In 'Serious Men', his first novel, Manu Joseph has brought together a small group of well realized characters and set them at each others throats in the age old context of class warfare, Indian style. The conflict is set in motion through the machinations of the protagonist, Ayyan, who is motivated by an unrelenting hatred of privileged people, all of whom he sees as Brahmins. He is Karna pitted once more against the Pandavas, and this time he means to win. Ayyan, the Dalit, is a modern day picaro, all hate and no humor, with a plan to sabotage windmills rather than tilt at them. Even an Iago, perhaps.
The Hindu, one of the oldest and most respected newspapers in India, has given its Best Indian Fiction Award of 2010 to 'Serious Men'. From this first notice I became envious and wanted to know more about the book and its author. I came across a glowing review , and heard from the author himself in a Huffington Post interview. What was not to like? A respected journalist-editor; an intriguing story; a theme of guaranteed appeal; original characters whom readers can love or hate with no in-betweens; Bollywood potential – nay, Hollywood potential. Aspiring authors would kill for such a winning conflux of graces. And yet …
By the end of day one of my read I was beside myself. The book offended my sensibilities and I took a hi-lighter to mark its infelicities. Buckets of bile bubbled in my innards. My friend showed up for dinner. I raged at the book. She grew apprehensive. I read out to her all the snippets I had marked. My voice grew hoarse. She bid me stop, "Narayan, you're going to have a conniptionfit!" In another hour I returned to a semblance of normalcy. "Can you not overlook all this and just read the book for its story?" she said. Apparently all the touts of 'Serious Men' had done just that. The short answer to my friend's question was, "No, I can't". Neither can the Leatherstocking Tales be read this way any more; to bring some sanity to my rage and simplify matters, I invoked Mark Twain's critique of James Fenimore Cooper's novels of colonial America.
Here is Mark Twain enumerating eighteen rules that Cooper violated; they require :
1. That a tale shall accomplish something and arrive somewhere.
2. That the episodes of a tale shall be necessary parts of the tale and shall help to develop it.
3. That the personages in a tale shall be alive, except in the case of corpses, and that always the reader shall be able to tell the corpses from the others.
4. That the personages in a tale, both dead and alive, shall exhibit a sufficient excuse for being there.
5. That when the personages of a tale deal in conversation, the talk shall sound like human talk, and be talk such as human beings would be likely to talk in the given circumstances, and have a discoverable meaning, also a discoverable purpose, and a show of relevancy, and remain in the neighborhood of the subject in hand, and be interesting to the reader, and help out the tale, and stop when the people cannot think of anything more to say.
6. That when the author describes the character of a personage in his tale, the conduct and conversation of that personage shall justify said description.
7. That when a personage talks like an illustrated, gilt-edged, tree-calf, hand-tooled, seven-dollar Friendship's Offering in the beginning of a paragraph, he shall not talk like a negro minstrel in the end of it.
8. That crass stupidities shall not be played upon the reader as "the craft of the woodsman, the delicate art of the forest," by either the author or the people in the tale.
9. That the personages of a tale shall confine themselves to possibilities and let miracles alone; or, if they venture a miracle, the author must so plausibly set it forth as to make it look possible and reasonable.
10. That the author shall make the reader feel a deep interest in the personages of his tale and in their fate; and that he shall make the reader love the good people in the tale and hate the bad ones.
11. That the characters in a tale shall be so clearly defined that the reader can tell beforehand what each will do in a given emergency.
In addition to these large rules there are some little ones. These require that the author shall:
12. Say what he is proposing to say, not merely come near it.
13. Use the right word, not its second cousin.
14. Eschew surplusage.
15. Not omit necessary details.
16. Avoid slovenliness of form.
18. Employ a simple and straightforward style.
Most of these are coldly and persistently violated in 'Serious Men' as I demonstrate in the appendix.
Thinking to simplify my assessment, I sat up all night seeking ways to categorize Joseph's literary offences. I hope I have succeeded in my choices in the spirit of Twain. The evidence is appended to this article for interested readers. Twain asserts that Cooper's art has some defects. In one place in 'Deerslayer,' and in the restricted space of two-thirds of a page, Cooper has scored 114 offences against literary art out of a possible 115. It breaks the record. Much as I am tempted, I promise not to make such exaggerated claims.
So why the bile, you ask? Right off the bat I'll admit that bad reviews can be the sour-grapes of would-be writers, and I am not immune to the fantasy of being a published fictioneer. It is The Way of the World : the envy of Nature's oafs by Fortune's fools (or is it the other way around?). Touché! Setting this aside, I ask : why the award? why the tributes? why the glowing reviews? Here's a sampling :
== elegantly describes – novelist of serious talent – fine literary art
== Joseph’s writing has an unmistakable assurance and intelligence, and he steers almost completely clear of the contrivances of plot, infelicities of style, stereotypical narrative arcs, and oddly ingratiating manner found in so many contemporary Indian novels in English.
== If there is one novel you must buy this year, whether or not you have the slightest interest in South Asia, make it this one.
== The assurance, wit, and compelling storytelling make this a debut to treasure, and the book will take its place amongst the great comic novels that through the comedy shine a light on their times.
The unanimity, in this instance at least, suggests a mutual admiration society of literary shills – writers, journalists, editors, publishers, book-sellers, and paid reviewers – Pied Pipers to a trusting Indian readership – collectively, an army of lemmings.
Outside this conclave of vested interests stands a lone dissenter. Commenting on an obscure blog, the anonymous Annie complains of "a bitter aftertaste", and, "Oparna, Oja, Lavanya – the basest that women can be made out to be; the male gaze of the writer all through the novel. I also wonder how a journo has grabbed the best fiction award instituted by a journo-house." Brava, Annie!
From the author himself we have another clue : "Joseph joked that a high-profile prize in the UK might alter the way the book is perceived at home. 'In India, the novel is being received very well. As long as it doesn't win the Booker …' he said." My, my! Could these be sour-grape varietals from a rival vineyard? Indians now have a champion to front them as they take pot-shots at the last three compatriots who won the Booker prize. All have been marginalized already to degrees – Roy for her activism, Desai for her narrative, and Adiga for the sin of inauthenticity – as if good language and a respect for idiom, idioma y idiotismo, did not matter.
In standing up to all this I must again shelter behind Mark Twain. Speaking as a reader with no Eng. Lit. credentials – a Dalit of the book world – it seems to me that it was far from right for the Brahmins of the publishing business to deliver opinions on Joseph's novel without having read some of it. It would have been much more decorous to keep silent and let persons talk who have read 'Serious Men'.
Far from being a great novel, 'Serious Men', despite its vaunted merits, is junk writing in the tradition of Bulwer-Lytton and high-school prose. The Hindu has bought itself a pig in a poke. Silk purses and sow's ears come to mind, as does gato por liebre. Caveat Emptor!
>>>>>>>>>>>>>>>>>>>>>>>> [Sample the Appendix for a few chuckles] >>>>>>>>>>>>>>>>>>>>>>>>
(more…)