Swami and Friends, The Bachelor of Arts, The Dark Room, The English Teacher

by Narayan, R. K.; McCall Smith, Alexander

• ISBN13: 9781400044764
• ISBN10: 1400044766
• Format: Hardcover
• Copyright: 2006-03-07
• Publisher: Everyman's Library

Summary

(Book Jacket Status: Jacketed) R. K. Narayan (19062001) witnessed nearly a century of change in his native India and captured it in fiction of uncommon warmth and vibrancy. The four novels collected here, all written during British rule, bring colonial India into intimate focus through the narrative gifts of this master of literary realism. Swami and Friendsintroduces us to Narayan's beloved fictional town of Malgudi, where ten-year-old Swaminathan's excitement about his country's initial stirrings for independence competes with his ardor for cricket and all other things British.The Bachelor of Artsis a poignant coming-of-age novel about a young man flush with first love, but whose freedom to pursue it is hindered by the fixed ideas of his traditional Hindu family. InThe Dark Room, Narayan's portrait of aggrieved domesticity, the docile and obedient Savitri, like many Malgudi women, is torn between submitting to her husband's humiliations and trying to escape them. The title character inThe English Teacher, Narayan's most autobiographical novel, searches for meaning when the death of his young wife deprives him of his greatest source of happiness. These pioneering novels, luminous in their detail and refreshingly free of artifice, are a gift to twentieth-century literature.

Author Biography

R. K. Narayan (1906–2001), born and educated in India, was the author of fourteen novels, numerous short stories and essays, a memoir, and three retold myths. His work, championed by Graham Greene, who became a close friend, was often compared to that of Dickens, Chekhov, Faulkner, and Flannery O'Connor, among others. October 10, 2006, is the centennial of Narayan's birth.

Excerpts

A novelist of all humanity R. K. Narayan's novels are like a box of Indian sweets: a highly-coloured container conceals a range of delectable treats, all different in a subtle way, but each one clearly from the same place. There are fourteen novels in the oeuvre enough to create a world. Enthusiasts of his work will read them all and return to them time and again. The busy, or the less committed, may open the box and take out one at random it does not really matter which order one reads them in. But be warned: the consumption of one leads to a strong craving for more. Narayan's life spanned the twentieth century, which meant that he belonged both to an old world and a new. At the time of his birth in 1906, the British Raj, that astonishing imperial conceit, was firmly in place, as were those iron-clad notions of caste that were to prove so difficult to shrug off. The British presence in India had brought with it a large civil service, an educational system, and railways to all of which institutions the people of the subcontinent took with enthusiasm. But it had also brought with it a language, and the literature which that language created, and it is this which proved a most productive legacy. The British took English to India and the Indians gave back a literary tradition which continues to delight and enrich us to this day. Contemporary writers such as Vikram Seth, Rohinton Mistry, or Anita Desai, whose novels have given such pleasure to readers in Europe and North America, stand rooted in a tradition which R. K. Narayan, as one of the earlier Indian novelists to write in English, did a great deal to establish. Although Narayan did not draw attention to his personal life, he did write a memoir, My Days, which tells us a great deal about his boyhood years and the inception and development of his literary career. His childhood was fairly typical of that of a middle-class boy of the time. His father was the headmaster of a school, a somewhat stern figure in his professional life, and this connection with the world of education is very much apparent in the earlier novels, where schools, colleges, and the whole business of becoming educated play a major role. His father's job required mobility, and Narayan spent a number of childhood years living with his grandmother in Madras. Eventually, though, he joined his parents in Mysore, where he attended the school presided over by his father. He became a voracious reader, wading through the books and magazines which arrived on his father's desk for the school library. As he wrote in My Days: My father did not mind our taking away whatever we wanted to read provided we put them back on his desk without spoiling them, as they had to be placed on the school's reading-room table on Monday morning. So our week-end reading was full and varied. We could dream over the advertisement pages in the Boys' Own Paper or the Strand Magazine. Through the Strand we made the acquaintance of all English writers: Conan Doyle, Wodehouse, W.W. J acobs, Arnold Bennett, and every English fiction writer worth the name . . . Through Harper's and the Atlantic, and American Mercury we attained glimpses of the New World and its writers. This sense of distance, of being a participant in a culture and yet not being of it, is a familiar feature of the literature of what is now the British Commonwealth and it is vividly portrayed in Narayan's novels. Colonialism hurt and damaged those subjected to it, but it would be inaccurate to portray the process as being a simple matter of subjugation and humiliation; it was far more complex than that. The writer in the colonized country tended to soak up the culture of the colonial power and feel a familiarity and some affection for it, even thou