by Paul Theroux
The Traveller’s Tree by Patrick Leigh Fermor
WHAT IS IMPRESSIVE about this book is its completeness, its humane assessment of the Caribbean islands and their people, and its elegance — an evocative as well as droll appreciation of a vast area. The book is now sixty years old, and so it is also an album of pretty pictures about places that are different, some of them much changed, many of them no longer pretty at all. Haiti comes to mind. In Leigh Fermor’s view, Haiti is old-fashioned and proud, lovable, beauteous, cultured, a bit severe — a far cry from the hellishly poor and devastated country of today, the victim of dictatorships, hurricanes, famine, disease, and most recently one of the worst earthquakes in human history.
So The Traveller’s Tree is dated (“Negroes”, “aerodrome”, “luncheon”), but all the more valuable for that, because it is in the nature of a travel book, especially an expansive one like this, to serve as a history of a region, noting manners and customs, language and cuisine. He travelled in Trinidad in 1947–48, when V. S. Naipaul was a high school student, before Graham Greene went to Haiti, and around the time Ian Fleming became resident in Jamaica. For many travel writers, Patrick Leigh Fermor is everything a travel writer ought to be — urbane, well read, witty, forgiving, well travelled, and a meticulous observer. His writing is magical, his eye is unerring, and so is his ear — for human speech, for music, for the sound of the sea and birdsong, for the feel of a place. And his barbs tend to be elegant: “Hotel cooking in the island [Trinidad] is so appalling that a stretcher may profitably be ordered at the same time as dinner.”
Here, having just landed in a Haiti that is no more, Leigh Fermor is travelling up the main road toward Port-au-Prince in an old wagon. “These black and obsolete vehicles are drawn by horses on the point of death and driven by very old men.” He goes on:
The cane-field and savannah turned into the outskirts of the capital. Thatched cabins straggled into the country under the palm trees, and multiplied into a suburb, through which the road ran in a straight, interminable line. For the first mile or so, the town consisted entirely of rum shops and barbers’ saloons and harness makers. Hundreds of saddles were piled up in the sunlight. Bits and bridles and saddle-bags hung in festoons. There were horses everywhere. Our equipage churned its way upstream through a current of horses and mules ridden by Negroes who straddled among bulky packages, all heading to their villages with their purchases for Christmas. One or two were singing Haitian meringues, and several were carrying game cocks under their arms, lovingly stroking their feathers as they trotted past. Old women, puffing their pipes, jogged along side-saddle. They had scarlet and blue kerchiefs tied round their heads in a fortuitous, rather piratical fashion, half covered by broad-brimmed straw hats against the sun. The sides of the road pullulated with country people chattering, drinking rum, playing cards and throwing dice under the trees. The air was thick with dust, and ringing with incomprehensible and deafening Creole. I felt I might like Haiti.
Italian Hours by Henry James
“VENICE WAS ONE of the greatest topographical love affairs of James’s life,” Leon Edel, his biographer, wrote. For Henry James, Venice was everything he wished for in a distant city — villas facing onto the canals, churches crammed with Renaissance masterpieces, great food, voluble people, and in his time not expensive. He called it “the repository of consolations”. A number of his fictions are set in Venice, The Aspern Papers among them, and he wrote several of his novels there, notably The Portrait of a Lady, which is set in England and in Rome and Florence. Italian Hours (1909) sums up James’s love of Italy, and particularly Venice, as in this dense and appreciative paragraph:
One may doubtless be very happy in Venice without reading at all — without criticizing or analysing or thinking a strenuous thought. It is a city in which, I suspect, there is very little strenuous thinking, and yet it is a city in which there must be almost as much happiness as misery. The misery of Venice stands there for all the world to see; it is part of the spectacle — a thoroughgoing devotee of local colour might consistently say it is part of the pleasure. The Venetian people have little to call their own — little more than the bare privilege of leading their lives in the most beautiful of towns. Their habitations are decayed; their taxes heavy; their pockets light; their opportunities few. One receives an impression, however, that life presents itself to them with attractions not accounted for in this meagre train of advantages, and that they are on better terms with it than many people who have made a better bargain. They lie in the sunshine; they dabble in the sea; they wear bright rags; they fall into attitudes and harmonies; they assist at an eternal conversazione. It is not easy to say that one would have them other than they are, and it certainly would make an immense difference should they be better fed. The number of persons in Venice who evidently never have enough to eat is painfully large; but it would be more painful if we did not equally perceive that the rich Venetian temperament may bloom upon a dog’s allowance. Nature has been kind to it, and sunshine and leisure and conversation and beautiful views form the greater part of its sustenance. It takes a great deal to make a successful American, but to make a happy Venetian takes only a handful of quick sensibility. The Italian people have at once the good and the evil fortune to be conscious of few wants; so that if the civilization of a society is measured by the number of its needs, as seems to be the common opinion to-day, it is to be feared that the children of the lagoon would make but a poor figure in a set of comparative tables. Not their misery, doubtless, but the way they elude their misery, is what pleases the sentimental tourist, who is gratified by the sight of a beautiful race that lives by the aid of its imagination. The way to enjoy Venice is to follow the example of these people and make the most of simple pleasures. Almost all the pleasures of the place are simple; this may be maintained even under the imputation of ingenious paradox. There is no simpler pleasure than looking at a fine Titian, unless it be looking at a fine Tintoretto or strolling into St. Mark’s, — abominable the way one falls into the habit, — and resting one’s light-wearied eyes upon the windowless gloom; or than floating in a gondola or than hanging over a balcony or than taking one’s coffee at Florian’s. It is of such superficial pastimes that a Venetian day is composed, and the pleasure of the matter is in the emotions to which they minister. These are fortunately of the finest — otherwise Venice would be insufferably dull. Reading Ruskin is good; reading the old records is perhaps better; but the best thing of all is simply staying on. The only way to care for Venice as she deserves it is to give her a chance to touch you often — to linger and remain and return.
The Autobiography of an Unknown Indian by Nirad C. Chaudhuri
AT THE AGE of fifty, a scriptwriter for All-India Radio, not having published any book, Chaudhuri was possessed by a revelation. “It came in this manner,” he wrote. “As I lay awake in the night of May 4–5, 1947, an idea suddenly flashed into my mind. Why, instead of merely regretting the work of history you cannot write, I asked myself, do you not write the history you have passed through and seen enacted before your eyes?” That enlightenment came three months before India’s independence. He set about immediately, struggled with some chapters, then hit his stride; and the result is a masterpiece, The Autobiography of an Unknown Indian (1951) — a man in a particular place and time.
No better book has been written about India. That Chaudhuri was from the town of Kishorganj, in East Bengal, makes it all the more valuable. He was born in 1897, the year of Queen Victoria’s Diamond Jubilee, and died in 1999, in England — a long life in which he was an eyewitness to the most dramatic changes in India. But the book is filled with the details of life — food, caste, religion (a shocking description of animal sacrifice at a Kali temple), life in the provinces and in the cities: Chaudhuri lived in both Calcutta and Delhi. Far from being a serene book, it is argumentative, critical, sometimes denunciatory, as Chaudhuri was in his subsequent books. But he was that rare bi
rd, a traveller in his own country, with a feel for the people and the land and the seasons. Then, as now, East Bengal was famous for its rain and its floods.
If the picture on the river during the rainy season at Kishorganj was the Deluge and the Ark made homely, gregarious, and sociable, we were no less steeped in the spirit of water on land. Everything was wet to the marrow of the bone. Neither we nor our clothes were ever properly dry. When we were not slushy we were damp. The bark of the trees became so sodden that it seemed we could tear it up in handfuls like moss. We could not walk from the hut which was our bed- and living-room except on a line of bricks laid at intervals of about two feet or on a gangway made of bamboos, and the meals were more often than not held up by unseasonable showers. Little rills were running off the road, cutting miniature ravines in its side. Our servants were always wet, and their brown skins were always shining.
The tremendous drenching power of the rain was brought home to us by the dripping coming and going of our father and of our visitors, but above all by the sight of the birds. The ludicrously pitiable appearance of the crows in the rainy season is so notorious that the phrase “bedraggled crow” has become a figurative synonym in the Bengali language for an untidy and dishevelled person …
But one of the most attractive and engaging sights of the season was to be seen in the inner courtyard of our house, when there was a heavy downpour. The rain came down in what looked like closely packed formations of enormously long pencils of glass and hit the bare ground. At first the pencils only pitted the sandy soil, but as soon as some water had collected all around they began to bounce off the surface of water and pop up and down in the form of minuscule puppets. Every square inch of ground seemed to receive one of the little things, and our water-logged yard was broken up into a pattern which was not only mobile but dizzily in motion. As we sat on the veranda, myriads of tiny watery marionettes, each with an expanding circlet of water at its feet, gave us such a dancing display as we had never dreamt of seeing in actual life.
Christ Stopped at Eboli by Carlo Levi
THIS IS ONE of those important books that, after I’d read it, compelled me to go and see the place for myself. I visited Aliano (Levi calls it Gagliano) in Lucania, in southern Italy, when I was on my around-the-shore-of-the-Mediterranean trip. It was a detour from the coast, but a memorable one. I wrote about it in The Pillars of Hercules. “He wasn’t Italian,” an old man told me in the town, speaking in Italian. “He was a foreigner — a Russian.” I questioned this. “ ’Breo,” the man said. At first I didn’t understand, and then I guessed at the word, Ebreo, a Jew. So everything Levi experienced in 1935, and wrote about in 1943, was still true in 1995: these people were remote, mentally and geographically, off the map in every sense.
The book describes the oddity of this educated Florentine among the peasants of a remote village in the deep south of Italy — a forgotten people, hardly Christian. Christ didn’t get to Aliano, they explain to him; Christ stopped miles away, at Eboli. “We’re not Christians,” they say. They are superstitious, violent, passionate, mercurial, secretive, with a greater belief in dragons than in any saint.
I was struck by the peasants’ build: they are short and swarthy with round heads, large eyes, and thin lips; their archaic faces do not stem from the Romans, Greeks, Etruscans, Normans, or any other invaders who have passed through their land, but recall the most ancient Italic types. They have led exactly the same life since the beginning of time, and History has swept over them without effect.
Among other things, this is one of the great studies of modern European peasant life, written by a highly intelligent and sympathetic alien, resident in a rural village. There is one toilet in the village, “and probably there was not another one within a radius of fifty miles”. Werewolves lurk nearby, the villagers say. Unwritten but arcane laws govern the behaviour of men and women. When Levi’s sister visits, she is forbidden to live with him; no man can be left alone with a woman who is not his wife. Levi spends his time in the village painting, writing, and healing the sick.
Christ never came this far, nor did time, nor the individual soul, nor hope, nor the relation of cause to effect, nor reason, nor history. Christ never came, just as the Romans never came, content to garrison the highways without penetrating the mountains and forests, nor the Greeks … No one has come to this land except as an enemy, a conqueror, or a visitor devoid of understanding. The seasons pass today over the toil of the peasants, just as they did three thousand years before Christ; no message, human or divine, has reached this stubborn poverty.
Before he died in 1975, Levi gave instructions that he be buried in the cemetery of Aliano. And there he rests, in the dust among the pines.
A Moveable Feast by Ernest Hemingway
THERE ARE TWO Moveable Feasts — the first one published in 1964, heavily edited and cobbled together by his widow, and fourth wife, Mary; the second, edited by his grandson Sean Hemingway, published in 2009, is truer to Ernest Hemingway’s surviving manuscript (some pages are reproduced) and subtitled “The Restored Edition”. It was the last book that Hemingway wrote; he committed suicide not long after finishing it. Both editions are worth reading. The first seems better structured and more organized — though this organization was imposed. The restored edition is longer, more ruminative, but kinder to various of the characters — Scott Fitzgerald especially, but also Hemingway’s second wife, Pauline, who comes off badly in the 1964 edition.
The subject is Paris in the 1920s. Hemingway knew the city well — he arrived with wife Hadley late in 1921 and lived there off and on until 1928, when he left to take up residence in Key West with his new wife, Pauline. The themes of this memoir of Paris are being hard-up and happy, the love that Hemingway has for Hadley and his son, and his passion for writing. Being poor, hungry much of the time, Hemingway constantly reverts to the subject of food — flavours, aromas, simple food, good wine; the pleasures of eating and drinking. It is a book about physical sensation, and the intensity of such physicality in Paris.
“Then there was the bad weather,” the book begins. “It would come in one day when the fall was over. You would have to shut the windows in the night against the rain and the cold wind would strip the leaves from the trees in the Place Contrescarpe.”
Streets are mentioned so often they become familiar, as do parks and churches and people’s apartments. The book is filled with restaurants, bistros, and bars, and their specialties in food and drink. The result is that, reading A Moveable Feast, especially the fuller version, we are able to make a map of Paris in our imagination and to follow the comings and goings of Hemingway and the literary lions who stalk its pages — James Joyce, Ford Madox Ford, Fitzgerald, Ezra Pound, Gertrude Stein, and others. Its fault and its virtue is that it is dated: Paris is no longer as Hemingway describes it, but this is a vivid portrait of the city as it looked and smelled and tasted in the twenties.
At one point, Hemingway, a close observer of the life of the city, takes on travel writers:
Travel writers wrote about the men fishing in the Seine as though they were crazy and never caught anything; but it was serious and productive fishing. Most of the fishermen were men who had small pensions, which they did not know then would become worthless with inflation, or keen fishermen who fished on their days or half-days off from work … I followed it closely and it was interesting and good to know about, and it always made me happy that there were men fishing in the city itself, having sound, serious fishing and taking a few fritures home to their families.
With the fishermen and the lie on the river, the beautiful barges with their own life on board, the tugs with their smokestacks that folded back to pass under the bridges, pulling a tow of barges, the great plain trees on the stone banks of the river, the elms and sometimes the poplars, I knew that I could never be lonely along the river.
The End of the Game by Peter Beard
ALMOST FIFTY YEARS ago, Pete
r Beard went to Africa and found himself in a violated Eden. Africa possessed him as it does anyone who has wondered who we once were, as humans at our most heroic, thriving as hunters. The Africa he saw was the Africa that transformed me a few years later — and transformed many others. “Before the Congo I was a mere animal,” Joseph Conrad wrote. Beard’s landmark account of his awakening, The End of the Game (1965), with its unforgettable images, gives fresh meaning to the word “prescience”, and it remains one of the classics of unambiguous warning about humans and animals occupying the same dramatic space: “The tragic paradox of the white man’s encroachment. The deeper he went into Africa, the faster life flowed out of it, off the plains, and out of the bush and into the cities.”
East Africa is not a pretty place in the usual sense of that twinkling word. The elemental and powerful landscape, ranging around the Rift Valley, is one of the earth’s monuments to vulcanism, showing as great plains, steep escarpments, and deep lakes. The Africa Beard saw, even then, in the almost undetectable early stages of corruption, was teeming with animals, thinly populated, hardly urbanized, and self-sufficient. Years later, the pressures of human population on animal life and the land itself became apparent in an Africa faltering and fragile, as though after the Fall. Beard’s improvisational safari to the edge of Somalia in 1960 was a piece of unrepeatable history. He understood very early that the “harmonies and balances” in East Africa had been deranged, and this dramatic crease in the greenest continent was on the wane.
Mingling personal history with African history, Beard vividly evoked the building of the Mombasa–Nairobi Railway. “A railroad through the Pleistocene,” Teddy Roosevelt called it in his African Game Trails, playing up the primitive. Roosevelt, a sort of evil twin to the biblical Noah, hunted down and killed two (and sometimes as many as eighteen) of every species of animal that could be found from the Kenyan coast to the swamps of southern Sudan (total bag, 512 creatures). He wrote, “The land teems with beasts of the chase, infinite in number.”
