~ Timeless Malgudi ~ Published by Rupa Publications India Pvt. Ltd 2014 7/16, Ansari Road, Daryaganj New Delhi 110002 Sales centres: Allahabad Bengaluru Chennai Hyderabad Jaipur Kathmandu Kolkata Mumbai Copyright © The Estate of R.K. Narayan 2013 Introduction copyright © Sudeshna Shome Ghosh 2013 Foreword copyright © David Davidar 2013 Swami and Friends was first published by Hamish Hamilton 1935 Talkative Man was first published by William Heinemann Ltd 1986 ‘An Astrologer’s Day’ and ‘A Horse and Two Goats’ were first published as part of Malgudi Days by William Heinemann Ltd 1985 ‘Under the Banyan Tree’ was first published as part of Under the Banyan Tree and Other Stories by William Heinemann Ltd 1985 The Guide was first published by Methuen & Co. 1958 ‘The Mispaired Anklet’ was first published as part of Gods, Demons, and Others by William Heinemann Ltd 1964 My Days was first published by Viking Press 1974 ‘Misguided “Guide”’ was first published as part of A Writer’s Nightmare by Penguin Books India 1988 ‘The Problem of the Indian Writer’ was first published as part of A Story-teller’s World by Penguin Books India 1989 My Dateless Diary: An American Journey was first published by Indian Thought Publications 1964 eISBN: 9788129125002 First impression 2014 10 9 8 7 6 5 4 3 2 1 The moral right of the author has been asserted. This edition is for sale in the Indian subcontinent only. Printed at Replika Press Pvt. Ltd., India This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out, or otherwise circulated, without the publisher’s prior consent, in any form of binding or cover other than that in which it is published. Contents The Genius of R.K. Narayan Introduction Selected Fiction Swami and Friends (An Excerpt) Talkative Man An Astrologer’s Day A Horse and Two Goats Under the Banyan Tree The Guide The Mispaired Anklet Selected Non-Fiction My Days (An Excerpt) Misguided ‘Guide’ The Problem of the Indian Writer My Dateless Diary (Excerpts) The Genius of R.K. Narayan In a house in a quiet Mysore neighbourhood, distinctive for the fire of red hibiscus blossoming against its boundary walls, I spent an afternoon, three decades ago, interviewing R.K. Narayan for a long profile I would write about him for a Bombay magazine. I remembered that meeting when I was trying to distil the essence of his genius for this foreword. I suppose the reason I picked that one meeting from our long friendship and association was simple—it was then that I had the clearest personal insight into what underpinned his writing. Like most others familiar with his work I had read a number of theories about what made R.K. Narayan one of the greatest literary writers of our time (or any time for that matter), I was aware of some of his own views on the subject (not that he was particularly forthcoming on his craft), but I was hoping that on this occasion he would finally uncover for me, here in his hometown, that was clearly the place that had inspired his greatest fictional creation, Malgudi, how his fiction was made. I knew the ‘what’ of his genius, and it was this—it was the particularity of the world he had created. A hundred years from now, you will not mistake Malgudi, that little South Indian town with its railway station, its Mempi Forest, its Sarayu River, its Ellamman Street, its Nallappa’s Grove, its Lawley Extension, its Krishna Dispensary, its bank, its little bazaar, the temple, Gaffur’s taxi, and its myriad other details, for anywhere else. Its colours will not fade, the yellow of the plantains in the shops on Market Road will gleam as brightly as ever and, the jilebis in its sweetshop will never grow stale… And these are, of course, the smallest part of its magic. Much more important are the dozens of immortal characters that Narayan created in book after book, the small men (and women) with big dreams whom V.S. Naipaul and John Updike and other great writers have marvelled at, the Margayyas, the Swamis, the Ramans, the Vasus, the Sampaths, the Rajus, the Rosies, the Daisys, who wandered the streets of Malgudi, scheming their schemes, living their lives, falling in and out of love, delighting us with their antics, providing us with all manner of insights into the human condition with the lightest of touches, each of them keeping the world of Malgudi forever alive, fresh and vital, even if the rupee in twenty-first century India is a fraction of its value in Narayan’s little town and the anna no longer exists. That, in short, was the ‘what’ of R.K. Narayan. Now all I needed to know was the ‘how’. How had he managed to pull it off? What was the secret of his writing? Being the exquisitely courteous man that he was, who would never let a guest or a friend leave empty-handed, he did try to give me something for my efforts, though it may not have been exactly what I was looking for. First, after offering me some superb home-brewed filter coffee, he showed me around the house that he’d had constructed to his specifications, especially the many- windowed study on the top floor from which he could look out upon the town which had provided much of the raw material for his stories, novels and reports (Narayan had been a newspaper and magazine reporter— this was one among the jobs he had tried out before settling down into his career as a writer of fiction). In the course of that afternoon he told me that he didn’t care much for theories about how fiction was made, all that he tried to do was capture in his work the endless possibilities for drama and entertainment that were offered by his fellow human beings in the town and in the countryside every single day, the moment he set foot outside the house. He said he loved watching people, and the endless theatre of human existence was an unending source of material for his stories. He said that though he couldn’t or rather preferred not to explain exactly how stories materialized or how novels began, ideas seeped into his mind from the people and situations he had observed in the streets of Mysore from the time he was a young man and that’s how it all began. And that, so far as he was concerned, was all there was to be said about the ‘how’ of his method and ‘craft’. Elsewhere, he says much the same thing, in the introduction to one of his story collections: ‘All theories of writing are bogus. Every writer develops his own method or lack of method and a story comes into being for some unknown reason anyhow.’ So my advice to you, the reader of his book, is not to waste too much time analysing the writer’s method or craft but to just enjoy the stories and essays for themselves. Writing doesn’t get much better than R.K. Narayan at his best. New Delhi David Davidar September 2013