Geoff Dyer: White Sands: Experiences from the Outside World

After the museum we went to Mataiea and Punaauia (now a featureless suburb of Papeete), where Gauguin lived and where some of his most famous works were painted. I suddenly had the idea that yellow might be a symbol for banana, but apart from that my mind was completely blank and I couldn’t think myself into Gauguin’s shoes, couldn’t see the world through his eyes. As I stood there, however, seeing what he had seen without even coming close to seeing as he had seen, I did get an inkling of the attraction of Islam. Impossible — not even conceivable —that a Muslim, on making the mandatory, once-in-a-lifetime pilgrimage to Mecca, could be disappointed . That is the essential difference between religious and secular pilgrimage: the latter always has the potential to disappoint. In the wake of this realization there swiftly followed another: that my enormous capacity for disappointment was actually an achievement, a victory. The devastating scale and frequency of my disappointment (‘I am down, but not yet defeated,’ Gauguin snivel-boasted) was proof of how much I still expected and wanted from the world, of what high hopes I still had of it. When I am no longer capable of disappointment the romance will be gone: I may as well be dead.

A Faaohipa noa i te taime ati

There’s no use putting it off any longer. The unaskable question is crying out to be asked. Not ‘Where are we going?’ but ‘What are the women like?’ Are they babes ? No one was more eager to answer this question than Gauguin himself, and the answer, obviously, was yes, they’re total babes in a babelicious paradise of unashamed babedom. Many of Gauguin’s most famous paintings are of Tahitian babes who were young and sexy and ate fruit and looked like they were always happy to go to bed with a syphilitic old lech whose legs were covered in weeping eczema. Of course, he was also a great artist, but they didn’t know this, since at the time he did not have the reputation that he has now, and to see how great an artist he is you have to know something about art, which they didn’t, because they hadn’t seen any. To them he was just a randy old goat who was always trying to persuade them to get their kit off, which they were happy to do even though the killjoy missionaries who had come to the island before Gauguin and converted people to boring old Christianity had got them to cover up their breasts. The missionaries made them wear something called a Mother Hubbard, which was a shapeless and not very flattering frock, but Gauguin knew that underneath their Mother Hubbards they were, as a famous British ad campaign from the 1980s had it, ‘all loveable,’ and their melon-ripe breasts were still there, and were no less nice for not being visible to the naked eye until they were undressed. They might not have known he was a great artist but Gauguin believed himself to be one, right up there with Manet, whose Olympia bugged him in the sense that it goaded him to do a really horny picture of a naked Polynesian woman, ideally one who was only about thirteen, as much a girl as a woman. At first, though, Gauguin didn’t do much painting. He just tried to look and understand what was going on in their heads. He read about Maori art and artists and this helped him understand, but he was an artist, and for an artist looking is its own form of understanding. Earlier visitors to Tahiti had noticed the grace and stillness of its inhabitants, but while they interpreted this as torpor or boredom, Gauguin saw ‘something indescribably solemn and religious in the rhythm of their poses, in their strange immobility. In eyes that dream, the troubled surface of an unfathomable enigma.’ As well as trying to understand what was going on in their heads he was also keen on getting down their pants, and the other colonials took a dim and possibly envious view of this.

That’s how it was in Gauguin’s day. But what about now? I can give a very good answer to this, because it so happens that while I was there the finalists for Miss Tahiti were all being photographed by the press, in the luxury of my hotel, looking like they’d stepped straight out of a Gauguin painting. So, yes, Tahitian women, they’re really beautiful — especially when they’re young. Then, almost overnight, they get incredibly fat. It’s as if they discover Fat Is a Feminist Issue and gobble it up. They don’t just read it; they eat it. Not to be outdone, the dudes get even fatter . It’s like some calorific battle of the sexes. The most popular sport here is canoeing, but the thing at which Polynesians really excel is weight-lifting, otherwise known as walking or standing. Every time they heave themselves out of a chair they equal or exceed a previous personal best. And although the canoe is essentially a slim-fitting vessel, in Tahiti it has presumably adapted and evolved — in a word, expanded — to accommodate the area’s distinctive twist on Darwinism: the survival of the fattest. The people are huge. They stare at you from the depths of their blubber. It’s like they’ve gone into hibernation within the folds of their own flesh. Part of the reason for this, according to Joel (slim by Tahitian standards, immense by any others), was that Polynesians have the highest per-capita sugar intake in the world. It so happened that as Joel was saying this I was taking my first, tentative sips of a canned drink called South Sea Island Pineapple. Huge letters proclaimed that it was ARTIFICIALLY FLAVOURED, as though the lack of the natural were a major selling point. A closer reading of the can revealed that it had more Es in it than a nightclub on that other island paradise Ibiza. It was also, by some considerable margin, the sweetest drink I had ever tasted: anecdotal confirmation that, as Joel explained, Polynesians were also the world’s number two in diabetes and number three in cardiovascular illnesses related to sugar. Joel reeled off these statistics with a kind of appalled pride, as if this ranking in the league-table of sugar-derived illnesses were the source not only of the nation’s obesity but also its pre-eminence.

Another claim to fame announced by Joel is that they’ve got the highest electricity bills in the world. It would be strange if this were not the case, because everything here costs a big fat arm and a leg. Everything is imported from France, and by the time it’s made its way around the world it costs a thousand times what it would in Europe. As I sat down for dinner one starlit night, a waitress waddled over to explain the difference between this over-the-water restaurant and another, less glamorously located elsewhere in the hotel.

‘This restaurant is gastronomic,’ she said.

‘Astronomic, more like!’ I quipped.

The fact that it was astronomically expensive meant that I ended up like Gauguin, eating ‘dry bread with a glass of water, making myself believe it is a beefsteak.’ Metaphorically speaking, anyway. I was actually eating mahi-mahi with vanilla sauce, as I did every night of my stay. Mahi-mahi was in season and vanilla is the opposite of money: it grows on trees — but still ends up costing a fortune — and tastes like concentrated essence of artificial flavour, flavour for people whose idea of culinary refinement peaked with bubble gum.

The expense didn’t just mean that things cost a lot. It meant that my fellow diners and tourists tended to be on the old side, were usually on a cruise, often a tad square— and always in couples. I was surrounded by couples, murmuring couples who amused each other over dinner by tossing bits of baguette into the sea, where they were gobbled up by fat fish. The idea of the all-you-can-eat buffet had been extended to the ocean itself. The fish were so domesticated that if they’d had fingers they’d have signed for the meal and charged it to their room. That the ocean had been tamed in this way contributed to an impression that had been building up in the course of my stay, and which I now communicated to another solitary tourist, an optimistic Australian in whose company I had sought solace.