V. Naipaul - The Enigma of Arrival

So, though now in New York I was a free man, and this was the first book I was buying in a great city, and the occasion was therefore important, historical for me, romantic, I took to it the abstract attitudes of my school education: the bright boy, the scholarship boy, not acting now for his teachers or family, but acting only for himself.

Yet, with the humiliations of my first twenty-four hours of travel, my first twenty-four hours in the great world, with my increasing sense of my solitude in this world, I was aware (not having a home audience now, not having any audience at all) that I felt no joy. The young man in the shop called me sir and that was unexpected and nice. But I felt a fraud; I felt pushed down into a part of myself where I had never been.

Less than twenty-four hours had passed since the magical vision of landscape, sugarcane fields and forested hills and valleys; and the crawling sea; and the clouds lit from above by the sun. But already I could feel the two sides of myself separating one from the other, the man from the writer. Already I felt a twinge of doubt about myself: perhaps the writer was only a man with an abstract education, a capacity for concentration, and a capacity for learning things by heart. And I had worked so hard for this day and this adventure! With the new silence of my solitude, this solitude something I had never anticipated as part of the great adventure, I watched the two sides of myself separate and dwindle even on this first day.

And that afternoon in New York, from a pier whose number I carried for many years in my head, but which I have now forgotten, a number not associated with romance but with humiliation and uncertainty, there began a journey on a ship of some days. Port of Spain to Puerto Rico to New York, by air. New York to Southampton, by ship.

T HAT JOURNEY by ship was for a long time — many weeks, many months: a long time to a boy of eighteen — my most precious piece of writer’s material. Or so I saw it. And for a long time, in a boardinghouse in Earl’s Court in London, in the dreariness of my college room in Oxford, and in the greater dreariness of a bed-sitting-room in the holidays, using my indelible pencil or my Waterman pen or the very old typewriter I had bought in London for ten pounds, more than a week’s allowance for me (expensive, but new typewriters at that time, the war not being long over, were still not easily available), I wrote and cherished a piece I called “Gala Night.”

It was my first piece of writing based on metropolitan material. It was wise; it suggested experience and the traveler. “Gala Night”—it might have been written by a man who had seen many gala nights. Knowing what it was doing, knowing the value of names, it played easily with great names — New York, the Atlantic, the S.S. Columbia , United States Lines, Southampton (especially beautiful, as a name, this last).

The gala night that provided the material for this piece of descriptive writing — it was not a story — took place on shipboard on our last full day on the Atlantic. In the morning we were to call at Cobh in Ireland; then we were to dock at Southampton in the afternoon. Most of the passengers were to get off at Southampton; the others would get off the next morning at Le Havre. The gala night was a dance after dinner in one of the lounges of the tourist class. And it was disturbing to me to see — as from a distance, and as though I were studying a kind of animal life, since no shipboard romance had come to me — how the sexual impulse, like drink, clouded and distorted people I knew, men and women. To me, a lover of women but quite virginal at that time, the distortion in the women I had got to know was especially unsettling.

There was a dainty girl who had spoken to me of poetry. How strange to see her now in the company of a man of no particular education or quality, and to see her moist-eyed, as though worked upon by forces outside her control. There was no recognition of me now in her eyes. And how distant, earnest, and preoccupied hitherto friendly men became, how impatient of conversation with me, conversation they had at other times welcomed. There was a man from San Francisco, an Armenian; he had fought in Europe during the war, and we had talked of the war and the soldier’s life. He had told me that the only true war film he had seen was A Walk in the Sun . His thoughts were now elsewhere.

Part of the trouble was that the gala night was also an occasion of drinking; and I at that time didn’t drink at all. To win my scholarship, I had punished myself with study; and because I wished things to go well for me, I was full of ascetic self-castigations.

In what I wrote I was recording my ignorance and innocence, my deprivations (of which the asceticism was a disingenuous sign) and frustration. But “Gala Night,” in the intention of the eighteen-year-old boy who was doing the writing, was knowing and unillusioned. So that in the writing, as well as in the man, there was a fracture. To a truly knowing person the piece would have given itself away in more than one place.

I concentrated towards the end of the piece on the figure of the ship’s night watchman. He was standing outside the lounge where the dancing was taking place, and he had begun to address the disconsolate and unlucky men standing outside with him, men to whom, even on this wanton occasion, when dainty girls went dreamy and wild, no shipboard romance had come. He was as divided as I was, and perhaps the other men who were listening to him. There was a sourness in their silence. He, the night watchman, was lively; he spoke as a man who had seen it all. He was a heavily built man in his forties; in the lecturing posture he had settled into, his hands, stretched out on either side of him, grasped the handrail against which he was leaning. He paused between sentences, to allow the wickedness he was describing to sink in; looking at no one in particular, he pressed his lips together; and then, as if talking to himself, he started again.

People changed after three days on a ship, he said. Faithful wives and girl friends became faithless. Always, after three days. Men became violent and were ready to fight over women, even men with young and loving wives to whom they had just said good-bye. He said (or in many versions of “Gala Night” I made him say): “I have seen a captain make to kill a guy in this here place.”

“Make to,” “kill,” “guy,” “this here place”—in addition to what he was saying, his lack of illusion about men and women (comforting in one way, that lack of illusion and the fierce judgment it implied, but also very painful, this account of a near-universal wantonness that was nevertheless denied us), the night watchman talked like someone in a film. And that was why, as material, he was so precious to me. That was why the hard indelible pencil traced again and again, in those faint letters (which would brighten and turn purple when dampened), the words he spoke.

In “Gala Night” I looked for metropolitan material; I stuck to people who seemed to me to have this quality. There was a man, originally from the Middle East but now in spite of his Muslim name entirely American, who said he was an entertainer. He spoke familiarly of famous stars, stars whose films I had seen; and it never occurred to me to wonder why this entertainer was traveling tourist. He read me some of his material, after the usual three days. “Material”—that was what he called it, and the short and simple jokes were typed. That was impressive and strange and “American” to me: that such trivial “material” should be typed, should be given that formality. As impressive as that was his way of talking of his time in animated cartoons. They made many cartoons at the same time, he said. “We make them and we can them.” “Can”—I was entranced by the word, so knowing, so casual, so professional. Just as his “material” became part of mine, so his language became part of my material as well. So that I was having it both ways with him: making use as a writer of his metropolitan knowingness, appropriating it, yet keeping myself at a distance from him (not on the ship, only in “Gala Night”), as though he, being only an entertainer (traveling tourist) and dubiously American, was a kind of buffoon (the kind of buffoon such a person should be, in writing of the sort I was aiming at) and as though I — now adrift, supported only by the abstractions of my colonial education — stood on firmer ground than he.