||A Review of: Magic Seeds
by Steven W. Beattie
Magic Seeds, by the 2001 Nobel laureate V.S. Naipaul, is a dreadful
book. There. I've said it. And while such a brash, admittedly
confrontational assertion is likely to result in readers sympathetic
to Sir Vidia's oeuvre-to say nothing of the author himself-lining
up to have me horsewhipped, or at the very least castigated for
what they are sure to see as the basest kind of literary calumny,
I can find no more polite or dignified way of expressing myself.
The novel, narrated in a haughty, supercilious manner that seems
to embrace misanthropy and a wholesale disgust for the people who
appear in it, is an exercise in depression: presumably intended,
at least in part, as an indictment of the corruption and anomie
that leads to violence in revolutionary movements, it comes across
instead as a disparaging condemnation of socialists, the poor,
political engagement of any kind, and multiculturalism.
A sequel to the author's 2001 novel Half a Life, Magic Seeds begins
where the earlier book leaves off. Willie Chandran, now in his
forties, has left his wife of eighteen years and come to live with
his sister Sarojini in Berlin. Bereft of meaning in his life, Willie
is adrift in a world that seems to contain nothing for him: "I
don't see what I can do. I don't know where I can go." Willie's
existential ennui antagonizes his sister, a documentary filmmaker,
who feels that her brother has abdicated his responsibility to
involve himself in some cause on the global stage: "If everybody
had said that, there would never have been any revolution anywhere.
We all have wars to go to."
Heeding his sister's advice, Willie travels to India to join a
revolution putatively committed to liberating the lower castes from
oppression. But he quickly comes to realize that he has fallen in
with the wrong group; a letter from Sarojini tells him that he is
"among psychopaths." Sarojini informs Willie that the
people he has become a part of "have killed, and are ready to
kill again" but "the comfort is that you are all serving
the same cause in the end."
Murders and violence at the hands of the revolutionaries ensue,
always with little or no elucidation of their purpose. The leaders
of the group speak of "liberating" the peasants, but the
liberation the revolutionaries offer involves little more than the
replacement of one set of oppressors with another:
"The squad leader, if he could, might offer a solution to the
problems that he had heard about. If he couldn't, he spoke (always
in the same simple words and slogans) of the idea and promise of
the liberated area; he laid down a few of the new rules, and the
people's new loyalties. And then the squad marched on, with a promise
to return in some months, to see how people were getting on with
their new gift of freedom."
The ironies here are very thick, and the condescension with which
the squad leader speaks to the newly "liberated"
people-"always in the same simple words and slogans"-is
indicative of a revolutionary movement that has lost sight of its
cause, if indeed it ever had a cause in the first place. The
predominant philosophy of the revolutionaries is "that the
peasants have to be disciplined before they can become foot soldiers
of the revolution"; a revolutionary, by contrast, must "at
all timesbe clear-sighted, andunderstand the poor human material
he might have the misfortune to work with." One of the
revolutionaries sums it up this way: "If you ask me, I will
tell you that the peasants ought to be kept in pens."
The attitude espoused here is one of cynicism and resignation at a
world that cannot change, and contempt for any who endeavour to
make the world a better place through active engagement with oppressed
peoples. Willie himself joins the revolution simply because he has
nothing better to do, and when he is confronted about his reasons
for associating with the rebels, he is unable to provide a response:
"A long story. I suppose it's the story of my life. I suppose
it's the way the world is made."
Willie's character throughout the novel is entirely passive; he
allows himself to be acted upon by the other characters in the book,
while refusing to take any active role in charting his own destiny.
Despite his realization that he is "among psychopaths,"
he remains with the revolutionaries for seven years, eventually
turning himself over to the police only because there is another
member of the group willing to accompany him. Willie is sentenced
to ten years in prison, but his sentence is cut short thanks to the
intercession of his sister, who arranges for Willie to be transported
Once in London, Willie takes up residence with Roger, a lawyer, and
Perdita, his wife. Willie and Perdita engage in a wayward affair,
with Willie insisting that they make love "in the Balinese
way" with the man sitting on the woman. Willie's preference
for this type of sex arises out of his distaste for what he refers
to as Perdita's "used-up body."
The sex in the London section of the novel is presented in language
as scathing and debased as that of the revolutionaries in the India
sections. Willie's lackadaisical affair with Perdita finds its
counterpoint in Roger's affair with Marian, who works in the local
baths. The descriptions of their sexual congress would be laughable
if they weren't so ugly and depressing:
Midway through the evening she said, "I see you've come with
your belt. Do you want to beat me?"
I had some idea what she meant. But it was too far away from me. I
She said, "Use the belt. Don't use anything else."
When we had done with that she said, "Is my bottom black and
It wasn't. Many weeks later that would be true, but not then.
She said, "Did it give you a nice big fat come?"
It hadn't. But I didn't say.
The world of Magic Seeds allows for no sense of connection or
fellow-feeling; it is a resolutely cold and pinched world, in which
self-interest rules the day and the only proper response to the
situation of others is a kind of haughty disdain. This attitude
persists through the wedding scene that closes the book: the marriage
of Lyndhurst, an African, to a white woman. Lyndhurst's interracial
marriage is a "triumph" for his father, Marcus, who
"lived for inter-racial sex, and wanted to have a white
grandchild." Lyndhurst himself appears to have "Africa
more than half scrubbed off him," and his bride "seemed
curiously ordinary." The priest who performs the marriage
speaks in "a faraway plebeian accent" and "chewed
up his words; their fineness seemed to embarrass him." The
pice de rsistance to this misanthropic tableau occurs during the
reading of a sonnet from Othello, when one of the young pages in
the wedding party farts.
In the end, Willie is left to conclude that "[i]t is wrong to
have an ideal view of the world," a sentiment that is surely
legitimized by the world he is exposed to over the course of the
novel. But if Willie ultimately eschews idealism as a motivating
philosophy, he remains unable to settle on an acceptable alternative.
Towards the end of the book, he seems to embrace defeatism, when
he thinks, "I must let the world run according to its bias."
Fair enough, but the bias of the world with which we are presented
in Magic Seeds seems off-kilter, making no allowance for goodness
or generosity or love.
This all might be easier to accept if the writing in the novel were
stronger. Naipaul has in the past been praised for the spareness
of his prose; critics consistently laud its simplicity and economy
and lack of ornament. But what might in the past have been an asset
here proves an insurmountable obstacle. Scenes are consistently
underdeveloped, characters lecture one another instead of appearing
in dramatic interaction, and Willie repeatedly sums up his feelings
about a person or a situation in pat little asides to the reader.
Nihilistic or misanthropic writing is one thing; what we are given
here is lazy writing, and that is something else altogether. A
well-crafted depressing novel peopled by hateful characters can
still be appreciated for its aesthetic legerdemain. To deny readers
even the aesthetic satisfaction of careful writing is unforgivable.