Paul Theroux - Sir Vidia's Shadow - A Friendship Across Five Continents

“The body knows,” he said. He was truster of instinct and hunches and cravings. “Keep it up. Your body needs it. Let’s get some more off the trolley. Waiter!”

To vary my craving for sugar, he introduced me to Indian sweets: laddhu, kachowri, rasgullah, gulabjam .

“These gulabjam are made from broken milk.” He repeated it. He liked saying “broken milk.”

In time he adopted, article by article, a mode of dress — first the bush shirt, then the bush trousers, the walking stick, and finally the bush hat. It was a floppy hat, the brim pulled down all around. Indians in Uganda never dressed that way, though tourists did. We saw them at the hotel entrances, climbing into zebra-striped safari vans or Land Rovers, heading west into the bush.

“Those African drivers tell me that the women tourists are always after them,” I said.

“That must make them frightfully happy.”

In his safari outfit, perspiring heavily, he walked in a district of Kampala called Wandegeya, where, following several steps behind him, I called out directions. I wanted to show him the colony of ten thousand bats.

He was not impressed by the bats. Instead, he said, “Notice how there are footpaths everywhere — across every lawn, crisscrossing the campus, up and down. There are paths, but Africans don’t keep to them. They make their own. Have you noticed that? They ignore the proper paths.”

I had not noticed, but it was true: a town of obvious shortcuts and trampled footpaths. I wondered why.

“Because,” Naipaul said, “the Africans did not make the proper paths in the first place. This society was imposed on them.”

A six-foot circular medallion in bronze, at the top of the arched gateway in front of the Uganda Parliament building, depicted the prime minister, Milton Obote, his toothy frown, his bushy hair, a likeness of his disapproving face and gappy teeth. The medallion was crude enough to seem satirical. It had been put there after Uganda’s first election, and the idea was that it would remain there forever, though no one ever questioned why. It was customary for African politicians to put up statues of themselves and give their names to colleges and main roads. We were, in fact, standing on Obote Avenue when Naipaul saw the Obote medallion.

“That is what is wrong with the country,” he said. “That is the reason Uganda will go back to bush.”

Until Naipaul arrived I had not paid much attention to these details. I was grateful to be here teaching rather than in Vietnam fighting. Kampala was a small, friendly town with no society to speak of. The Kabaka kept to himself, in a regal way, inside the stockade that surrounded his palace on Kabuli Hill, one of Kampala’s seven hills. Naipaul asked what I knew of the king and whether I had met him. It seemed an odd question, for the Kabaka of Buganda was much more remote than any American president, and in a place where each hilltop was occupied by an important structure — the main mosque on one, the cathedral, the university, the broadcasting service, the barracks, and so forth on others — the Kabaka’s was just another bushy and inscrutable hilltop.

Obote was the Kabaka’s main antagonist, but no one cared much about that. No one cared that Obote named streets after himself. No one paid much attention to politics. What was the use? In spite of Naipaul’s misgivings, Kampala was a prosperous place, busy on weekdays, full of picnickers on weekends, strolling Africans, promenading Indians. The villages were sleepy, the townships were drunk. The city’s bars and cafés were meeting places, and when I was not with Yomo at the Staff Club, I was with her at City Bar on Kampala Road. It was not a town of dinner parties or social functions, except among politicians and diplomats. It was movie theaters and nightclubs, restaurants and brothels. But I was happy with Yomo and she liked Kampala, although she always enjoyed pointing out how backward it was.

Into the green town of tall trees and friendly faces and natural wonders — the road carpeted with white butterflies, the tree branches full of bats, the marabou storks standing watch on the road to the dump, hungry for garbage, the crested cranes in the parks, and in many of the low-lying watery places masses of papyrus that had somehow crept on sodden roots up the White Nile from Egypt — into this drowsy place, where the locusts’ whines were as loud as machinery, came the forbidding figure of V.S. Naipaul, with his hands behind his back, doing calculations. He could be severe. He could also be funny. But his style of conversation was mainly interrogatory. He had many questions. He demanded answers.

“What is the name of that valley?”

We had gone for a drive. He had liked the view. He had got out of the car and stopped a passing African.

“I am not knowing the name, sah.”

“But what do you call it?”

“We are calling it just ‘the valley,’ sah.”

“How long have you lived here?”

“I am born here, sah.”

“What do you do?”

“I am wucking, sah.”

“Where do you work?”

“Wucking in shamba , sah.”

“He has a garden,” I said.

“ Matoke , sah.”

“Bananas,” I said.

“ Bwana. Mumpa cigara .”

“He wants a cigarette.”

And when the man had moved on, Naipaul waved his walking stick in a generalizing way over the lovely landscape and said, “Nothing has a name. They don’t name things.”

“They name some things.”

“Tell me.”

“The hills in Kampala.”

“That’s very much a colonial thing. The Africans were told those names — wait. What’s that noise?” He lifted his hat brim and winced. “You see? Even here. Bongo drums!”

“Bongo drums” was an all-encompassing term for the sound of a radio, for people singing or dancing, or for drums, which were never bongo drums but usually hollow logs that were beaten with sticks or tall upright cylinders that were thumped at sundown.

What he was hearing was Congolese music, trumpets and drums and marimbas, blaring from a radio in a hut.

“Music,” I said.

“I hate music,” he said as we walked on. “All music. Not just that shit.”

“Really.”

He looked sideways at me, and when I glanced over at him I saw he was still peering at me, intensely but obliquely, as though watching to see what I would do next.

He said, “You didn’t react. Good. I once told someone that and he burst into tears.”

It was not a pose. He really did hate music. He hated most sound, whether it was music or the human voice; he regarded all of it as noise. Loud laughter appalled him too, although he himself laughed a good deal. He had come to the wrong place.

Out of the blue, on one of those early days he said, “May I see your hand, Paul?”

He studied my palm, holding it to the light, squeezing it gently to make the lines more emphatic. He pressed his lips together and blew out his cheeks. He nodded, said nothing, but I had the feeling he liked what he had seen.

I was his interpreter, his guide, his companion. I was, most of all, his student. After a month or so he bought a car, a tan Peugeot, but at the beginning, when he had no car, I was his driver, and we went out every day. He had a sort of visiting professorship, courtesy of that dubious American foundation which was rumored to have links with the Central Intelligence Agency. He hated the foundation. He disliked his duties. He refused an office. He gave no classes. He ignored the other lecturers, though when they asked him his opinion of the university, he said, “It’s pretty crummy, but you know that, don’t you?”

It was largely a waste, he said; it was a farce. Here were these overpaid expatriates patronizing Africans and giving the impression of imparting an education. But it was theater. They were going through the motions, flattering themselves with notions of their own importance. The worst of it was the tameness of it all, the absence of criticism, the complacency, the extravagant way African effort was praised.