvellous people but maddening sometimes, you know... He's a goose. But he's warm and you like him awfully. I don't mean that in a derogatory way – things just happen to him. He can't help it. And Miss Quested...well, she's a bit of a prig and a bore in the book, you know. I've changed her, made her more sympathetic. Forster wasn't always very good with women.
One other thing. I've got rid of that 'Not yet, not yet' bit. You know, when the Quit India stuff comes up, and we have the passage about driving us into the sea? Forster experts have always said it was important, but the Fielding-Aziz friendship was not sustained by those sorts of things. At least I don't think so. The book came out at the time of the trial of General Dyer and had a tremendous success in America for that reason. But I thought that bit rather tacked on. Anyway, I see it as a personal not a political story.
Forster's lifelong refusal to permit his novel to be filmed begins to look rather sensible. But once a revisionist enterprise gets under way, the mere wishes of a dead novelist provide no obstacle. And there can be little doubt that in Britain today the refurbishment of the Empire's tarnished image is underway. The continuing decline, the growing poverty and the meanness of spirit of much of Thatcherite Britain encourages many Britons to turn their eyes nostalgically to the lost hour of their precedence. The recrudescence of imperialist ideology and the popularity of Raj fictions put one in mind of the phantom twitchings of an amputated limb. Britain is in danger of entering a condition of cultural psychosis, in which it begins once again to strut and posture like a great power while in fact its power diminishes every year. The jewel in the crown is made, these days, of paste.
Anthony Barnett has cogently argued, in his television-essay 'Let's Take the "Great" out of Britain', that the idea of a great Britain (originally just a collective term for the countries of the British Isles, but repeatedly used to bolster the myth of national grandeur) has bedevilled the actions of all post-war governments. But it was Margaret Thatcher who, in the euphoria of the Falklands victory, most plainly nailed her colours to the old colonial mast, claiming that the success in the South Atlantic proved that the British were still the people 'who had ruled a quarter of the world.' Shortly afterwards she called for a return to Victorian values, thus demonstrating that she had embarked upon a heroic battle against the linear passage of Time.
I am trying to say something which is not easily heard above the clamour of praise for the present spate of British-Indian fictions: that works of art, even works of entertainment, do not come into being in a social and political vacuum; and that the way they operate in a society cannot be separated from politics, from history. For every text, a context; and the rise of Raj revisionism, exemplified by the huge success of these fictions, is the artistic counterpart to the rise of conservative ideologies in modern Britain. And no matter how innocently the writers and filmmakers work, no matter how skilfully the actors act (and nobody would deny the brilliance of, for example, the performances of Susan Wooldridge as Daphne and Peggy Ashcroft as Barbie in the TV Jewel), they run the grave risk of helping to shore up that conservatism, by offering it the fictional glamour which its reality so grievously lacks.