By Nicholas Robinette (auth.)
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Extra info for Realism, Form and the Postcolonial Novel
Example text
Thus, however isolated their consciousness, the characters nevertheless make the social connections aboard the ship that will define the remainder of the novel. Lamming foregrounds how tenuous these connections can be, especially as any shared identity requires an element of exclusion: “Several other men had joined Higgins and Tornado. Collis was awake. [ . . ] When Higgins and the Barbadian spoke the new arrivals understood the friendship that had made the little group possible. ”40 Lamming is almost willfully prosaic as he details the maneuvering between the emigrants.
Pearson received him with a gracious bow, took his overcoat, and led him to see her brother’s friend. Her brother, Arthur, was a welfare officer in Trinidad. 42 Compared with the voyage, the objective and subjective dimensions of this scene are carefully coordinated: the narrative explains the details of who, when, where, and why in a manner that is direct and efficient. Lamming now routinely provides a more reliable, exterior perspective on the proceedings, a deliberately regulated presentation in which the interiority of consciousness and the exteriority of the world are balanced.
There is an implied critical stance in the deliberate projection of African realities in the light of new formal procedures, which depart from the regularities of the standard realistic novel, a stance that proceeds from an uncompromising commitment to the truth of the writer’s vision. The project of the new realism is to lay bare the stresses that weave through the fabric of the contemporary African situation and to explore this situation in its full range of moral significance and in its most profound human implications, those inner tensions that the conventional novel seems inadequate to fully encompass.
