Paul Theroux - The Great Railway Bazaar

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Paul Theroux is a vocal proponent of rail travel over air travel, which he likens to traveling by submarine for all that goes unseen and not experienced by its adherents. The Great Railway Bazaar, his 1975 account of a four month railroad journey through Europe and Asia begins, "I sought trains, I found passengers." It is certainly the individuals that Theroux meets along the way, rather than the cities, buildings, or sites of touristic import, to which he devotes his most generous descriptions.
Beginning in Victoria Station with Duffill, an older man with a tweed cap, ill-fitting clothes, and mysterious business in Istanbul (Duffill's name later becomes synonymous with being left behind at a railway station), Theroux's journeys brim with a huge cast of colorful characters. From ashram-bound hippies to devout Kali-worshiping Tamils to Vassily Prokofyevich, the drunken Russian dining car manager on the Trans-Siberian Express, Theroux richly details his varied encounters, paying particular attention to the bizarre along the bazaar.
In Calcutta, "a city of mutilated people (where) only the truly monstrous looked odd," the author encounters "the hopping man," who with only one muscular leg, hops himself through the urban detritus; on the Saigon to Bien Hoa train, a Vietnamese woman thrusts an American baby upon him, expecting Theroux to keep and raise the child; and in Japan, where the cleanliness, efficiency, and quiet of the passenger trains provide striking contrast to what the author had up until that point become accustomed to, he finds the cultural undercurrent of sadistic pornography disturbingly unquestioned.
Paul Theroux had already established himself as a novelist at the time of his four month journey; The Great Railway Bazaar, today a travel writing classic, was preceded by ten books, six of which were novels. In fact, his four month long excursion seems to have been funded or at least justified, by the lecture engagements the author had arranged all along his route.
The first of many in this genre from Theroux, including Dark Star Safari (2002) and Ghost Train to the Eastern Star (2008), The Great Railway Bazaar is at once a timeless narrative of humans and travel and a distinctly historical slice of global affairs as viewed by one decidedly motion-bound writer.
The journey however is a long one and while masterfully wrought, it is often the incidental passage of time in a railway compartment that is thus rendered, and by the end of it even Theroux has tired of his travels. Snippets of brilliance exist throughout, but they are intermittent as you might expect, as when viewed from a passing train.

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I was now the only Westerner on the train. I felt like the last Mohican. Deprived of friendly conversation, denied rest by my bad dreams, irritated by the mute man in pyjamas and his pages of equations, doubled up with cramps from the greasy stews of the dining car – and, guiltily remembering my four months' absence, missing my family – I bribed Vassily for a bottle of vodka (he said they'd run out, but for two rubles he discovered some) and spent an entire day emptying it. The day I bought it I met a young man who told me in fractured German that he was taking his sick father to a hospital in Sverdlovsk.

I said, 'Serious?'

He said, ' Sehr schliml'

The young man bought a bottle of champagne and took it back to his compartment, which was in my sleeping car. He offered me a drink. We sat down; in the berth opposite the old man lay sleeping, the blankets drawn up to his chin. His face was grey, waxen with illness, and strained; he looked as if he were painfully swallowing the toad of death, and certainly the compartment had the dull underground smell of death about it, a clammy tomb here on the train. The young man clucked, poured himself more champagne, and drank it. He tried to give me more, but I found the whole affair appalling – the dying man in the narrow berth, his son beside him steadily drinking champagne, and at the window the snowy forests of Central Russia.

I went to my own compartment to drink my vodka and saw in my solitary activity something of the Russians' sense of desolation. In fact they did nothing else but drink. They drank all the time and they drank everything – cognac that tasted like hair tonic, sour watery beer, the red wine that was indistinguishable from cough syrup, the nine-dollar bottles of champagne, and the smooth vodka. Every day it was something new: first the vodka ran out, then the beer, then the cognac, and after Irkutsk one saw loutish men who had pooled their money for champagne, passing the bottle like bums in a doorway. Between drinking they slept, and I grew to recognize the confirmed alcoholics from the way they were dressed – they wore fur hats and fur leggings because their circulation was so poor; their hands and lips were always blue. Most of the arguments and all the fights I saw were the result of drunkenness. There was generally a fist fight in Hard Class after lunch, and Vassily provoked quarrels at every meal. If the man he quarrelled with happened to be sober, the man would call for the complaints' book and scribble angrily in it.

'Tovarich!' the customer would shout, requesting the complaints' book. I only heard the word used in sarcasm.

There was a nasty fight at Zima. Two boys – one in an army uniform – snarled at a conductor on the platform. The conductor was a rough-looking man dressed in black. He did not react immediately, but when the boys boarded he ran up the stairs behind them and leaped on them from behind, punching them both. A crowd gathered to watch. One of the boys yelled, 'I'm a soldier! I'm a soldier!' and the men in the crowd muttered, 'A fine soldier he is.' The conductor went on beating them up in the vestibule of the Hard-Class car. The interesting thing was not that the boys were drunk and the conductor sober, but that all three were drunk.

Another day, another night, a thousand miles; the snow deepened and we were at Novosibirsk. Foreigners generally get off at Novosibirsk for an overnight stop, but I stayed on the train. I would not be home for Christmas, as I had promised – it was now 23 December and we were more than two days from Moscow – but if I made good connections I might be home before New Year's. The tall pale man changed from pyjamas into furs, put his equations away, and got off the train. I cleared his berth and decided that what I needed was a routine. I would start shaving regularly, taking fruit salts in the morning, and doing push-ups before breakfast; no naps; I would finish New Grub Street, start Borges' Labyrinths, and begin a short story, writing in the afternoon and not taking a drink until seven, or six at the earliest, or five if the light was too poor to write by. I was glad for the privacy: my mind needed tidying.

That morning I spent putting my thoughts into order, sorting out my anxieties and deciding to start my short story immediately. A woman of forty falls in love with a boy of nineteen. The boy wants to marry her. The woman agrees to meet the boy's mother. They meet -they're the same age – and hit it off, discussing their divorces, their affairs, ignoring the boy who, callow, inexperienced, only embarrasses them both by his surly insistence on marriage. So:

The Strangs had one of those marriages that goes on happily for years, filling friends with envious generosity, and then falls to pieces in an afternoon of astonishing abuse that threatens every other marriage for miles around. Friends were relieved when, instead of lingering in New York and persuading them to support her in her bitter quarrel with Ralph, Milly chose to go to…

The door flew open with a bang and a man entered carrying a cloth bundle and several paper parcels. He smiled. He was about fifty, baldness revealing irregular contours on his head, with large red hands. He had the rodent's eyes of someone very nearsighted. He threw the cloth bundle on his berth and placed a loaf of brown bread and a quart jar of maroon jam on my story.

I put my pen down and left the compartment. When I returned he had changed into a blue track suit (a little hero-medal pinned to his chest), and, staring through the eye-enlarging lenses of a pair of glasses askew on his nose, he was slapping jam on a slice of bread with a jack-knife. I put my story away. He munched his jam sandwich and, between bites, belched. He finished his sandwich, undid a newspaper parcel, and took out a chunk of grey meat. He cut a plug from it, put it in his mouth, wrapped the meat, and took off his glasses. He sniffed at the table, picked up my yellow sleeve of pipe cleaners, put on his glasses, and studied the writing. Then he looked at his watch and sighed. He monkeyed with my pipe, my matches, tobacco, pen, radio, timetable, Borges' Labyrinths, checking his watch beneath each item and sniffing, as if his nose would reveal what his eyes could not.

This went on for the rest of the day, defeating what plans I had for establishing a routine and eliminating any possibility of my writing a story. His prying motions made me hate him almost immediately and I imagined him thinking, as he tapped his watch crystal between sniffs of my belongings, 'Well, there's thirty seconds gone.' He had a little book of Russian railway maps. At each station he put on his glasses and found its name on the map. There were about fifteen stations on each map, so he dirtied the pages in sequence with his thumbs before the train moved to a new page, and I grew to recognize from the jam smears and thuftibprints on his maps how far the Rossiya had gone. He read nothing else for the rest of the trip. He didn't speak; he didn't sleep. How did he pass the time? Well, he yawned: he could sustain a yawn for five seconds, sampling it with his tongue, working it around his jaws, and finally biting it with a loud growl. He sighed, he groaned, he sucked his teeth, he grunted, and he made each into a separate activity that he timed, always looking at his watch when he had completed a yawn or a sigh. He also coughed and choked in the same deliberate way, studying his eructations, belching with disgusting thoroughness as he exhausted himself of wind in three keys. In between times he looked out the window or stared at me, smiling when our eyes met. His teeth were stainless steel.

I find it very difficult to read and impossible to write with another person near by. If the person is staring at me over a quart of jam and a crumbling loaf of bread, I am driven to distraction. So I did nothing but watch him because there was nothing but that to do. He was odd in another way: if I glanced out the window, so did he; if I went into the corridor, he followed; if I talked to the boy next door, whose father lay dying among empty champagne bottles, the zombie was at my heels and then peering over my shoulder. I couldn't rid myself of him -and I tried.

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