House For MR Biswas Notes PDF

YORK NOTES
General Editors: Professor A.N. Jeffares (University

of Stirling) & Professor Suheil Bushrui (American
University of Beirut)
V.S. Naipaul
A HOUSE
FOR
MR BISWAS
Notes by Rosemary Pitt
BA (DURHAM)
Lecturer in English Language and Literature,
City and East London College
YORK PRESS
322 Old Brompton Road, London SW5 9JH
PEARSON EDUCATION LIMITED

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First published 1982

Third impression 1989
ISBN 0-582-47030-7
Contents
Part 1: Introduction page 5

The life and works of V. S. Naipaul 5
The background of the novel 8
A note on the text 11
Part 2: Summaries 12
A general summary 12
Detailed summaries 13
Part 3: Commentary 31
The achievement of the novel 31
The character of Mr Biswas 31
Style and structure 36
The minor characters 41
Part 4: Hints for study 49

Specimen questions 50
Model answers 51
Part 5: Suggestions for further reading 57
The author of these notes 59
©Librairie Du Liban Publishers and Pearson Education Limited

[This page has been left intentionally blank]
Part 1
Introduction
The life and works of V. S. Naipaul

Vidiadhar Surajprasad Naipaul was born in 1932 at Chaguanas in central
Trinidad. His grandfather, who came from a village in Uttar Pradesh in
north-east India, was one of the thousands of indentured labourers who
came to Trinidad from India in the last century to work on the sugar plan-
tations. V. S. Naipaul grew up in Trinidad as part of a large family which
included one brother, Shiva (who is also a novelist), five sisters, and fifty
cousins. The family were Brahmins, Hindus of the highest caste and
strictly orthodox, and his childhood was spent in a quasi-Indian environ-
ment. The children, however, were exposed to other influences as well;
they went to schools where they mixed with negroes and Europeans, and
spoke English, rather than Hindi, as their first language. Naipaul
describes himself as having been ‘born an unbeliever’.
In 1938 the family moved to the capital city of Trinidad, Port of
Spain, and the Hindu rituals became rarer. He describes this period
in the opening chapter of his novel An Area of Darkness and com-
ments: ‘The family life that I have been describing began to dissolve
when I was six or seven; when I was fourteen it had ceased to
exist’.* This dissolution is described also in A House for Mr Biswas
through the Tulsi family. Naipaul’s father was a journalist; he felt
very close to him, though he described him as a ‘defeated man’, and
he is the prototype for Mr Biswas. Like Anand, the son of Mr
Biswas, Naipaul won an exhibition to Queen’s Royal College in Port
of Spain, and at eighteen, another scholarship from there to the
University of Oxford. He was in England when his father died. After
graduating with an Honours degree in English, he worked as a
reviewer and in 1955 married an Englishwoman. His first novel The
Mystic Masseur was published in 1957. He has spent much of his
life travelling, returning always to London because ‘it is a good
place for getting lost in’. He sees himself as a man without roots; he
never felt at home in Trinidad, and writes critically of it in his book
of travel essays The Middle Passage (1962); and he was repelled by India
when he visited it in 1962. In an interview that year, he said that he had
*An Area of Darkness, Penguin Books, Harmondsworth, 1964, p. 35.

6 · Introduction
never lived in any house for more than three-and-a-half years, a fact
which is echoed in A House for Mr Biswas, and gives greater force to the
latter’s search for a permanent home.
His early fiction – The Mystic Masseur (1957), The Suffrage of Elvira
(1958), and Miguel Street (1959) – is based on his childhood in
Trinidad. All these tales of Trinidad Indians are light, satirical, and
detached in tone. They were well-received and two won prizes, but they
were also criticised for the way in which he was making fun of his own
people. He retaliated in an essay by saying that none of these comments
would have been made about a comic French or American novel, or an
English satirical writer such as Evelyn Waugh (1903–66), and that they
arose out of an ignorance of life in Trinidad without which ‘it is easy for
my books to be dismissed as farces and my characters as eccentrics’.*
A House for Mr Biswas, however, which he finished writing in 1960,
shows a fuller involvement with life in Trinidad, and transcends any
limitations imposed by cultural barriers. His next work The Middle
Passage (1962) is a work of non-fiction, consisting of ‘Impressions of
Five Societies – British, French and Dutch – in the West Indies and
South America’ as the sub-title tells us. It is a tour of the former slave
colonies of Surinam, British Guiana, Martinique, Jamaica and Trinidad.
The book shows an impatience with what Naipaul saw as the squalor,
inefficiency and bigotry of the places he visited with their ‘borrowed’
cultures. He was praised for the lucidity with which he defined the prob-
lems of a post-colonial society, but the book made him a controversial
figure. He was accused by the well-known West Indian novelist George
Lamming (author of In the Castle of My Skin, 1953, an autobiographi-
cal account of growing up in Barbados) of writing ‘castrated satire’ and
using satire as a refuge for a colonial writer who is ‘ashamed of his cul-
tural background’. Lamming accused him also of limiting his material
too closely to the Indian segment of the population. Naipaul takes up
this point in An Area of Darkness, when he admits that the confronta-
tion of different communities is increasingly fundamental to the West
Indian experience, but states that ‘to see the attenuation of the culture
of my childhood as the result of a dramatic confrontation of opposed
worlds would be to distort reality. To me the worlds were juxtaposed and
mutually exclusive’. He also answered the former charge by arguing in
The Middle Passage that what the formless West Indian society needs is
writers to give it shape, identity, authentic values, and a sense of direc-
tion, writers who are not afraid to employ the gifts of ‘subtlety and bru-
tality’ that are required. He argues that formerly irony and satire in writ-
ing have not been acceptable since ‘the insecure wish to be heroically
*‘London’, The Overcrowded Baracoon, Penguin Books, Harmondsworth, 1976, p. 11.

Introduction · 7
portrayed’, and clearly he has achieved much as a writer in confirming
the success of these modes of writing for portraying social comedy, as
well as probing deeper issues.
His next novel, Mr Stone and the Knight’s Companion (1963), is set
in contemporary London with an English protagonist and is a richly
humorous story of a clerk and his fantasies. An Area of Darkness (1964)
returns to non-fiction, and is the record of his visit to the land of his
ancestors, a visit which he felt later should not have been made since ‘it
had broken my life in two’. This work is of great relevance to A House
for Mr Biswas. The Mimic Men (1967), his sixth novel, is an account of
a West Indian political exile in London who moves between his native
island of Isabella (Naipaul’s name for Trinidad) and London. It is a pow-
erful account of the two societies and of the problem of rootlessness,
which is a central concern of his work. A Flag on the Island, a book of
short stories, was also published in 1967, and was followed by Naipaul’s
first attempt at writing history, The Loss of El Dorado (1969). It is an
imaginative study of ‘two moments when Trinidad was touched by his-
tory’. The first is a tale of greed, the race between Raleigh and the
Spaniard Berrio to discover the treasure of El Dorado; the second is the
governorship of the despotic General Picton; both events suggested to
Naipaul the paucity of a colonial society ‘that could refer only to race
and money’.
His next novel In a Free State (1971) deals with three main episodes
concerning, firstly, an Indian servant who is transplanted from Bombay
to Washington; secondly, two West Indian brothers who are moved to
London; and, finally, an English man and woman who travel, or flee,
through an African country. It is again a fine study of rootlessness and the
meaning of freedom. A further selection of essays entitled The
Overcrowded Baracoon was published in 1972, and has a more political
emphasis than his other works with an analysis of elections in America
and the West Indies. His eighth novel Guerrillas (1975) returns to the
society of a small tropical island for its penetrating and dramatic account
of political intrigue and racism, while his most recent novel A Bend in the
River (1979) is the story of an East Indian living in an isolated outpost on
the coast of Africa, who is caught up in political turmoil and eventually
has to leave. Naipaul has also published two more books of essays: India:
A Wounded Civilisation (1977), an extended study of Indian attitudes;
and in 1980, The Return of Eva Peron which contains four previously
published essays on Michael X and the Black Power Killings in Trinidad;
a study of Peron’s Argentina; an account of Mobutu’s Zaïre; and an essay
on Joseph Conrad.

8 · Introduction
The background of the novel

Trinidad
Today East Indians (a term that distinguishes them from two other
types of Indians in the Caribbean islands – the American Indians, and
the West Indians) comprise just over one-third of the total population
of Trinidad. They are of Hindu or Moslem belief. India was the main
overseas source of cheap labour after the abolition of negro slavery in
1834. No negro would work on the sugar plantations, the scenes of their
slavery, and there was a steady flow of labour into the West Indies
between about 1845 and 1917. Almost half the remainder of the popu-
lation is composed of people of African descent, and the other half is
of mixed races.
The first European to arrive in the island was Christopher Columbus,
who discovered it in 1498. The first Spanish settlement was established
in 1532, and the island was used mainly as a base for expeditions to the
mainland in search of the fabled land of El Dorado, the subject of
Naipaul’s eighth novel. There was a large influx of Frenchmen in the late
eighteenth century, who introduced the sugar cane. After war broke out
between Spain and England in 1797, the island was captured and ceded
to England in 1802. In 1962 it achieved independence within the British
Commonwealth, and became a republic in 1976.
The period covered in the novel is approximately the forty-six years of
Mr Biswas’s life between about 1905 and 1951. The main changes which
are recorded are the decline of the Hindu culture and rituals as they
undergo the process of ‘creolisation’, and the accompanying changes in
attitude. Mr Biswas himself is caught between the old culture from India
and the emerging cross-fertilisations, which are shown in many ways,
culminating in the departure of Mr Biswas’s own children, Anand and
Savi, on scholarships to study abroad. Naipaul’s own views on this
process, as reflected by Mr Biswas in the novel, appear to be ambivalent.
He clearly regrets the passing of some of the old traditions, and satirises
the new emphasis on materialism and self-advancement. In his essay on
Trinidad in The Middle Passage, which is of great relevance to the novel,
he describes Trinidad as a ‘materialist immigrant society’ which lacks a
culture and history of its own and emphasises ‘modernity’ at all costs, a
modernity which involves ignoring local products and using those adver-
tised in American magazines. It is a society which admires the picaroon
(from a sixteenth-century Spanish term), or rogue, illustrated in the
novel by the story of Billy who cheats people of their houses. Naipaul
summarises his view in his image of Trinidad as: ‘A peasant-minded,

Introduction · 9
money-minded community, spiritually static because cut off from its
roots, its religion reduced to rites without philosophy, set in a material-
ist colonial society ...’. Although this essay was written in 1962, the
views he expresses in it are relevant to, and reflected in, A House for
Mr Biswas. Naipaul is concerned primarily to describe what he sees,
rather than to hanker after the past in a nostalgic way, or to offer
panaceas for the future. The reader of the novel is made to sense the
inevitability of progress, and this is shown as having some positive
aspects. The flow of American dollars into the island, with the growing
American presence there during the Second World War, brings pros-
perity, as well as a growing spirit of competition. It enables parents to
send their children abroad to be educated. Mr Biswas fears for his son’s
future if the boy does not get some kind of education, but his fears are
transformed into hope and optimism when his son goes abroad on a
scholarship. The education system itself is viewed in an ambivalent
way. It is both a progressive force and responsible for the decay of
Hindu tradition. It is Mr Biswas’s education which makes him think
differently from his illiterate brothers and question the family structure
in which he finds himself, just as it is Owad’s educational superiority
that automatically secures his recognition as head of the Tulsi clan. The
system of education, however, with its emphasis on European topics, is
shown as remote from Trinidad. Mr Biswas is taught about oases and
igloos on his entry to the ‘new world’ at school in Pagotes, topics as
removed from his experience as the comic irrelevance of the assign-
ments he is sent by the English school of journalism. Similarly, Anand
comes to see the sacred thread ceremony merely as a convenient excuse
for absenting himself from school, for he and his father know that he
could not present a shaved head in school without inviting ridicule from
the other children and teachers. He is encouraged by Mr Biswas to
spend his retreat learning school notes, and his performance of the puja
at Shorthills is a mockery – he diverts himself by sticking flower stems
under the god’s chin, and cannot treat the rituals seriously. This is the
world which Owad and his brother Shekhar had entered ‘where educa-
tion was the only protection’.
These cultural changes are reflected also in language; Hindi is seen as
the language of the society into which Mr Biswas is born, but English
begins to be used on public occasions, as, for instance, when Tara
addresses the photographer at Raghu’s funeral, and Hindi becomes the
language of intimacy. Mr Biswas and Shama begin their marriage speak-
ing in English, ‘for there was as yet little friendship between them’. In
the city it can be a ‘secret’ language, as used by the widows when they
visit Mrs Tulsi’s house, and the ‘readers and learners’ understand Hindi,

10 · Introduction
but cannot speak it. Mr Biswas himself uses English at Hanuman House
‘even when the other person spoke Hindi’ as a gesture of rebellion and
independence; and by the end of the novel it is Trinidadian Creole
English which holds sway.
Although Naipaul has protested against the idea that the novel is ‘doc-
umentary’, stating that: ‘What I would do was to write according to my
imagination, and then consult people on little items of inconsequential
information to lend vividness and verisimilitude to the story’, the novel
does record social change in a concrete and convincing way. L. White
summarises it neatly:*
by the end of the novel a whole history has passed before our eyes ....
[Naipaul] chronicles the stages in the loss of India, the shift from coun-
try to town, from Hindi to English, from a preoccupation with Fate to
a preoccupation with ambition, so that as we move from the world of
Raghu to the world of Anand, we are dealing not only with the life of
a man but also with the history of a culture.
Hinduism
The religion of Hinduism originated among the Aryan tribes in India.

Hinduism is based chiefly on the caste system rather than on a system of
beliefs or doctrines. There are five main castes, the highest of which is
the Brahmin or priestly caste, to which Mr Biswas belongs. Members of
this caste are treated with respect, and to be a Brahmin is a sign of great
status. This is seen in the novel where Mr Biswas goes as a boy to Tara’s
house and is ‘respected as a Brahmin and pampered’. He is dressed in a
clean dhoti, and given a gift of money and cloth. Again, at Pundit
Jairam’s, he travels with him to perform the mechanical side of his
offices, and, ‘invested with the sacred thread and all the other badges of
caste’ is everywhere ‘the object of regard’. The duties of a Brahmin
include the performance of puja, or worship, which for the orthodox
Hindu is centred in the home. It takes place in a room set aside for this
purpose and containing a shrine, with an image of the family’s chosen
deity, together with other symbols of the sacred and vessels and instru-
ments of worship such as bowls and lamps. Household worship makes
use of fire for purification (a symbol of the sun); water, also for purifica-
tion; food-offerings; incense; flowers; and coloured powders for orna-
mentation. It is carried out at certain fixed times: sunrise, midday and
sunset. When worshipping, the orthodox Hindu will be dressed in the tra-
ditional way, wearing the sacred thread, and caste or sect marks
*L. White, V. S. Naipaul: A Critical Introduction, Macmillan, London, 1975, p. 88.

Introduction · 11
on the forehead and sometimes the arms and other parts of the body.
Certain sacraments also take place, and are usually four in number:
birth, initiation, marriage, and death. The ceremony of initiation plays
some part in the novel when Anand, despite his distaste for religious rit-
ual, becomes attracted by this ceremony which most of his male cousins
have experienced. It involves being invested with the sacred thread and
going into retreat to study and learn secret verses. Its main attraction for
Anand is the shaving of the head. He asks for a print of the goddess
Lakshmi to be hung on the wall of his room to whom he says his
prayers, but this worship soon ends when his main motive for undergo-
ing the ceremony – to miss school – is thwarted when Mr Biswas
arranges for it to take place during the long summer holiday. The sacra-
ment of death should take place on the bank of a sacred river, and fol-
lowing the death, the corpse should be carried to a sacred spot to be
cremated. In the case of Mr Biswas, the cremation takes place on the
banks of a muddy stream.
Hinduism also figures largely in the novel as forming part of Mr
Biswas’s campaign against the Tulsis when he joins a breakaway
movement of protestant Hindu missionaries who had come from India
and adopted the ancient name of ‘Aryans’. They preach that caste is
unimportant, that Hinduism should accept converts, that idols should
be abolished, and that women should be educated, thus ‘preaching
against all the doctrines the orthodox Tulsis held dear’. Mr Biswas is
impressed by the speeches of the leader, Pankaj Rai, and finds himself
agreeing with the ideas that idols were an insult to the human intelli-
gence and to God, and that a man’s caste should be determined only by
his actions, a point which seems to be proved by his brother-in-law
Ramchand whose clean and comfortable hut ‘indicated lowness in no
way’. Pankaj Rai is soon discredited and his place taken by
Shivlochan, BA., and the movement seems to disintegrate amidst argu-
ments about the relative virtues of peaceful persuasion or militant con-
version. However, Mr Biswas continues to be influenced by his Hindu
background, as we see when, for example, he recites the words ‘Rama
Rama’ as protection during the storm at Green Vale, and Hinduism is
a vital and integral part of the novel.
A note on the text

A House for Mr Biswas was first published by André Deutsch, London,
in 1961. The Penguin paperback edition, Penguin Books, Harmonds-
worth, 1969, is referred to in these Notes.

Part 2
Summaries
of A HOUSE FOR MR BISWAS
A general summary
Mohun Biswas is a Trinidadian Indian who dies at the age of forty-six
in a house in Port of Spain where he has been living with his wife and
four children. He was born in a country village, surrounded by ill
omens. His family is scattered after his father’s death and he moves
with his mother to Pagotes. At school he discovers a talent for lettering,
and later becomes a sign-writer. Initially, however, he is sent by his aunt
Tara to the household of a pundit to learn to be a Hindu priest; but he
leaves in disgrace after eight months and works in a rum shop run by
Tara’s drunken brother-in-law. After being wrongfully accused of steal-
ing he joins a former schoolfriend in the sign-writing business, in the
course of which he goes to Hanuman House, the home of the Tulsis. He
is then trapped into promising to marry Shama, the sixteen-year-old
daughter of Mrs Tulsi, as he is of the right Hindu caste. No dowry is
offered and he is expected to join the family workforce by working on
the land with the other husbands. He immediately rebels, but without
any money or position of his own he finds himself dependent on the
Tulsi household from then until shortly before his death. After success-
fully disrupting the smooth running of the house, Mr Biswas is sent to
a small rural village, The Chase, to act as manager of a Tulsi food shop.
During the six years he spends there with his growing family, the shop
continually loses money, and his family spend an increasing amount of
time at Hanuman House. Finally he joins them there, and is then sent to
Green Vale to act as overseer for Mrs Tulsi’s powerful brother-in-law.
He is wholly unsuited to such work and feels persecuted by the labour-
ers under him.
He suffers a mental breakdown and has to return to Hanuman House to
convalesce after a storm destroys the ramshackle house he has built.
Forced to earn his living again, he leaves the Tulsis and goes to stay with
his sister and her husband in Port of Spain. He finds work as a journalist
on the Sentinel newspaper, and this leads to a reconciliation with the
Tulsis. He goes to live with his family at Mrs Tulsi’s house in the city
which she shares with her younger son, Owad, until he is sent abroad to
study medicine.

Summaries · 13
Mr Biswas takes a growing interest in the education of his son Anand
and a close relationship develops between them. Meanwhile the Tulsis
move to an estate at Shorthills and Mr Biswas is persuaded to join them.
The Tulsi family begins to disintegrate under new social and economic
pressures, and Mr Biswas leaves after the house he builds there is
destroyed by a fire. He returns to Mrs Tulsi’s crowded house in the city
and remains there until he moves to his own house in Sikkim Street after
a fierce quarrel with Mrs Tulsi and Owad. His job at the Sentinel has
changed to that of social investigator of ‘Deserving Destitutes’ which
leads to a new lease of life when he is given a government post in a
Social Welfare Department. His hopes, however, increasingly centre on
Anand, who wins an exhibition to the prestigious Queen’s College in the
city. The house in Sikkim Street leads Mr Biswas into heavy debt, espe-
cially as it is over-priced and in need of major repairs, but he is overjoyed
at possessing his own house and land.
After the government department is disbanded, he returns to the
Sentinel until put on half-pay when he develops heart-trouble and is
eventually dismissed. Anand is now studying at university in England
and does not return during his father’s illness, but his daughter, Savi,
returns and gets a well-paid job. Mr Biswas then dies suddenly and
receives a traditional Hindu cremation, after which his wife and children
return to the empty house.
Detailed summaries
Prologue
Mr Biswas is dismissed from his job at the Sentinel ten weeks before his
death. Neither he nor his wife have any money to pay the mortgage on
the house, but he is comforted by his wife’s efforts to help him instead of
returning to her family and by the wonder and triumph of having
acquired his own house where he can wander freely and feel secure. The
house was bought from a corrupt solicitor’s clerk who had concealed its
shoddiness and makeshift design from the eager Mr Biswas. As soon as
he and his wife Shama (who had shown hostility to the idea and had
refused to look at the house) move in, they discover all the defects in its
structure and layout; but they adapt to these quickly, and it seems to Mr
Biswas – on his first return from hospital – a welcoming and ready-made
world.
COMMENTARY: This introduction reports the death of the novel’s main
character, Mr Biswas; thus we know that the main body of the novel will

14 · Summaries
trace his life up to this point, and while the element of surprise is taken
away by knowing of the death, Naipaul is free to use a variety of stylis-
tic devices such as flashback scenes depicting events prior to the narra-
tive and prediction of future events, which involve us closely in Mr
Biswas’s life. We are also informed of how much the house matters to Mr
Biswas as a symbol of his freedom and independence.
NOTES AND GLOSSARY:
big-shot: a successful business man
the Meditations of Marcus Aurelius: Marcus Aurelius was Roman
Emperor from AD161 to AD180; he believed in the
philosophy of Stocism which preached that virtue is
the aim of life and that the passions and appetites
should be rigidly subdued
Deserving Destitutes: people living without the basic necessities and
deserving support
unaccommodated: the final word of the prologue is an echo of
Shakespeare’s tragedy King Lear (III.4), when
Lear, on seeing the beggar, Poor Tom, on the heath,
says: ‘Unaccommodated man is no more but such a
poor, bare, forked animal as thou art’
PART 1
Chapter 1: Pastoral
Mr Biswas was born away from his father’s village in the hut belonging
to his grandmother Bissoondaye. He is born the wrong way round, at
midnight, and with six fingers, all of which are seen as portents of ill-luck
and disaster. The pundit also predicts that the boy will be a lecher and a
spendthrift because of his widely spaced teeth, and that he should be kept
away from trees and water. He will also have an unlucky sneeze, as hap-
pens on the occasion of his father’s drowning in the pond.
After his father’s death the family have to leave, and thus Mr Biswas
escapes the expected course of events. This would have meant his
remaining illiterate and working as a grass-cutter in the fields, perhaps
saving enough money to rent or buy a few acres of land where he could
plant his own sugar canes. This is a path which his brother Pratap fol-
lows; he even becomes prosperous, with a house of his own. Tara, his
mother’s sister, comes to organise his father’s funeral, and takes his sis-
ter, Dehuti, to live with her. His mother, Bipti, leaves her village after
her garden is ransacked by some neighbours who mistakenly believe
that her husband, who was thought to be the richest man in the village,

Summaries · 15
had buried bags of money there. She takes Mr Biswas with her to the
town of Pagotes, where they live as dependent relations of Tara in a back
street. The two brothers are sent to Felicity to work on the sugar estates
and Mr Biswas, who finds himself increasingly distant from his mother,
feels isolated and alone.
COMMENTARY: The first words spoken in this chapter, which refer to Fate
and how people cannot fight it, summarise neatly the attitude of the older
generation of Indian Hindus from which Mr Biswas descends. He differs
radically from them, however, in that he attempts to determine the course
of his life himself in an active way, despite all the ill omens and pes-
simism expressed at his birth. The value of homes and houses is also
emphasised in the final paragraph, since we are told that Mr Biswas is
now leaving ‘the only house to which he had some right’ and will be a
‘wanderer’ for the next thirty-five years without a house of his own, and
his only family will be the Tulsis with their ‘engulfing world’.
NOTES AND GLOSSARY:
pundit: a Hindu learned in the Sanskrit language, and the
science, laws and religion of India
almanac: a register of the dates of the year, including predic-
tions about the future
milkmaids ... Lord Krishna: Krishna, the Hindu god of fire and light;
according to Hindu legend he was a brave, beauti-
ful youth brought up by cowherds, and had love-
affairs with the milkmaids
the Shiva dance: Shiva is the third deity in the Hindu trinity, repre-
senting the destructive principle in life, but also a
restoring or renovating power; also the God of
Dance
dhoti: loin-cloth
carried weight: was considered influential
sabots: wooden shoes
roti: a pancake
piquet: picket; a stake or peg
hibiscus: a shrub with large red or pink flowers
calabash: the shell of a gourd used as a drinking vessel or
domestic utensil
henna: a dye
chock up: to wedge in order to prevent slipping
eczema: a skin disease
maharajin: the wife of a maharaja, the title assumed by some
Indian princes

16 · Summaries
Chapter 2: Before the Tulsis
No traces remain of Mr Biswas’s birthplace, although the land his moth-

er once owned later yields oil, and the swamp region becomes a garden
city. Even his birth certificate has to be invented and drawn up by a
Muslim solicitor, F. Z. Ghany. At the mission school he is taught by Lal,
a converted Hindu, and learns many useless facts. He befriends Alec,
who shocks the school by taking Dodd’s Kidney Pills and passing blue
urine. They keep their home lives secret, partly because Mr Biswas is not
happy there and still views it as a temporary arrangement. He feels
detached from his brothers, now grown men, and only sees his sister
when taking part in a religious ceremony at his aunt’s house, where he is
respected as a Brahmin and treated with honour. He also goes there to
read to his uncle Ajodha from ‘That Body of Yours’. After six years Mr
Biswas is taken away from school, and goes to live with pundit Jairam
where he learns religious ceremonies, including the morning prayer cer-
emony, or puja. Two episodes discredit him – one when he steals two
bananas, and the other when he defiles the sacred oleander tree with his
soiled handkerchief. He returns to his mother in Pagotes, an incident he
later romanticises in a poem; but he is soon sent to the sordid rum shop
where he rebels against uncle Bhandat’s mean and suspicious nature by
spitting in the rum when he bottles it. He leaves (after a violent scene
where he is accused of stealing money) determined to establish his inde-
pendence and get his own job and house. During his hunt for a job he vis-
its Dehuti and her husband Ramchand, Tara’s disgraced yard boy;
although he feels very separate from his sister, he is impressed that their
hut is clean and comfortable with no signs of Ramchand’s lower caste. A
meeting with Alec then leads to his job as sign-writer. He escapes into
novels in search of romance, and identifies with the heroes of Samuel
Smiles. Finally his search takes him to Hanuman House in Arwacas.
NOTES AND GLOSSARY:
Raleigh’s dream: Sir Walter Raleigh (c.1552–1618), the English
explorer, soldier and poet, searched in vain for gold
in South America
oil derricks: the structures built over oil wells
Presbyterianism: Protestant Christian religion tracing its origin to
Calvinism
affidavit: a voluntary affirmation sworn before a person qual-
ified to administer an oath
tamarind rod: a stick made from the branch of a tamarind tree
bodice: a type of vest

Summaries · 17
leg-of-mutton sleeves: sleeves in the shape of a leg of mutton
drugstore: a chemist’s shop, often selling a variety of items in
addition to the chemist’s traditional wares
Bell’s Standard Elocutionist: a manual on elocution practice, first pub-
lished 1860, with a large collection of pieces of
poetry and prose for recitation
Ramayana: an ancient Indian epic poem which tells of the
exploits of the god Rama
sacred thread: the upavita, worn by upper-caste members accord-
ing to Hindu custom; it is a cotton thread of three
strands, which a guru gives to a boy at his initiation
ceremony between the ages of eight and twelve
tulsi: a species of the herb basil, sacred to the Hindu god
Vishnu
bicarbonate of soda: a powder used to cure indigestion
puja: Hindu ceremony of worship
Sanskrit: the ancient language of the Hindu sacred writings
marigolds, zinnias, oleanders: flowers which grow locally
allegory: a narrative in which the ideas and characters por-
trayed also refer to wider, abstract concepts; an
extended metaphor
dry goods shop: shop selling clothes, drapery and so forth, as distin-
guished from a grocery
rock cakes: hard buns containing currants
in two twos: in a few moments
Hall Caine: Sir Thomas Henry Hall Caine (1853–1931), an
English novelist who wrote The Manxman (1894)
Marie Corelli: an English romantic novelist (1855–1924)
Samuel Smiles: a political philisopher (1812–1904) who wrote Self-
help (1859) and Duty (1880), preaching the virtues
of thrift and hard work
Amerindian: a contraction of ‘American-Indian’
Chapter 3: The Tulsis
Hanuman House, and the reputation of the Tulsis among Hindus, are
described in detail. They are respected, though little is known about
them. Mr Biswas passes a note to Shama and is called to an interview
with her mother and uncle Seth. He is found to be a suitable husband
and surprises himself by agreeing to marry Shama. After the ceremo-
ny he begins to think of escape; he is appalled at the hierarchical
organisation of the house where the daughters’ husbands’ names are

18 · Summaries
forgotten and they are expected to become simply Tulsis. He rebels and
returns to Pagotes. Here, however, he finds that he has achieved new
status with his relations and starts to accept his role, and soon returns
to the Tulsi house to find that he is seen there now as troublesome, dis-
loyal and untrustworthy. His invective against the Tulsis, particularly
the ‘little gods’, develops into a campaign against them. He becomes
involved with a breakaway Hindu movement and satirises the Tulsis for
being false Hindus by sending their sons to a Roman Catholic college.
The confrontation comes to a head when Mr Biswas refuses the offer-
ing at the puja and then spills a plateful of food on Shama’s brother
Owad. He is attacked by her brother-in-law Govind, and then ordered
by Seth to leave.
NOTES AND GLOSSARY:
monkey-god Hanuman: a character in the Ramayana, worshipped as a
deity in India
the Mutiny: a rising (1837–9) among Indian regiments in British
service in north and central India
Punch: the famous puppet of Punch and Judy shows
prognathous: with projecting jaws
vogue: fashionable success
bluchers: old-fashioned low boots
topee: a sun-hat
creole: a descendant of European settlers in the West Indies
mango: a tropical fruit
a real gum-pot: a difficult situation
brain-feeding meals ... fish: fish has a high protein content
hartshorn: smelling salts
Liniment: a liquid preparation for rubbing on bruises or sores
buffoon: a comic figure or fool
BA LLB: degrees of batchelor of arts, bachelor of laws
spouses: husbands or wives
cat-in-bag: an arranged marriage
a republic: a country without a monarch or absolute ruler
a serpent: a betrayer
Discourses of Epictetus: Epictetus (AD55–135) was a Greek stoic
philosopher
doodling: drawing figures in a casual manner
salmon only on Good Friday: in imitation of the Roman Catholic cus-
tom
a flambeau: a torch

Summaries · 19
Chapter 4: The Chase
Mr Biswas moves to this isolated village to manage a small food shop, a

venture which is destined to fail from the beginning as there is a large
number of such shops. To Mr Biswas his stay there seems always ‘tem-
porary and not quite real’, a preparation for real life elsewhere. The shop
is Tulsi property; the house is blessed by brother-in-law Hari at Shama’s
insistence. Even his daughter, Savi, is named by Seth and Hari, and is
seen as a Tulsi. The decline of the business is furthered by Mr Biswas’s
attempt through the corrupt lawyer, Seebaran, to regain lost credit. He
himself gets into debt as a result. He finds he has aged during these six
years of boredom and futility, but he remains optimistic that ‘some nobler
purpose awaited him’, and consoles himself with religion and philoso-
phy, painting foreign landscapes and indulging in eccentric habits. A son
is born and his family spend more time away at Hanuman House. He
wins acceptance there as a person skilled in wit and argument and views
it as a sanctuary from the impersonal outer world. At the same time he
resents its hold over his family, and when Shama declares she wants to
return there for good, they quarrel frequently until he hits her. He does
not see her until their third child is born, when he too leaves The Chase
and joins her at Hanuman House, staying there until he is given work on
the estate at Green Vale.
COMMENTARY: This chapter highlights Mr Biswas’s growing fear of the
future as a blankness and an empty space, a void into which he is falling,
which develops into the breakdown at Green Vale. The fear is also linked
with the recurring image of the boy standing outside a lonely country hut
at evening which he had seen years earlier. In spite of this feeling of
emptiness, however, the period at The Chase is also a time of acquiring
possessions and leaving marks of habitation.
NOTES AND GLOSSARY:
kerosene: oil used for burning in lamps
Maharajah of Barrackpore: a rich Indian prince
Workmen’s Compensation Act: a law by which workmen would be
paid extra money for dangerous work
Bonne Esperance: (French) high hopes
the calling name: name by which she would normally be addressed
Hindus ... wouldn’t keep pigs: pigs are considered unclean by Hindus
telescoped: compressed, made smaller
Cydrax: a drink made from apples
poui: a sturdy creeper with a thick trailing stem, often
used as a pot scourer

20 · Summaries
Alexander: possibly Alexander the Great (356–323BC), who
achieved the expansion of Greek civilisation to the
east
Carnival: annual celebration with dance and music
iconoclasm: attack on established opinions
irreligiosity: Christmas is a Christian festival and is not therefore
usually celebrated by Hindus
cheelum: pipe
a dose of licks: a beating
febrifuges: medicines to reduce fever
Chapter 5: Green Vale
Mr Biswas moves into a small room in the barracks in the damp and
shadowed vale. Being largely ignorant of sugar cane and estate work, he
is scorned by the labourers who fear only Seth. He wishes to move into
his own house, but Seth’s promises to build him one are never carried
out. His frustration at the sordid surroundings and fear of the workers are
expressed at first in abuse of the Tulsis to Shama, who again retreats to
Hanuman House, and then in solitary periods in his room. Shortly after
Christmas he visits his children, taking a large doll’s house to Savi, which
is subsequently destroyed by Shama because of the disruption and jeal-
ousy it arouses.
He takes Savi to live with him for a week to ‘claim’ her; his wife
returns briefly but becomes pregnant again, and he is left essentially
alone. In an attempt ‘to arrest his descent into the void’ Mr Biswas
employs an incompetent carpenter to build a house, despite having little
money to finance it. He becomes increasingly disturbed and restless and
finds the objects in his room threatening, as well as the people he encoun-
ters. During a visit by his family he again hits Shama, who is pregnant,
saying that she and the Tulsis are trying to kill him. She leaves, but his
son, Anand, asks to stay. They move to the one finished room of the
house, where the killing of Mr Biswas’s dog is followed by a fierce storm
and the climax of Mr Biswas’s fears that ‘they’ are coming to destroy
him. The house itself is struck by lightning.
NOTES AND GLOSSARY:
Northumberland: a county in north-east England
emporium: a large shop
laxly: not strictly orthodox
felo-de-se: self-inflicted murder
fob: pocket for holding a watch
bower: shady retreat

Summaries · 21
punch: a paunch, stomach bulge
Sanatogen: a vitamin tonic drink
euphemism: a way of expressing something offensive in an indi-
rect and softened manner
puss-puss: malicious gossip
galvanize: iron coated with zinc
dock: reduce
Tarzan: the hero of a series of popular stories by Edgar Rice
Burroughs (1875–1950); Tarzan is a particularly
strong and agile man, leading a primitive life in the
jungle, and the subject of many fantastic adventures
The Hunchback of Notre Dame: popular novel (1831) by the French
writer Victor Hugo (1802–85). The main characters
are Esmeralda and Quasimodo, the hunchback
the wood was cured: the wood had been treated or seasoned to prevent
shrinking
Coppernickus and Galilyo: Copernicus (1473–1543) was a Polish
astronomer who advanced the theory that the earth
and other planets revolve around the sun; Galileo
(1564–1642) was the brilliant Italian scientist and
astronomer who supported the Copernican theory
and claimed that the earth was round
Rama Rama Sita Rama: an incantation inspired by the epic Hindu poem
the Ramayana; Sita was the bride of Rama
Chapter 6: A Departure
Mr Biswas and Anand are taken back to Hanuman House. Mr Biswas

gradually recovers and is able to piece together the past with its memo-
ries of horror. He is relieved to hear that the house has been burnt down
completely by the labourers, thus freeing him from the past memories.
He reviews his situation, reflecting that his position is still that of some-
one without a vocation or reliable means of supporting his family and
that he would not be missed. He determines to establish his independence
and feels that ‘real’ life with its ‘especial sweetness’ is still waiting for
him to discover it.
NOTES AND GLOSSARY:
Ovaltine: the brand-name of a malt-based drink, made with
hot milk, and which is supposed to induce sleep
thaumaturge: worker of miracles
aloe: a plant used as a drug
chamar-caste-type: a low-born person

22 · Summaries
PART 2
Chapter 1: ‘Amazing Scenes’
Mr Biswas takes a bus to Port of Spain where he stays for a time with
his sister and her husband. He feels stimulated and excited by the city,
but wearies of his freedom, and the spasms of fear return. After an
abortive visit to a medical specialist he recognises that he has to accept
the past as a vital part of himself, and this restores the ‘wholeness’ of
his mind. He also recognises that the spasms of fear on seeing people
were caused by regret, envy, and despair, rather than fear. He acts deci-
sively and gains a job writing on the Sentinel newspaper under Mr
Burnett where his talent for fantasy and facetious, humorous writing
gains expression. As a shipping reporter he feels in contact with differ-
ent parts of the world. He is reunited with his family and sees his fourth
child, and as the climax of his current good luck, is given rooms in Mrs
Tulsi’s house in Port of Spain. His friendship with Owad develops and
he establishes a closer and more disciplined relationship with his chil-
dren, involving himself also in their education. He takes a short-lived
writing course from London on journalism, and invents stories with a
fantasy heroine entitled ‘Escape’. He plants rose-bushes in the garden
and begins to think of the house as his own. This order is disturbed by
news of Owad being sent to England to study medicine, and Anand’s
near-drowning at the docks.
COMMENTARY: The first, macabre stories Mr Biswas writes for the
Sentinel reflect his guilt and anxiety about leaving his family, and also his
feelings of insecurity and anxiety are given expression in the report of the
Scarlet Pimpernel (his assumed name as he tours the island) spending the
night in a tree.
NOTES AND GLOSSARY:
‘Amazing Scenes’: this phrase comes from one of the newspapers in
the barracks room at Green Vale
brain fag: mental exhaustion
elided: omitting syllables in words
Tom Sawyer and Huckleberry Finn: popular adventure novels by the
American author Mark Twain (pen name of Samuel
Clemens, 1835–1910)
in extremis: at the point of death
Bonny Baby Competition: a contest to find the most attractive baby
photographs of Adolf Hitler: this dates this period in the novel as the
1930s with the beginnings of Hitler’s rise to power
in Nazi Germany

Summaries · 23
Scarlet Pimpernel: taken from the romantic novel of that title (1905),
by Baroness Orczy (1865–1947), in which the
leader of the League of the Scarlet Pimpernel, a
band of young Englishmen pledged to rescue the
innocent victims of the Reign of Terror in Paris
after the French Revolution, outwits his opponents
by means of ingenious disguises
crook: a criminal
aspirations: social ambitions
Macaulay: Thomas Babington Macaulay (1800–59), English
statesman, poet and historian
eviction notice: order to leave a property
Guy Fawkes Night: annual festival celebrating the discovery of the
‘Gunpowder Plot’ in England in 1605 – a Roman
Catholic conspiracy to murder King James I and
members of parliament; Guy Fawkes, one of the
conspirators, was arrested before the explosion
could be detonated and the plot was foiled
Evening Standard ... Country Life: British daily newspapers and maga-
zines of the period
Warwick Deeping: a popular English novelist (1877–1950)
Prince of Wales: title given to the eldest son of the King, or Queen,
of England
H.E.: His Excellency (used ironically here to refer to ‘the
boss’)
Shirley Temple: a Hollywood film actress, especially famous for the
parts she played as a child
Life: an illustrated American magazine
Halévy’s History of the English People: Halévy (1870–1937) was a
French historian
Chapter 2: The New Régime
The house feels empty, as if awaiting change. Disaffections spread at

Hanuman House as Mrs Tulsi ceases to control it effectively, and inter-
nal quarrels develop. The Sentinel’s tone of frivolity becomes inappro-
priate with the approach of war and Mr Burnett is sacked. The new edi-
torial policy demands a strict adherence to fact, which Mr Biswas finds
sterile and unrewarding. He fears for his job also, sensing that his work
is mediocre. Prices rise with the impact of the war and the quality of
food declines. The quarrels with Shama, and his sense of being

24 · Summaries
trapped, intensify, and the sense of expectation he had of the city and his
life there disappears. Anand’s life of study in the exhibition class is also
taxing. The destruction of the rose garden by Seth to provide space for
his lorries provokes a violent scene in which Mr Biswas damages some
of the furniture in the house.
NOTES AND GLOSSARY:
Spain: a reference to the Spanish Civil War (1936–9) in
which General Franco and the Right Wing fought
against the Republicans
MBE, OBE, CBE: Member, Order, and Commander of the British
Empire; decorations awarded by the King or Queen
of England
a capitalist rag: a newspaper which has profit as its chief aim
sell ... like hot cakes: sell quickly and successfully
Dickens: Charles Dickens (1812–70), famous English novel-
ist, noted in particular for his compassionate por-
trayals of the conditions of the poor
the sack: losing his job
Lamb’s Tales from Shakespeare: Charles Lamb (1775–1834), an
English essayist, adapted Shakespeare’s plays for
children
Lakshmi: Hindu goddess of beauty, wealth and pleasure who
appears in the Ramayana
rakshas: evil spirits of Hindu legend who haunt cemeteries
and devour human beings
jackasses: fools
Chapter 3: The Shorthills Adventure
The Tulsis leave Arwacas for a new estate in the mountains north-east
of Port of Spain. Hanuman House is full of talk of the glories of the
estate with its lush landscape and Shama wants to be part of the adven-
ture. Mr Biswas consents to move there after he visits it with Mrs Tulsi
and is attracted by the idea of building his own house there and living
cheaply. Shorthills represents for him an adventure, an interlude, and he
remains detached from its declining fortunes, since his job gives him
independence and he is able to plunder the land and exploit the philos-
ophy of ‘every man for himself’. For the children it means a nightmare
existence with the problems of travel to school, and shortages of food.
The death of Hari is followed by that of Padma, and it seems that that
family has lost its cohesive power of virtue. Mr Biswas decides to build
his own house and withdraw, despite the isolation of the site. He invites

Summaries · 25
his mother for a visit and she helps to clear the ground for the firing.
It is this event which leads to the destruction of Mr Biswas’s third
house by fire. His rivalry with another brother-in-law, an ambitious
extrepreneur, begins at Shorthills. Mr Biswas calls him ‘W. C. Tuttle’,
this being the name of the author of his large collection of books,
labelled by Mr Biswas as ‘trash’. Their rooms are opposite to each
other.
NOTES AND GLOSSARY:
‘The Emperor’s New Clothes’: the well-known children’s story by
Hans Christian Anderson (1805–75) about an
emperor who, tricked by the flattery of two rogues
pretending to be tailors, appeared naked in public in
the belief that he wore a suit of cloth so fine that
only the wisest could see it
Oliver Twist: central character in the novel of that name (1837–8)
by Dickens, dealing with the poor in workhouses
and London criminals
Romain Rolland: French essayist and novelist (1866–1944) who
believed in faith in humanity based on a pantheistic
religion
Boots: famous chain of chemist shops which used to have
a lending library and sell books
W. C. Tuttle: Wilbur Coleman Tuttle (b.1883), author of over
fifty popular novels about the American ‘Wild
West’, the first of which was published in 1920
dicky seat: an open seat behind the body of the motor-car
suttee: a Hindu custom by which the widow was burnt on
the funeral pyre with her dead husband
Chapter 4: Among the Readers and Learners
Transport becomes impossible and Mr Biswas moves back to two

rooms in Mrs Tulsi’s house in Port of Spain, along with the Tuttles,
Govind and Chinta, and the widow, Basdai. A comic rivalry ensues over
possessions, and the crowds and noise, increased by Basdai’s school-
children boarders from Shorthills, drive Mr Biswas to walk in the
streets and to see his office as a haven. He feels he is excluded from the
growing prosperity in the island and fears for Anand’s future job
prospects as involving only ‘intrigue, humiliation and dependence’. He
is appointed investigator for the Deserving Destitutes Fund, and is
exposed constantly to failure and misery, as well as requests for help
from the widows and Bhandat. He continues to visit Ajodha and

26 · Summaries
becomes friendly with Jagdat, Bhandat’s son; but there is much hostili-
ty between Ajodha and his two nephews. The internal rivalries in the
house preoccupy him, including that between Anand and Vidiadhar, who
are both in the exhibition class. Anand’s schooling and personality are
described fully with the build-up to the vital examination, which he pass-
es with great success. Mr Biswas’s mother dies, and he commemorates
her in an embarrassingly emotional prose poem which he writes for the
literary group he has joined. He also writes a long letter to the doctor who
delayed in signing her death certificate, and is rewarded by his letter
being sent back and so acknowledged.
COMMENTARY: Mr Biswas destroys his fantasy ‘Escape’ stories with their
barren heroines when confronted with the sorded realites of Bhandat’s
lodging where he vilifies his Chinese mistress as an ‘awkward barren
cow’. This can be seen as part of Mr Biswas’s acceptance of the life
around him and his past, though it could be seen also as a gesture of
defeat and pessimism.
NOTES AND GLOSSARY:
Ella Wheeler Wilcox: an American poet and journalist (1850–1919),
very popular in her day
Edward Carpenter: an English poet and writer (1844–1929) with
strongly socialist views
Lorca: Federico Garcia Lorca (1898–1936), Spanish poet
and playwright, assassinated at the beginning of the
Spanish Civil War
Eliot: T. S. Eliot (1888–1965), a major English poet
Auden: W. H. Auden (1907–73), an English poet linked
particularly with the 1930s
pomme cithère: (French) ‘apple of Cythera’. Cythera is an island
off the coast of the Peloponnese, dedicated to the
Greek goddess of love, Aphrodite. The term pomme
cithère, or love apple, can refer to a tomato
bois-canot: (French) a hard wood used for boat-building (bois
means wood; canot means a small, open boat)
homilies: sermons or moral lessons
Jesse James and The Return of Frank James: American Western films
based on famous bandits of the nineteenth century
Henry Fonda, Brian Donlevy, Tyrone Power: famous film stars in
Hollywood during the 1940s and 1950s
ghee: oil made from butter
Measure for Measure: a play (1604) by Shakespeare (1564–1616) which
centres upon the question of the nature of justice

Summaries · 27
the Gita: an abbreviation for the Bhagavadgita, part of a
famous epic poem of ancient India called the
Mahabharata
P. G. Wodehouse: English writer (1881–1975) of comic novels about
upper class characters
The Talisman: a historical novel (1825) by Sir Walter Scott
(1771–1832)
Chapter 5: The Void
Mr Biswas involves himself closely in Anand’s work at the college,

and looks to his son increasingly as embodying his hopes for the
future. He even loses his vision of possessing his own house again and
feels much despair. A new job in a government social welfare depart-
ment, however, gives him a fresh interest and sense of security. He
earns extra money and has the luxury of a holiday in North Trinidad,
as well as new clothes and a new car which he enjoys showing off. He
feels his luck is too good to last as the department comes increasingly
under attack. The Tuttles leave for their own house and the ailing Mrs
Tulsi returns and exerts her tyrannies until revived by preparations for
the return of Owad. Mr Biswas has to move temporarily to a tenement,
and re-visits Hanuman House. The family then return to one room in
Mrs Tulsi’s house.
NOTES AND GLOSSARY:
yogi: a devotee of yoga, a Hindu system of meditation
often involving the practice of physical exercises
copra industry: copra is the dried kernels of coconuts, which yield
oil
Pro Bono Publico: (Latin) for the public good
Caramba! ... tarde: (Spanish) Heavens above! It’s three o’clock already.
Where is your father? Lena, go and call him. Come
on, come on! We’re already late
Sindhis: people from the province of Sind in India
Chapter 6: The Revolution
Owad returns to a full house, ‘like an old Hanuman House festival’. He

is recognised as the new head of the family. His exploits are recounted
endlessly, together with his glorification of Russia and anticipation of
the socialist revolution in Trinidad. A strong antagonism develops, how-
ever, between Anand and Owad after a quarrel, and Mr Biswas ‘gives
notice’ after a breach with Mrs Tulsi. His meeting with the solicitor’s

28 · Summaries
clerk in a café leads to a visit to the house in Sikkim Street which at first
seems inaccessible, though most desirable. The sale of the house at
Shorthills makes the price of five thousand dollars less prohibitive and
he goes ahead with the purchase, in spite of Shama’s disapproval, after
borrowing four thousand dollars from Ajodha. Owad spends more time
away from home at his brother Shekhar’s house – Shekhar has married
a Presbyterian, Dorothy, who upsets the Tulsis – and with medical col-
leagues. Talk of the revolution now ceases.
NOTES AND GLOSSARY:
Robert Taylor: Hollywood film actor (1911–69)
Russell: Bertrand Russell (1872–1970), distinguished mod-
ern English philosopher
Joad: Cyril Joad (1891–1958), modern philosopher and
broadcaster
Rhadakrishnan: Sarvepalli Radhakrishnan (1888–1975), Indian
philosopher, scholar and statesman
Laski: Harold Laski (1893–1950), English political scientist
Menon: Krishna Menon (1897–1974), an Indian nationalist
and champion of India’s anti-colonialist movement
solecisms: deviations from correct grammer or idiom
Molotov: Vyacheslav Molotov (b.1890) one of Stalin’s clos-
est advisers during the period of the purges in the
1930s in the USSR; he was Commissioner for
Foreign Affairs 1939–49 and 1953–6
the Red Army: the Soviet Army which captured Berlin in 1945
Winston Churchill’s Fulton speech: Winston Churchill (1874–1965)
was the British Conservative Prime Minister
(1940–5 and 1951–5) especially associated with
Britain’s victory in the Second World War
(1939–45). The Fulton Speech he made in 1946 is
often seen as the open declaration of the Cold War;
he coined the phrase ‘the Iron Curtain’
Maurice Thorez: French politician (1900–64), leader of the French
Communist party at this period
Rokossovsky: Konstantin Konstantinovich Rokossovsky (1896–
1968), a Marshal of the Soviet Union. During the
Second World War he commanded the forces that
defended Stalingrad and Moscow and led the Soviet
Armies through Poland. Served as Minister of
Defence in Poland (1949–56) and Deputy Minister
of Defence in Soviet Union (1956–8)

Summaries · 29
Coca-cola-Kowsky: a fictitious name, or pun on the above reference, to
show how ugly Mr Biswas thinks Russian names
are
Joseph Dugashvili: the real name of Stalin (1879–1953). The name
‘Stalin’, which means ‘man of steel’, was his revo-
lutionary name
Gogol: Nikolai Vasilyevich Gogol (1809–52), Russian
dramatist and novelist. His novels are considered to
form the foundations of the nineteenth-century tra-
dition of Russian realism
story by a French writer: a reference to the short story ‘The Necklace’
by Guy de Maupassant (1850–93)
Picasso, Chagall, Rouault, Braque, Matisse: famous European painters
of the twentieth century
The Moon and Sixpence: film based on a novel by William Somerset
Maugham (1874–1965) which dealt with the life of
the post-impressionist painter Paul Gauguin
Punch, Illustrated London News: English magazines dealing with cur-
rent events
Morning Glory: a climbing plant
Chapter 7: The House
The deficiencies of the new house are soon revealed, as well as the finan-
cial commitments it involves, and Mr Biswas abuses the clerk as a crook
and jerry-builder, a description which is confirmed by his elderly neigh-
bour. The Tuttles visit, however, and are easily deceived and impressed
by the house, and its inconveniences are rapidly forgotten. The yard is
expanded and a garden planted.
COMMENTARY: This chapter repeats and expands several points which
were made in the prologue, but here the emphasis is on the importance of
the house to the children, especially Anand, as providing a stable focus
for their lives and a fixed point around which their memories of child-
hood can be organised.
NOTES AND GLOSSARY:
jerry-builder: a builder who erects houses quickly and in a
makeshift manner
Epilogue
Owad marries Dorothy’s Presbyterian cousin and establishes a private

practice in San Fernando. The Community Welfare Department is

30 · Summaries
abolished with the new urge to self-improvement brought about by the
war and the American influence. Mr Biswas returns to the Sentinel, but
finds the work tedious and feels increasingly burdened by his debts.
Savi and Anand go abroad on scholarships, and Mr Biswas receives
unhappy and worrying letters from his son which he responds to with
long humorous letters of his own. His sense of waiting for events to
happen (in this case the return of his children) intensifies. He sudden-
ly suffers a heart attack and spends a month in hospital, after which he
is put on half-pay by the paper. He grows lethargic and irritable, and is
sacked after spending more time in hospital. The return of Savi com-
pensates in part for Anand’s absence, and things seem to grow bright.
The tone of his last letter to Anand is one of joy and thanksgiving. His
death is then reported flatly in the paper, and Shama’s sisters visit for
the cremation ceremony on the banks of a muddy stream, followed by
the return of Shama and the children to the empty house.
COMMENTARY: Some points and details given in the Prologue are repeat-
ed here and expanded. The technique of reporting Mr Biswas’s death in
an impersonal form, as an item in a newspaper, adds to the pathos of his
death and prevents any note of melodrama or sentimentality. The elegiac
mood is also continued in the constraint and control of the final para-
graph with its closing image of the empty house. This image also empha-
sises the significance of the house as a symbol in the novel.

Part 3
Commentary
The achievement of the novel

A House for Mr Biswas is a rich novel which presents a picture of life
in Trinidad during a period of about fifty years; the development of the
characters and the plot itself take place against a changing social back-
ground. The centre of the novel is always the character of Mr Biswas,
and the themes are closely linked with him. Although he is an ordinary
person with no outstanding features, Naipaul succeeds in giving him a
heroic status and, as readers, we sympathise with his struggles, his
failures and successes. He is in many ways an archetypal figure in that
he embodies a universal theme – the search for identity and for mean-
ing in life, and it is this search which is charted in the novel and pro-
vides much of its humour. We also see in the novel the rise and fall of
the Tulsi family, and the cultural transitions which the different gener-
ations have to undergo. Mr Biswas himself is a man caught between
two cultures and unable to settle fully in either. As a second-genera-
tion Indian, whose grandfather crossed the ‘black waters’ from India,
he is part of the Indians’ attempt to recreate their world in the pre-
dominantly Creole society of Trinidad. Naipaul shows this attempt as
doomed to failure. In an informative essay on Trinidad in his travel
book The Middle Passage, he describes vividly the Hindu world of the
Tulsis as: ‘an enclosing self-sufficient world absorbed with its quarrels
and jealousies, as difficult for the outsider to penetrate as for one of its
own members to escape. It protected and imprisoned, a static world,
awaiting decay’.
Any study of the themes of the novel is best approached through a
close study of the character of Mr Biswas, and the themes can be defined
during this examination.
The character of Mr Biswas

Mohun Biswas (who is referred to as Mr Biswas even when still a small
baby) is a person who is subject to misfortune, as the ill omens present at
his birth suggest. He is marked, however, by his continual resilience and
optimism. Despite his feeling of being trapped by the Tulsis, he fights to

32 · Commentary
maintain his independence and feels confident that life will eventually
yield to him its sweetness and romance. A sense of despair and disillu-
sionment troubles him later in life, but he fights against that too, and
retains faith in the future both through his children and through achiev-
ing the status of a house-owner. At Hanuman House he conducts his cam-
paign against the Tulsis with humour and inventiveness which show his
wit and sense of absurdity. He invents a catalogue of animal names for
the family, such as ‘the old hen’ for Mrs Tulsi, and mocks them for their
strong and exclusive family loyalties and mixed religious affinities. At
times his actions can seem petty and spiteful, and yet Naipaul succeeds
in retaining our respect and liking for him as a character. It is worth think-
ing about how Naipaul achieves this difficult balance. Part of the answer
is that Mr Biswas is able to make fun of himself as well as of other peo-
ple, and so avoids becoming too superior and smug. He acts the role of
clown or buffoon frequently, and even mocks his own appearance. In a
scene at The Chase, he reflects how he does not feel like a small man,
and yet the clothes hanging up were unmistakably those of ‘a small man,
comic, make-believe clothes’. A sense of insecurity also remains with
him, so that he never feels periods of good fortune can be permanent, or
believes in them fully. The effort to achieve the ownership of his house,
reflected in the very title of the novel, thus becomes a need to establish a
firm reality and independence of his own. The creativity shown in his
painting and writing reflects this need further, as does his reading of fic-
tion and philosophy. He needs to believe in the possibility of romance,
and much of his frustration in the novel stems from the feeling that
romance is always eluding him, especially after he becomes involved
with the Tulsis.
This involvement reveals another major theme of the novel: that of the
complex relationship between freedom and commitment. Freedom is
shown as something which is desired, but feared at the same time, as it
can cause feelings of emptiness and of not belonging or being necessary
to another person or to society as a whole. These feelings are frequently
at war in Mr Biswas, and this conflict is shown in his changing attitudes
to Hanuman House. Although he quickly rebels against its attempt to
destroy his individuality by making him conform to the established rules
and codes of behaviour, he also welcomes the feeling of security and
orderliness which it offers. Here he is no longer simply a nonentity, but
has a recognised role, even if it often seems a negative one. He himself
feels on occasions that his campaign is pointless and degrading, and that
his presence in the household is basically irrelevant since if he left, the
family rituals would continue as before.
It is at this point, at the end of Part 1, that he recognises that rebellion

Commentary · 33
– to be constructive – must be accompanied by the positive act of con-
structing a better alternative, and he leaves for the city with this intention.
The process of building a separate identity and accepting the results of
one’s past actions and involvements is shown to be a painful and difficult
process. It involves the shedding of fantasies and illusions we all possess,
symbolised for Mr Biswas in his ‘Escape’ stories which he eventually
destroys, and accepting the reality and commitments which have (like Mr
Biswas’s possessions) gradually accumulated almost without his being
aware of it. The novel is thus partly about growing up, and attaining
maturity and a sense of responsibility.
A similar ambivalence is shown in Mr Biswas’s religious views.
Although he claims to reject any traditional Hindu attitudes, such as the
rigid caste system (as is shown when he joins the Aryans), he enjoys his
Brahmin status when at Tara’s and Ramchand’s homes, and possesses a
certain fastidiousness about foods and smells – he refuses to stock salt
beef and lard in his shop at The Chase, and in moments of fear and stress
he chants Hindu phrases. He also receives a traditional Hindu cremation.
Naipaul is showing us here the complex relationship that exists between
the forces that shape an individual and his attempts to form his own per-
sonality and beliefs.
Mr Biswas displays also a certain naïvety or innocence in the judge-
ments he forms of other people. It seems that he can be easily misled by
people who can take advantage of his fears and ambitions. This decep-
tion happens with Moti and the lawyer Seebaran at The Chase; with the
carpenter, Maclean, at Green Vale; and with the solicitor’s clerk. At
Hanuman House also he is deceived into thinking that he is marrying into
a wealthy family and will receive a large dowry, but this hope proves hol-
low. A further concept that Naipaul is illustrating in the novel is the dif-
ference that can exist between appearance and reality, and this contrast is
often a source of humour. The walls of Hanuman House appear to be
concrete, but are in fact, as Mrs Tulsi proudly tells him, made of clay
bricks. This disparity is shown most clearly in the house in Sikkim Street
which again looks deceptively solid and deceives Mr Biswas, and then,
comically, the Tuttles.
Mr Biswas himself is not all that he appears to be. As he says sadly to
Shama: ‘That is the whole blasted trouble. I don’t look like anything at
all. Shopkeeper, lawyer, doctor, labourer, overseer – I don’t look like any
of them.’ As one of the Tulsi sons-in-law and as a journalist he can
achieve a kind of status, but has always to return to his ‘crowded, shabby
room’. During his job as investigator of Deserving Destitutes, he reflects
that the conditions he is living in are as bad as the people about whom he
is writing. This element of vulnerability and lack of certainty help to

34 · Commentary
make Mr Biswas into a human and sympathetic person, as well as a kind
of Everyman with whom we can identify. This also explains his words to
his son during his breakdown at Green Vale when Anand asks him in a
bewildered way ‘Who are you?’ Mr Biswas replies: ‘I am just somebody.
Nobody at all. I am just a man you know’. Thus he resents, as we all do,
the attempts of other people to categorise him and so reduce his individ-
uality. He even alters his daughter’s birth certificate where he is
described by Seth as a labourer, and signs himself ‘proprietor’.
His attempts at self-definition, then, constitute the main body of the
novel. By finally owning his own house away from the Tulsis, who are
described at the end of the prologue as ‘that large, disintegrating and
indifferent family’, he has succeeded in laying claim to his portion of the
earth and escaped the fate of having ‘lived and died as one had been born,
unnecessary and unaccommodated’.
Mr Biswas and the other main characters
To understand and appreciate Mr Biswas fully, it is necessary to exam-

ine his relationship with three characters who are of particular impor-
tance to him: his son, his mother and his wife. His relationship with his
son is close and often tense as they recognise in each other a common
weakness and vulnerability. Each feels responsible for the other, and one
senses that Anand, in particular, sometimes resents this emotional tie.
This point may explain why, at the end of the novel, he decides not to
return home when his father is dying. It is also significant that it was
during this period, after Mr Biswas was sacked from the Sentinel, that
he most needed ‘his son’s interest and anger’ since ‘in all the world there
was no one else to whom he could complain’. Mr Biswas seems much
closer to his son than he is to his wife Shama, as they share many char-
acteristics and Anand models himself on his father. When Mr Biswas
first starts to take an interest in his son, after initially regarding him as a
disappointment, he is struck by the fragility of his appearance. Their
first real contact occurs when Anand chooses to remain with his father
at Green Vale because, as he shyly admits, ‘they was going to leave you
alone’. Another link between them is established here – that of educa-
tion, as Mr Biswas teaches his son about Copernicus, and later intro-
duces him to Dickens and other novelists. He is anxious that his son
should not be like him; he wants him to succeed in a worthwhile career,
and his hopes for the future increasingly focus on his son. He pays for
private lessons and the esteemed diet of milk and prunes, and even helps
with the writing of his essays. Despite Anand’s claim that he does not
want to be like his father when he is older, the boy is strongly influenced

Commentary · 35
by him, and also in a sense learns from his mistakes and difficulties.
Thus we are told that, among the children at Shorthills, Anand is con-
sidered strong, though he is kept apart because of his ‘satirical sense’.
This began at first as ‘only a pose, and imitation of his father’ but then
developed into an attitude of contempt which led to ‘inadequacies ...
self-awareness and a lasting loneliness’ and also made him ‘unassail-
able’. Though Mr Biswas uses his gifts of caricature and humour to
protect himself, particularly at Hanuman House, we still feel his essen-
tial vulnerability and suffering, partly because of his strong need and
desire to belong and feel at home in society. Unlike his son, he can
never sustain an attitude of detachment and aloofness for any length of
time.
The relationship between Mr Biswas and his mother, though it is not
dealt with at any length, is felt as a strong force in the novel, and is treat-
ed by Naipaul with great delicacy and sensitivity. The relationship is
expressed largely in negative terms in its effect on Mr Biswas. After the
death of his father, Mr Biswas looks to his mother for greater support and
comfort. After he returns from the rum shop, he asks his mother sadly
why she keeps sending him to live with other people, and complains that:
‘I have no father to look after me and people can treat me how they
want’. When they live together at the back trace in Pagotes, she fills him
with anger and depression as she constantly bewails her fate, and is shy
of showing him affection in a house of strangers. He turns to Tara for
motherly support – it is to her that he recounts the humiliating tale of the
bananas, in the hope of being comforted.
There is, however, a shift in Mr Biswas’s view of his mother in the
novel. He realises that she is a woman who is still energetic and capable
when he visits her at Pagotes during his period at The Chase, and again
when he sees her at Pratap’s home during his travels as the Scarlet
Pimpernel. She comes to stay with him at Shorthills for a fortnight and
again surprises Mr Biswas and wins his respect by her efficiency, and by
the calmness and acceptance with which she views their relationship. He
still, however, feels very guilty about his mother, knowing that he has
neglected her in the past and has felt ashamed of her poverty. He feels
after her death that he has never known her or loved her, and his poetic
tribute to her – as well as his lengthy letter to the doctor – are attempts
to express his grief and guilt, and so come to terms with them and be
‘whole’ again. This guilt also influences Mr Biswas’s purchase of the
house in Sikkim Street when the solicitor’s clerk uses the pretext of
needing to provide his own ageing mother with greater comfort as the
reason for a quick sale. Naipaul succeeds in presenting this flawed rela-
tionship, linked as it is with a sense of loss and of ‘something missed’,

36 · Commentary
without any traces of sentimentality or idealisation. This is one of his
great strengths as a novelist: in his treatment of Mr Biswas and other
characters, he is able to blend a certain detachment and objectivity with
human warmth and compassion.
The same comment can be made about the relationship between Mr
Biswas and his wife. This, too, is flawed in that neither husband nor wife
really understands each other. Shama, with her mixed allegiances to the
Tulsis and to her husband, remains largely a puzzle to her husband.
Though she occasionally rebels against her husband for his disruptive
behaviour, usually by leaving him, she is staunchly loyal and accepts
what fate has given her. She is able to share his jokes about her family,
though reminding him of his dependence on them. She fears any sever-
ing of her ties with the Tulsis since, as Mr Biswas recognises with an ele-
ment of bitterness, ambition for her consists largely of ‘a series of nega-
tives: not to be unmarried, not to be childless, not to be an undutiful
daughter, sister, wife, mother, widow’. Unlike her husband, she is happy
to conform, and cannot understand the necessity for his rebellion.
Nonetheless Mr Biswas is glad of her presence and company. At The
Chase, for example, she banishes the silence and loneliness, and his
breakdown at Green Vale is partly caused by her long absences with the
children and his subsequent isolation. He comes increasingly to rely on
her powers of judgement, even though he still acts independently, as over
the purchase of his last house. He is sometimes embarrassed by her lack
of education, as in the scene with Miss Logie, where Shama talks garru-
lously to her during the drive to Sans-Souci. This scene also shows that
Mr Biswas is unaware of certain aspects of his wife’s character, just as he
was surprised to find her childhood mementoes, signs of her contact with
the outside world, in the drawer of the dressing-table during their move
to Green Vale. In spite of its inadequacies, the marriage tie is shown as
strong and enduring, providing a point around which both characters can
build and define their lives.
Style and structure

The novel is divided into two parts, enclosed by a Prologue and an
Epilogue. The plot structure is part of a long British novelistic tradition
as represented by Charles Dickens (1812–70) with its concentration on
the life history of a single protagonist, and the tracing of his fortunes
from birth to death, with the accompanying search for self-fulfilment and
recognition. The novel also traces the rise and fall of the Tulsi family,
and the changes in society over a period of fifty years. It is difficult to
date the events in the novel precisely, but it seems to cover the period

Commentary · 37
between 1905 and 1951, so including the two major world wars – the
second of which does impinge on the novel with its economic effects and
the growing American influence. Naipaul, however, does not wholly
conform to the model defined above. The hero’s death, for instance, is
reported in the Prologue, and throughout the novel there is a subtle series
of cross-references and recurring images. A minor example of the latter
is the description of the legs of Pratap and Prasad on returning from the
muddy buffalo pond which had turned white ‘so that they looked like the
trees in fire-stations and police-stations which are washed with white
lime up to the middle of their trunks’, an image which Mr Biswas recalls
when he leaves Hanuman House and Arwacas after his period of conva-
lescence and sees the palm trees in the drive to the police-station. A more
notable example is the catalogue of Mr Biswas’s possessions which is
used to represent different phases of his life and to act as a concrete ref-
erence to his past experiences. At each move to another house, the grow-
ing list is detailed. After the time at Shorthills, for example, Mr Biswas
has gained ‘only two pieces of furniture: the Slumberking bed and
Théophile’s bookcase’. For the reader, also, each item of furniture
becomes overlaid with particular associations, and so helps to bind the
novel together and give it unity. A feeling of pathos is also evoked by the
list of these ‘gatherings of a lifetime’ when they are exposed for the last
time on the move to Sikkim Street and seem ‘unfamiliar and shabby and
shameful’.
Perhaps the most striking characteristic of Naipaul’s style is his
power of observation. He shows precision and clarity, as well as a
close attention to detail and an ability to create mood and atmosphere
in a realistic and evocative way. He comments in An Area of Darkness
that landscapes are not truly real until they have been given the qual-
ity of myth; but there is always a solidity and concreteness about his
descriptions. The barracks at Green Vale, for example, are described
at one point as ‘a place that was nowhere, a dot on the map of the
island, which was a dot on the map of the world’. This abstract com-
ment is then followed by the observation that ‘... dead trees ringed the
barracks, a wall of flawless black’. Naipaul does not flinch from
describing unpleasant sights, such as the scabs formed by the sores
which Mr Biswas has as a child, but the language used is never sen-
sational or exaggerated. This sense of control comes partly from the
distance that Naipaul maintains from the material he is handling,
which enables him to avoid falsely romanticising his subject and
makes the material seem realistic and credible. An example of this is
the careful detailing of Mr Biswas’s breakdown at Green Vale. By
reporting this process in an unemotional tone, usually in the form of

38 · Commentary
statements, he gives the writing great power and dramatic effect.
When Mr Biswas moves into his incomplete house, he becomes
obsessed with the asphalt on the roof which melts and looks like a
number of snakes. They even begin to appear in his dreams, and ‘He
began to regard them as living, and wondered what it would be like to
have one fall and curl on his skin’. When this horror occurs, it is
reported in a matter-of-fact way which serves to intensify the horror
far more than a more melodramatic description could have done. ‘A
snake had fallen on him. Very thin, and not long. When they looked
up they saw the parent snake, waiting to release some more’.
This restraint in the writing is a difficult achievement for any writer,
and is one of Naipaul’s great strengths. We experience the sufferings of
Mr Biswas more intensely because of this careful and delicate contrast
between the awfulness of a particular event and the contained way in
which it is described. A further example is the destruction of the doll’s
house which Mr Biswas has given his daughter, one of the most trau-
matic experiences which he has in the novel. Once again, however, the
event is described in a simple style which allows the reader to imagine
the emotions involved vividly. Mr Biswas discovers the doll’s house
thrown against a fence in the yard at Hanuman House: ‘A broken door,
a ruined window, a staved-in wall or even roof – he had expected that.
But not this. The doll’s house did not exist. He saw only a bundle of
firewood. None of its parts was whole. Its delicate joints were exposed
and useless’.
Symbolism and imagery
The example of the doll’s house also shows the powerful use of sym-
bolism in the novel. Here the doll’s house, and its destruction, are iden-
tified with Mr Biswas himself. The house appears to have a human body,
with the references to ‘delicate joints’ and later to ‘torn skin’. There are
many uses of symbolism in the novel: symbols can be linked with places
and with people, or with both. Thus the description of Hanuman House
as an ‘alien white fortress’ suggests the foreign nature of the Tulsis and
their Hindu religion in Trinidad, and the way in which the house will be
a prison to Mr Biswas against which he must rebel with his own
weapons. This could be termed a ‘multiple’ symbol since it evokes more
than one image, and there are several other symbols which operate in
this way. There is the recurrent image of the boy standing outside a
house at dusk which Mr Biswas first observes when acting as a conduc-
tor on one of Ajodha’s buses. It becomes associated for him with a feel-
ing of desolation and loneliness, and is linked symbolically with his

Commentary · 39
need for stability and a home to give a sense of certainty and security.
Naipaul also uses descriptions of nature and landscape to echo the
themes of the novel and to act as symbols. When associated with the
Tulsis, the landscape often takes the form of an uncontrolled and decay-
ing jungle. The shop at The Chase is surrounded by abandoned land
which fosters nettles and weeds, and around Green Vale there are half-
dead leaves, and it is ‘damp and shadowed and close’. At Shorthills the
fertile and productive land is largely uncultivated and becomes a
wilderness. In Mr Biswas’s house in Sikkim Street, however, nature is
seen as something beautiful and even lyrical, with the coolness of the
laburnum and the scent of the lily which comfort Mr Biswas during his
final illness. When he plants a garden at Mrs Tulsi’s house in Port of
Spain the rose trees flourish; but as his despair and disillusionment
deepen, the roses, untended, grow ‘straggly and hard’ and are damaged
by a blight. The symbolism in the novel is rarely obtrusive or heavy-
handed, and, like the central symbol of the house itself, the symbols
gradually accumulate additional force and meaning in the course of the
novel.
One isolated symbol which deserves comment is the image of the
winged ants which Anand watches during the storm at Green Vale. In this
episode we see the destruction of one type of ant by another more fitted
to survive. Anand tries to kill the black, biting ants but abandons this as
futile when he is suddenly terrified by their anger and vindictiveness.
This episode can be seen as illustrating the compassion that Anand feels
for the victim, but also his frustration and anger when he recognises the
futility of the weak trying to help the weak. These feelings are echoed in
his relationship with his father, particularly at this moment when Mr
Biswas is huddled on the bed reciting Hindu words, and imagining that
‘they’ have come to get him.
Humour and satire
These two elements are central in the novel and are often linked, since
satire uses ridicule, irony, and sarcasm to criticise its object. Irony is the
dominant technique for creating humour, particularly in the descrip-
tions of the feuds between Mr Biswas and the Tulsis. Mr Biswas com-
ments to Shama at one point, when she is threatening to return to
Hanuman House after a quarrel, that she will be given ‘some medal at
the monkey house’; and he invents animal names for the main members
of the family, as well as referring to Mrs Tulsi’s two sons as the ‘little
gods’. These descriptions, though absurd and farcical, also contain
some truth and so gain our sympathy and we laugh with Mr Biswas at

40 · Commentary
the pretensions and petty tyrannies of the Tulsis. Particular incidents at
the Tulsi establishment are also humorous and even border on slapstick,
such as the spilling of a plate of food on Owad’s head. The humour is also
directed at times against Mr Biswas himself; this adds to the complexity
and richness of the novel since it avoids a simplified response in the
reader, and also contributes to the picture we have of Mr Biswas’s char-
acter. Thus, when he refers to Hanuman House as being like a ‘blasted
zoo’, Shama comments that he has the role of a barking puppy dog, a
description which, again, contains an element of truth. Mr Biswas is fre-
quently satirised in the novel, and his weaknesses exposed. The use of the
third person – Mr Biswas – creates in itself a distancing effect for the
reader, and we see Mr Biswas as essentially a complex and rounded char-
acter. There is humour in his battle for possessions with W. C. Tuttle at
the house in Port of Spain, a battle in which he is fully engaged and
which continues until he finally buys his own house. A similar rivalry is
shown with Govind over clothes. There is a humorous scene when Mr
Biswas dresses up in his expensive new suit and goes to a cricket match
to show it off, only to find that the match is almost over.
There are many other instances of humour in the novel. Owad’s super-
ficial conversion to the Russian Revolution is held up to ridicule, and
Anand’s speedy rejection of his hero’s stated artistic prejudices is treat-
ed similarly, though with more sympathy. There is often, however, a
contrasting sense of pathos and even desperation underlying the
humour. Mr Biswas himself suggests this in his response to his quarrels
with the Tulsis. These quarrels, as with the final one which causes him
to leave Mrs Tulsi’s house, often leave him with a feeling of humiliation
and indignity: ‘Mr Biswas’s anger had gone stale; it burdened him. Now
there was also shame at his behaviour, shame at the whole gross scene’.
A similar point is made by the story of Billy which is recounted glee-
fully in the café where Mr Biswas has gone with the solicitor’s clerk. It
is a tale about people being cheated out of houses and it causes laughter
‘... but Mr Biswas could take no part in it’. There is undiluted humour
in the novel, but frequently a more sombre note is present and undercuts
the comedy.
Tragedy or comedy?
A House for Mr Biswas cannot be fitted neatly into a specific critical

category or genre. It has elements of the comic and the tragic, and
often the distinctions are blurred. We see Mr Biswas undergoing much
suffering and frustration but often retaliating in a comic manner with
his gestures of rebellion. He sees himself in a rather wry and sardonic

Commentary · 41
manner; comparing himself with Hari in their respective positions in
the Tulsi hierarchy, he reflects that ‘... he couldn’t see himself as a
holy man for long. Sooner or later someone was bound to surprise him
... reading “The Manxman” or “The Atom”’, and, although he may
sometimes resent acting the role of a clown or buffoon, his inherent
wit and facetiousness make this role inevitable. His small physique
and continual indigestion are also sources of humour. He has much in
common with Willy Loman in the play Death of a Salesman (1949) by
Arthur Miller (b.1915); both have elements of the tragic hero. Like the
traditional tragic hero, Mr Biswas suffers and dies, and still retains his
ideals and vision in the face of opposition, showing great resilience in
the process. Though he may seem absurd and self-deluded at times, as
in his final purchase of a house, our response to him is mixed, and we
can admire his endurance and sympathise with his vulnerability. There
is also at the end of the novel a sense of resolution and of something
achieved which is more appropriate to comedy than tragedy, where the
predominant feeling at the end is often a sense of waste. Mr Biswas
dies with the comforting knowledge that he is not, like King Lear in
Shakespeare’s tragedy, ‘unnecessary and unaccommodated’, but has
left a legacy to his wife and children in the triumphant acquisition of
a house.
The minor characters

Mrs Tulsi
Mrs Tulsi is the centre of the Tulsi family around which the other char-
acters revolve. She is the widow of Pundit Tulsi, a respected figure
both in his native India and in Trinidad, and the whole family gain
prestige from his reputation. Mrs Tulsi (or ‘Mai’, meaning mother, as
she is frequently called) maintains a matriarchal tyranny over the
household and its various members. It is significant that in Hanuman
House, the usual Hindu tradition by which daughters go to live with
their husbands and become almost servants of their mothers-in-law is
reversed, in that the husbands stay in the daughters’ household and
become subservient to their mother-in-law, Mrs Tulsi. This is part of
the humiliation which Mr Biswas feels so strongly and tries to reject.
The manipulation which Mrs Tulsi directs towards those around her is
cleverly concealed (though not from Mr Biswas) under an appearance
of martyrdom and suffering. If someone steps out of line, she faints and
retires to the Rose Room where she is endlessly massaged by the faith-
ful Sushila and other daughters, and remains there until the offending

42 · Commentary
son-in-law, who encounters silence and hostility on all sides, is forced
to capitulate and apologise to her.
Mr Biswas is on many occasions subject to the whims and emotional
blackmail of the ‘old fox’. She is able to control her moods according to
the occasion, to become maudlin and sentimental to disarm her opponent.
This is shown when she tries to win Mr Biswas back to family allegiance
after the birth of Savi, whom he wishes to name Lakshmi. She makes a
number of simple statements which strike Mr Biswas as possessing a
‘puzzling profundity’, and he finds himself listening against his will and
being ‘trapped’ by her mood. She is proud of her authority and her ‘old-
fashionedness’, and the floggings she has administered to her daughters
have become legendary. She will also resort to a biting sarcasm when
necessary and Mr Biswas, on first meeting her, is struck by her command
of English. When Mr Biswas offends against the Tulsi demand for the
suppression of individuality by buying the large doll’s house for Savi,
Mrs Tulsi declares that she is poor and gives to all but cannot ‘compete
with Santa Claus’ and she asks Shama to give her notice before moving
to ‘her mansion’. Like her brother-in-law Seth, who rules with her, she is
capable of surprising crudity in her language as when she tells Mr Biswas
to ‘go to hell’ during their final quarrel.
The novel shows the decline of the Tulsi family which is caused by
internal wrangles and the disruptive effects of a different culture. Mrs
Tulsi is anxious for her sons to succeed and sends them to a Roman
Catholic college, thus compromising her Hindu beliefs – as Mr Biswas
is quick to point out with his image of her as ‘the orthodox Roman
Catholic Hindu’ who has salmon only on Good Friday. Mrs Tulsi moves
to Port of Spain when she feels that the ‘younger god’ Owad should be
looked after during his schooling following his brother’s marriage. It is
at this point that the power structure in Hanuman House begins to be
threatened, since Seth, though he can maintain control, fails to impose
harmony. The family feud with Seth furthers the decline of the house-
hold, and when Owad is sent abroad to study to become a doctor, Mrs
Tulsi appears to lose interest in the family and ceases to direct it until
she is revived by the move to Shorthills. Here again, however, her inter-
est soon languishes, though she issues some directives about food and
possible economies. We are told that, after the death of Mrs Tulsi’s sis-
ter, Padma, the ‘virtue’ of the family dissolves, and Mrs Tulsi assumes
more and more the role of an invalid. She is still able to exert control
over her daughters, and on her move to the city from Shorthills, suc-
ceeds in making their lives a misery as she develops her command ‘of
invective and obscenity’. She is revived by the return of Owad, and
exerts herself to please him while her health improves ‘spectacularly’

Commentary · 43
under his treatment, thus betraying her obvious hypochondria. After
Owad is alienated by the quarrel with Anand and his increasing associa-
tion with his own friends and Dorothy’s cousin, she tries in vain to win
him back by talking about his boyhood and Pundit Tulsi and her own suf-
ferings; but it is now too late. She is a character for whom the reader feels
little sympathy, but she is a source of much humour and satire in the
novel, as well as showing the decline of traditions through her failure to
maintain them. We also see, through her involvement with Roman
Catholicism, the dilution of Hindu culture and religious ritual.
Seth
Seth, the husband of Padma, is presented as a powerful figure in the

novel who intimidates Mr Biswas with his bullying manner and the self-
assured way in which he flourishes his ivory cigarette holder though
dressed in muddy boots and a stained khaki topee. He shows contempt
for those who are not prepared to work on the land and dirty their hands,
and is nicknamed the ‘big thug’ by Mr Biswas. He is a staunch support-
er of family loyalty in the first half of the novel and conducts the family
tribunals, where the misdemeanours of Mr Biswas are criticised and
ridiculed. It is Seth who names him ‘the paddler’ and who refers to the
house being turned into a republic with a ‘serpent’ in its midst. Seth is
still shown as possessing some good points; at times he shows a brusque
kindness to Mr Biswas – addressing him as Mohun, joking with him over
the birth of his first child, and rescuing him from trouble with the police
when cycling without a light, though this is partly to protect the family
name. There is a note of amused irony in some of his comments to Mr
Biswas which suggests that he is both puzzled and amused by his per-
sistent rebellion. Thus he questions him about his ‘dear friend’, Pankaj
Rai, and jokes that he will now have ‘Creole converts’ as brothers. In
contrast to the rather naïve Mr Biswas, Seth appears a worldly figure
with his plans to ‘insuranburn’ and his later business ventures, and he
seems to adopt an avuncular attitude to the former at times. After his
breakdown at Green Vale, Seth says ‘I suppose we have to bring the pad-
dler home’.
It is Seth’s disaffection, which begins obscurely with an internal fam-
ily quarrel involving Shekhar, that marks the break-up of the close fam-
ily network. Seth begins to be seen as an outsider, and his character is
adversely affected. We see this when he comes to uproot the rose bush-
es in Mrs Tulsi’s garden to make room for his lorries. He tells Mr
Biswas’s children that everyone seems to be defying him, and rather cru-
elly tells them that their father was ‘picked up’ by him when ‘catching

44 · Commentary
flies’. He is excluded from the move to Shorthills as the disagreement

becomes open war, and starts to claim Tulsi property as his own, even
attempting to establish a rival store. The feud then dwindles after he gets
involved in legal charges against him, and becomes ‘quiescent’. Our last
view of him is of a rather sad and pathetic figure, dressed incongruously
in a cheap suit, trying in vain to effect a reconciliation with the family
through Owad on the latter’s return. Like Mr Biswas, we feel sympathy
for Seth here, with the contrast between his present position and the one
he occupied previously at Hanuman House.
Owad
Owad, the younger of the two ‘little gods’, is noted for his terrible tem-
per as a boy, and he confronts Mr Biswas directly and wants him to apol-
ogise to his mother for calling her names. He accuses Mr Biswas of
being a Christian after he rejects the offering at the morning puja. He is
also the victim of the contents of the plateful of food which Mr Biswas
throws from the balcony, and urges Govind to kill Mr Biswas during
their tussle. This conflict is later forgotten when Owad and Mr Biswas
form a friendship while living at the house in Port of Spain, based on a
mutual respect for each other’s intellectual pursuits, and Mr Biswas is
upset and envious when Owad goes abroad. On the latter’s return, there
is a distance between them, and Owad becomes largely a comic figure
whom Naipaul satirises for boasting about his contacts and importance
abroad and for his superficial and short-lived adherence to the Russian
Revolution. Being viewed as the new head of the family, he is listened
to and consulted as an absolute authority. We learn that because of
Owad’s objections to the behaviour and habits of Indians from India,
who were ‘a disgrace’ to Trinidad Indians, in one afternoon ‘the family
reverence for India had been shattered’. He emphasises physical
strength and manual skills, and entertains the family by recounting his
adventures. His allegiances soon shift to his own friends, the ‘new caste’
of educated professional men, and his friendship with Dorothy, the rene-
gade Presbyterian sister-in-law, leads to his eventual marriage to
Dorothy’s Presbyterian cousin, an Indian girl from South Trinidad. In
this way, he reflects the changes that have taken place in the society at
this period.
Shekhar
Shekhar is the other ‘little god’. He figures little in the earlier part of the
novel, and, after initial rebelliousness, marries a Presbyterian girl whose
family have successful commercial concerns. He leaves Hanuman

Commentary · 45
House and goes to live with his wife’s family, thus going against the
Hindu custom and the family tradition of bringing the bride home. He
prospers as a businessman, though reputedly envying his brother his trav-
el abroad, having himself wanted to go to Cambridge. Like Owad, he
becomes distant from the Tulsis and their traditions as he acquires more
sophistication, shown by his parting gifts to his brother: a bottle of wine,
American magazines, and an English history book. He also runs cinemas
as part of his business, and offends the widows by offering them work
there, an insult which they regard as the influence of his wife, Dorothy.
She displays Western influences: she wears short skirts, calls herself
Dorothy, and ‘flaunts’ her education. She also speaks Spanish to her five
daughters and her husband in the presence of her sisters-in-law. Both she
and Shekhar are friendly with Mr Biswas, and later with Owad, though
Mr Biswas comes to resent the role of buffoon to which they expect him
to conform, and feels nervous and vulnerable when the party of Southern
businessmen with whom Shekhar is involved issue veiled threats about
the viability of the Community Welfare Department. But Shekhar’s party
is defeated in the colony’s first general election, and Shekhar withdraws
from public life to concentrate on his cinemas. Thus, like Owad, he
reflects the decline of Hindu influences and the emphasis in the ‘new’
world on education and self-advancement.
Govind
Govind, whose wife Chinta is Shama’s closest sister, is used as a contrast

to Mr Biswas, particularly as regards their status and attitudes at
Hanuman House. Mr Biswas is struck by the way Govind conforms to
the Tulsi tyranny and is degraded in the process. In the presence of Seth,
he becomes obsequious and weak in his anxiety to please. Mr Biswas is
pained by the capitulation of this tall and handsome man and tries to spur
him to rebellion. However, his abuse of the family is reported by Govind
who is intent on protecting the family, as he shows again when he fights
Mr Biswas for having insulted Owad. Their next contact is when Govind
carries Mr Biswas into Hanuman House after he is brought from Green
Vale, so putting himself ‘on the side of authority’. He clearly finds secu-
rity in Hanuman House which raises him from his former position as an
illiterate coconut-seller.
After leaving Hanuman House, Govind attempts to become more
independent. At Shorthills he sells trees from the estate, and becomes
increasingly surly and bad-tempered. He buys a second-hand car and
runs it as a taxi in Port of Spain. On the move to the city, he expands his
business and acquires several suits which become part of the battle of

46 · Commentary
possessions in the household. His rivalry with Mr Biswas is continued
through their sons, Vidiadhar and Anand, who both study for the exhibi-
tion to the college. Govind then becomes increasingly violent and
behaves in an odd and unpredictable manner, and is regarded as ‘the ter-
ror of the house’ until he takes to beating his wife and confines his
aggression to that outlet.
Hari
Hari is another brother-in-law whose position at Hanuman House con-

trasts with that of Mr Biswas. He has won for himself a definite place
of respect in the Tulsi hierarchy and is even excused from labouring
work because of his reputation as a holy man and pundit, as well as
his illnesses. He is a colourless man who ‘... offended no one and
amused no one’, though Mr Biswas makes fun of him as the ‘consti-
pated holy man’. He takes no part in disputes and his apparent good-
ness is attributed largely to ‘a negativeness that amounts to charity’.
After his death, which evokes some pathos when we learn through
Anand that he had known he was going to die for some time, he is
found to have been indispensable. He is indirectly responsible for Mrs
Tulsi’s growing conversion to Roman Catholicism since she cannot
find an adequate replacement for Hari at the puja. Like Govind, he
suggests the price of conformity through the drabness of his character,
and though Mr Biswas occasionally envies him his position in the
Tulsi household, he knows that he himself could not live the life of a
‘sick scholar’.
W. C. Tuttle
W. C. Tuttle functions mainly as a comic figure in the novel. He is named

by Mr Biswas when he first meets him at Shorthills and they develop a
rivalry over possessions, referring to each other’s books as ‘trash’. He is
a man with a variety of interests and allegiances. He is a strict Hindu,
proud of his Brahminical status, but is as interested in the material as the
spiritual life. At Shorthills he engages in a number of business ventures,
which include starting a furniture factory and a quarry. On the move to
the city, he takes over most of Mrs Tulsi’s house, and dominates the
house with popular Western songs on his gramophone. He is ‘all for
modernity’ and shocks the household by acquiring a statue of a naked
woman. He regards himself as blending the Brahmin culture with the
‘finer products’ of Western civilisation, and views the Tulsis as barbar-
ians, adopting towards most people an attitude of silent contempt which
he conveys by a quivering of his nostrils. He appears to win decisively

Commentary · 47
the battle of possessions when he acquires his own house, a move to
which Mr Biswas reacts ‘badly’, but the latter is compensated when the
Tuttles come to visit him at his own house in Sikkim Street and are clear-
ly impressed by the house, even being somewhat jealous of its apparent
size and comfort.
Ajodha
Ajodha is the husband of Tara, and uncle to Mr Biswas. He is a man of

wealth who has freed himself from the land, and was one of the first men
in Trinidad to buy a car. The chief fascination he has for Mr Biswas dur-
ing the latter’s childhood is when he asks Mr Biswas to read him the
newspaper column entitled ‘That Body of Yours’, a job which is later
taken over by Anand. He functions later as a model of contentment for
Mr Biswas, since he possesses his own house and has an attentive wife.
To the Tulsis, however, he is a renegade who has deserted the Hindu
faith and aligned himself with wealth, comfort and modernity. He
becomes increasingly preoccupied with his quarrels with his two
nephews, Jagdat and Rabidat, who live with him after being deserted by
their own father. He feels bound to his nephews since, like Mrs Tulsi, he
fears being alone in his old age, and distrusts strangers too much to
allow them to help in his business. The model of family contentment
thus becomes an illusion on Mr Biswas’s part, as he recognises himself.
It is significant that he goes to Ajodha to borrow the money for his
house and thus reinforces his ties to his own family, rather than depend-
ing on the Tulsis as before.
Tara
Tara is Bipti’s more powerful sister. She is regarded as a person of

standing through her marriage to the wealthy Ajodha. When Raghu
dies, she takes over the funeral arrangements in an energetic and capa-
ble manner, and is scornful of her sister’s ignorance of her husband’s
financial affairs. She adopts a motherly role towards Mr Biswas and she
decides to have him trained as a pundit. It is she to whom he returns
later with his children on a series of regular visits, from which his wife
excludes herself because of the old antagonism between the two fami-
lies. Tara also has strong moral standards; she refuses to allow Dehuti
to be mentioned after she elopes with Tara’s yard boy, Ramchand, thus
depriving her of two family servants, and her brother-in-law Bhandat
receives the same treatment because of his drunkenness and Chinese
mistress.

48 · Commentary
Bhandat
Bhandat, the brother of Ajodha, is a symbol of failure and destitution. He

is a small man with a whining voice and irritable manner. He drinks and
cheats by altering the accounts in the rum shop which he runs for his
brother, helped briefly by Mr Biswas. He reappears later as a destitute in
the city, and writes to Mr Biswas for help. When the latter visits him, he
adopts a sentimental and self-pitying manner, as well as playing the
schoolboy prank of pulling Mr Biswas’s hair. He is clearly frustrated and
tormented and abuses his Chinese mistress in Hindi. He himself is deaf,
and is a figure for whom we feel a mixture of contempt and pity in his
futile attempts to compose slogans for a competition, and the squalor in
which he lives.

Part 4
Hints for study
A House for Mr Biswas is a long and detailed novel and so needs close
and repeated study. It is useful, as you read the novel, to keep a pen in
your hand to underline those passages which illustrate particular points
about character and themes, which you can then transfer on to separate
sheets of notes for the purpose of essay-writing and revision for the
examination. It is essential that you should be able to illustrate your argu-
ment about a character or an idea with relevant and carefully chosen quo-
tations. Always read the question carefully; it will normally be about one
of the following:
(a) themes
(b) characters and their relationships
(c) particular passages, and how they relate to the rest of the work.
In all cases the student should pay careful attention to the construction of
his essay, and it is useful to make some notes before you begin writing
about the main points you will need to cover. By doing this you should
avoid omitting a vital point. Your essay should be presented in an order-
ly way, as the following model suggests:
(a) opening paragraph discussing the meaning and implications of the
question and possible ways of treating it
(b) development of your argument with relevant detailed reference to
the text
(c) conclusion – a paragraph in which you summarise the main points
of your argument briefly, referring back to the question asked.
There are also common faults which the student should try to avoid when
answering a question:
(a) re-telling the plot; material chosen must relate directly to the ques-
tion asked, and no question will ever demand a simple account of
the story
(b) treating a question about theme as a character-study; these two
elements of the novel may be linked but are still separate and
distinct

50 · Hints for study
(c) misunderstanding or evading the question; questions should be read

very carefully, since careless reading often leads students into irrel-
evant or distorted answers. Students should also avoid the writing
out of a ‘prepared’ answer.
Specimen questions
(1) To what extent do you see Mr Biswas as a heroic figure?
(2) ‘A House for Mr Biswas is a novel about the relationship between
father and son’. How far do you agree with this description?
(3) Is A House for Mr Biswas a suitable title for the novel?
(4) Analyse and discuss the conflicts within the Tulsi family.
(5) Show how the themes of rebellion and freedom form a major part
of the novel.
(6) Examine the use of contrast in the novel by looking at any three of
the following characters: (i) Hari (ii) Govind (iii) Bipti (iv) Mrs
Tulsi (v) Seth.
(7) Trace the changes in society which take place in the course of the
novel.
(8) Read the following passage carefully, and answer the questions
below: ‘He read innumerable novels, particularly those in the
Reader’s Library; and he even tried to write, encouraged by the
appearance in a Port of Spain magazine of a puzzling story by
Misir. (This was a story of a starving man who was rescued by a
benefactor and after some years rose to wealth. One day, driving
along the beach, the man heard someone in the sea shouting for
help, and recognized his former benefactor in difficulties; he
instantly dived into the water, struck his head on a submerged rock
and was drowned. The benefactor survived.) But Mr Biswas could
never devise a story, and he lacked Misir’s tragic vision; whatever
his mood and however painful his subject, he became irreverent and
facetious as soon as he began to write, and all he could manage
were distorted and scurrilous descriptions of Moti, Mungroo,
Seebaran, Seth and Mrs Tulsi.’ (p. 183)
(i) Relate the passage briefly to its context.
(ii) What does the passage contribute to the novel in terms of theme
and character-portrayal?

Hints for study · 51
Model answers
(2) ‘A House for Mr Biswas is a novel about the relationship between
father and son’. How far do you agree with this description?
Anand is not born until a third of the way through the book; and it is
not until he wakes one Christmas morning at Hanuman House with the
momentary fear that there is no present for him, that he becomes a
character with a mind of his own. Initially Mr Biswas feels that Anand
belongs completely to the Tulsis and ‘when he thought of his children
... thought mainly of Savi’. The boy seems to him a disappointment
with his frail and vulnerable appearance and the shy and tongue-tied
manner which he possesses. Anand soon begins to assert himself,
however, and the relationship with his father is one which grows in
depth and understanding and which occupies a central position in the
novel after the beginning of Mr Biswas’s breakdown at Green Vale.
Thus A House for Mr Biswas can be described as a novel about the
father-son relationship, although it is concerned with other themes
also, such as Mr Biswas’s struggle for independence and his search for
identity.
The relationship between father and son is intensified by the many
traits they have in common. Mr Biswas shares his discovery of Dickens’s
novels with Anand and makes him write out and learn the meanings of
difficult words. We are told that he does this not out of strictness or ‘as
part of Anand’s training’ but because he does not wish his son to be like
him. His desires for his son centre on the idea that he should receive a
good education and so be able to earn his living by following a profes-
sion which does not involve humiliation and dependence. He takes a
close interest in his son’s education, criticising his text-books, paying for
private lessons, and for the diet of milk and prunes so valued by Mrs
Tulsi. He even helps him to write an essay which he uses in the exhibi-
tion examination.
Anand seems to accept his father’s interest and guidance, although
resenting it at times as, for instance, when elaborate preparations are
made for the examination and he has to take his father’s wrist-watch
and pen in case his own do not work. He understands his father’s ambi-
tions for him since, as Naipaul tells us in a revealing comment: ‘Father
and son, each saw the other as weak and vulnerable, and each felt a
responsibility for the other, a responsibility which, in times of particu-
lar pain, was disguised by exaggerated authority on the one side, exag-
gerated respect on the other’. This protectiveness is perhaps the domi-
nant note of their relationship. It is seen when Mr Biswas tells Anand

about his disgrace at Pundit Jairam’s in order to comfort his son when he
was in trouble for soiling his trousers at school; and again, on Anand’s
side, when he asserts that he will stay at Green Vale with his father
because ‘they was going to leave you alone’. He begins to take a close
interest in his father; this is shown in a minor incident which again draws
parallels between them. Anand objects to the rusty sheets of corrugated
iron which Mr Biswas intends to use on his house at Green Vale but
despite his objections Mr Biswas is firm in his decision to use it because
it is cheap, and Anand says:
‘All right go ahead and buy it and put it on your old house. I don’t care
what it look like now’.
‘Another little paddler’, Seth said.
But Mr Biswas felt as Anand. He too didn’t care what the house
looked like now’.
Apart from the evidence here of shared feeling between father and son,
Seth’s comment on Anand is of interest since he does show traits of inde-
pendence which arise partly from his ‘satirical sense’ which began as
‘only a pose, and imitation of his father’ but then developed into an atti-
tude of contempt which led ‘to inadequacies, to self-awareness and a last-
ing loneliness. But it made him unassailable.’ This description refers to
Anand as an adult rather than a child, and has an autobiographical ele-
ment. Landeg White draws convincing parallels between Anand and
Naipaul. He observes that ‘Anand’s discovery of his father is Naipaul’s
own discovery of Seepersad Naipaul’.* This element gives the novel
another dimension and makes Naipaul’s detachment and objectivity in
describing this relationship all the more impressive.
The closeness between father and son is revealed in several episodes.
A striking example occurs after Anand nearly drowns at the dockside
where Mr Biswas was clowning with Owad and Shekhar and trying to get
his son to join in. Anand is incensed and humiliated, and, as with his
father’s prose poem about his mother, uses writing to exorcise some of
these emotions. The essay is dramatic and deeply felt and wins a high
mark, though it does not conform to the teacher’s plan. Mr Biswas reads
it ‘anxious to share the pain of the previous day’. He is anxious to be
close to his son again to make up for ‘the solitude of the previous day’
when Anand had avoided him, and tells Anand to go through the essay
with him. Anand refuses, and a row ensues until Anand retaliates by
pulling his father’s chair from under him at the dinner table, thus inflict-
ing equal humiliation.
Anand is also concerned about his father’s status, despite his claim
*V. S. Naipaul, a Critical Introduction, 1975, p. 94.

that he does not want to be like him. He is reassured when his father tells
him that his schoolfriend’s father is not his boss at the Sentinel, nor is he
treated like an office boy. We see here the traditional idea of a son defin-
ing his identity against that of his father, but there is also the fear that his
father is being badly treated. They are concerned about each other’s suc-
cesses and failures. When Anand is dejected after the examination, think-
ing he has failed, Mr Biswas tries to cheer him up by saying that ‘No true
effort is ever wasted’, to which his son replies moodily ‘What about
you?’ and though they sleep on the same bed ‘neither spoke to the other
for the rest of the evening’. Mr Biswas is then cheered by receiving a let-
ter inviting him to join a literary group, and he repeats his adage about
the value of true effort. Anand, however, recognises the extravagance of
his father’s elation ‘but he was in no mood to give comfort, to associate
himself with weakness’ and ‘he handed back the letter to Mr Biswas
without a word’.
In the final section of the novel, where Mr Biswas is dismissed from
the Sentinel, we are told that he ‘needed his son’s interest and anger’
since ‘In all the world there was no one else to whom he could com-
plain’. Although he had earlier replied to his son’s gloomy, self-pitying
letters with long humorous ones, he now forgets Anand’s own pain and
sends him ‘a hysterical, complaining, despairing letter’ which elicits
only a brief reply. Anand then goes back on his promise to return home,
and is still in England when his father dies. This refusal to return can be
interpreted as Anand’s reluctance to associate himself with pain and
weakness. A passage which occurs shortly before the Epilogue tells us,
however, that Anand is not untouched by memories of his home and
family. There is a detailed catalogue of memories which is seen through
Anand’s eyes and refers to ‘a time of new separations and yearnings, in
a library grown suddenly dark’ when an association will trigger off
thoughts of ‘the hot noisy week before Christmas in the Tulsi Store’.
This experience takes place in a ‘northern land’, presumably England,
and Naipaul then concludes the passage: ‘So later, and very slowly, in
securer times of different stresses, when the memories had lost the
power to hurt, with pain or joy, they would fall into place and give back
the past’.
It is clear that A House for Mr Biswas is, to a large extent, a novel about
the relationship between father and son, and the growing closeness and
identification between them adds greatly to the richness and psychologi-
cal realism of the novel.

(8) Read the following passage carefully, and answer the questions
below: ‘He read innumerable novels, particularly those in the Reader’s
Library; and he even tried to write, encouraged by the appearance in a
Port of Spain magazine of a puzzling story by Misir. (This was a story of
a starving man who was rescued by a benefactor and after some years
rose to wealth. One day, driving along the beach, the man heard someone
in the sea shouting for help, and recognized his former benefactor in dif-
ficulties; he instantly dived into the water, struck his head on a sub-
merged rock and was drowned. The benefactor survived.) But Mr Biswas
could never devise a story, and he lacked Misir’s tragic vision; whatever
his mood and however painful his subject, he became irreverent and face-
tious as soon as he began to write, and all he could manage were distort-
ed and scurrilous descriptions of Moti, Mungroo, Seebaran, Seth and Mrs
Tulsi’.
(i) Relate the passage briefly to its context.
(ii) What does the passage contribute to the novel in terms of theme and
character-portrayal?
(i) The quoted passage occurs towards the end of Mr Biswas’s stay at The
Chase, when Naipaul is summarising the effect on Mr Biswas of the six
years of ‘boredom and futility’ which he has experienced there. Shortly
after this summary of his creative outlets, we learn that Shama has
become pregnant for the third time and retires as usual to Hanuman
House. Mr Biswas feels a change in his attitude to the Tulsi establishment
as it comes to represent a refuge for him, a place of order where he has
an accepted position and role. Although he is wary of Shama’s efforts to
persuade him to return there too, he eventually succumbs to her pressure
and gladly leaves the dark and dusty shop. He is received back by the
Tulsis and given work at Green Vale.
(ii) The passage centres on Mr Biswas’s attempts to express himself cre-

atively and so escape from the limitations of his environment and situa-
tion. He has tried painting also and has produced ‘cool, ordered forest
scenes’ which are far removed from the rotting, mosquito-infested jungle
which he can find within an hour’s walk. The evident frustration he is
feeling is thus expressed, and this is also shown by the shape his writing
takes with the reference to ‘distorted and scurrilous descriptions’ of peo-
ple who he feels have been against him.
Mungroo is a man from the village, the leader of the village stick-
fighters, who owes credit at the shop, and Mr Biswas is persuaded by
Moti to sue him for owing money, through the offices of the corrupt
lawyer, Seebaran. Moti exploits Mr Biswas’s fears of being taken

advantage of, and of becoming bankrupt and destitute like the hero of
one of Misir’s stories. It emerges, however, that none of the credit notes
which Mr Biswas possesses have been signed, since Mr Biswas thought
it ‘discourteous’ to demand a signature. He has to pay Moti five dollars
initially, which causes a quarrel with Shama and her return to the ‘mon-
key house’, and then finds himself charged for defaming Mungroo’s rep-
utation for which he had to pay a hundred dollars. This sum is borrowed
from Misir, who, besides being a writer, has set himself up as a usurer
with a capital of two hundred dollars. This farcical train of events is prey-
ing on Mr Biswas’s mind at the time the passage is written, and so his
need to externalise his anger and sense of injustice by writing is reflect-
ed there. Seth and Mrs Tulsi are familiar targets in their attempts to inter-
fere with the autonomy of Mr Biswas and his need to feel that his wife
and children belong to him rather than to the Tulsis.
The passage also highlights other facets of Mr Biswas’s character,
particularly his sense of absurdity and his talent for irreverent and face-
tious writing, which gains a fuller outlet in his job at the Sentinel under
Mr Burnett. Mr Biswas can never take himself too seriously for long;
humour and caricature are his weapons against the oppression he
encounters and which the Tulsis personify. We see this in the names he
has invented for them like ‘the old hen’ and ‘the little gods’, or his later
image of Mrs Tulsi when she objects to Anand repeating hymns he has
learnt at Sunday school, as a ‘Roman cat’. He says comically to
Shama: ‘I thought a good Christian hymn would remind her of happy
childhood days as a baby Roman kitten’. A similar point is made when
Mr Biswas compares himself with the holy pundit, Hari, who has a
respected position within the Tulsi household. He knows that he could
never sustain such a role, just as he cannot share Misir’s tragic vision.
He observes that he would inevitably be discovered ‘in dhoti, top-knot,
sacred thread and caste-marks, reading “The Manxman” and “The
Atom”.’
He finds Misir’s rather macbre and ironic story ‘puzzling’. It would
seem that such an arbitrary and depressing view of life, as expressed
by the story, is foreign to Mr Biswas’s temperament. He is more opti-
mistic and remains convinced, even after the period at The Chase, that
‘some nobler purpose awaited him’. The period at The Chase,
although it has involved the acquisition of furniture and other symbols
of permanence, has always seemed to him temporary and rather unre-
al, as though it is still a ‘preparation’ for life. He feels that he does not
look like a shopkeeper, and his true identity still eludes him. This
search for identity, which is a central theme in the novel, is shown in
his various acts of rebellion, including the one immediately after the

passage quoted, when he devotes himself to various absurdities such

as growing his nails to an extreme length, or dabbing coloured oint-
ments on his face. These gestures of non-conformity suggest the inner
distress which will erupt more forcibly in the breakdown at Green
Vale, but also pinpoint, like the scurrilous stories, the frustration that
Mr Biswas is feeling – later epitomised in his constant murmurs of
‘trap’ at Green Vale.
The passage quoted thus points to a number of themes in the novel,
chiefly the search for identity with which Mr Biswas is preoccupied, and
the way in which he finds relief and refuge in satire. It also reflects traits
of character in Mr Biswas’s reactions to Misir’s story, and his inability to
view life in a tragic way. We are also told that he could never devise a
story, and this is shown in the novel by his failure to write more than a
few lines of his ‘Escape’ stories except on a few rare occasions. He does
compose the prose poem to his mother, and the long letter to the doctor
which developed into a ‘broad philosophical essay on the nature of man’,
but his imaginative writings remained confined by his experience and are
principally a realm of fantasy to which he can escape. He continues to
find comfort and consolation in reading, notably in discovering the
‘grotesques’ of Dickens which he can identify in the people around him
during his latter period at the Sentinel, a discovery which he is able to
share with his son. His gift for wit and invective is certainly suggested,
and displayed in a vivid way elsewhere in the novel with its subtle blend
of humour and pathos without the bleakness contained in the story by
Misir.

Part 5
Suggestions for
further reading
The text
NAIPAUL, V. S.: A House for Mr Biswas, Deutsch, London, 1961; the

paperback edition published by Penguin Books, Harmondsworth,
1961, is the edition referred to in these Notes.
Other works by V. S. Naipaul
The Middle Passage, Deutsch, London, 1962; Penguin Books,

Harmondsworth, 1969, and An Area of Darkness, Deutsch, London,
1964; Penguin Books, Harmondsworth, 1968, are particularly useful. It
is obviously valuable for students to read other works by V. S. Naipaul,
particularly those which are set in Trinidad. All of V. S. Naipaul’s works
(see Part 1 of these Notes), except his most recent book of essays The
Return of Eva Peron, Deutsch, London, 1980, are available in Penguin
paperback editions.
Critical commentaries
HAMNER, R. D. (ED.): Critical Perspectives on V. S. Naipaul, Heinemann,

London, 1967. This contains a variety of essays and interviews with
Naipaul; the two essays by G. Rohlehr and one by M. Warner-Lewis
are of particular interest.
RAMCHAND, K.: An Introduction to the Study of West Indian Literature,
Nelson, London, 1976. This contains some perceptive comments on
the relationship between Mr Biswas and Anand.
THEROUX, P.: V. S. Naipaul, An Introduction to his Work, Deutsch,
London, 1972.
WALSH, W.: V. S. Naipaul, Oliver and Boyd, London, 1973. This contains
some interesting comments on the novel.
WHITE, LANDEG: V. S. Naipaul: A Critical Introduction, Macmillan,
London, 1975.

58 · Suggestions for further reading
Cultural and social background
PARRY, J. H. and SHERLOCK, P.: A Short History of the West Indies,

Macmillan, London, 1956. This provides a useful, basic introduction to
the West Indies in a historical context.
AUGIER, F. R.: The Making of the West Indies, Longman, London, 1960.
This also provides social and economic background information.

The author of these notes
ROSEMARY PITT graduated from the University of Durham and lectures in
English Language and Literature at City and East London College. She
has a special interest in West Indian literature, and has also published
articles on Joseph Conrad and Virginia Woolf.

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YORK NOTES

General Editors: Professor A.N. Jeffares (University

PEARSON EDUCATION LIMITED

© Librairie du Liban Publishers and Pearson Education Limited 2001

All rights reserved. No part of this publication may be reproduced, stored in a

First published 1982

Part 1: Introduction page 5

Part 4: Hints for study 49

Part 5: Suggestions for further reading 57

The author of these notes 59

©Librairie Du Liban Publishers and Pearson Education Limited

The life and works of V. S. Naipaul

©Librairie Du Liban Publishers and Pearson Education Limited

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The background of the novel

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The religion of Hinduism originated among the Aryan tribes in India.

*L. White, V. S. Naipaul: A Critical Introduction, Macmillan, London, 1975, p. 88.

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A note on the text

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Chapter 2: Before the Tulsis

No traces remain of Mr Biswas’s birthplace, although the land his moth-

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Chapter 3: The Tulsis

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Chapter 4: The Chase

Mr Biswas moves to this isolated village to manage a small food shop, a

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Chapter 5: Green Vale

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Mr Biswas and Anand are taken back to Hanuman House. Mr Biswas

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Chapter 1: ‘Amazing Scenes’

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Chapter 2: The New Régime

The house feels empty, as if awaiting change. Disaffections spread at

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Chapter 3: The Shorthills Adventure

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Chapter 4: Among the Readers and Learners

Transport becomes impossible and Mr Biswas moves back to two

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Chapter 5: The Void

Mr Biswas involves himself closely in Anand’s work at the college,

Chapter 6: The Revolution

Owad returns to a full house, ‘like an old Hanuman House festival’. He

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Chapter 7: The House

Owad marries Dorothy’s Presbyterian cousin and establishes a private