The enigma of arrival: a novel - By V. S. Naipaul Page 0,120
to plant, to see crops grow, might have seemed eternal, something to which the human heart would want to return. But in the plantation colony from which I came—a colony created for agriculture, for the growing of a particular crop, created for the great flat fields of sugarcane, which were the point and explanation of everything, the houses, the style of government, the mixed population—in that colony, created by the power and wealth of industrial England, the instinct had been eradicated.
The vegetable fields of Aranguez in Trinidad, on either side of the American highway, had been created by accident, with the debris, the accidental diffusion among laborers, of the learning of the Imperial College of Tropical Agriculture. They looked like the allotments in England, and there was a connection of learning, of science. But the plots of Aranguez at the edge of Port of Spain and the allotments at the edge of English towns spoke of different instincts, needs, different hearts now. The old world, of planting and fertility, the very early world, perhaps existed in the colony, and only for a short time, in the child’s heart. Adult eyes saw in agriculture not magic but servitude and ugliness. And that was why the English allotments touched something as small and as far away and as vague as my memory of planting three seeds of corn in the yard of our family house in Port of Spain.
THE IDEA that Pitton didn’t “know” was something in the air at the manor. It was an idea that came to me gradually, with knowledge of my surroundings. I do not remember Mr. or Mrs. Phillips offering it as a statement. So I suppose that the idea would have been put to me in a number of indirect ways by the Phillipses before I had settled in and learned to look around me and come to my own judgments.
I assumed, for instance, that it was because of this idea, that Pitton didn’t know, that Mrs. Phillips in my first autumn (and really, as I was to understand, not long after she herself had come to work and live at the manor) cut back the old overgrown moss-rose bushes in the overgrown rose garden and reduced them to rampant brier.
When the spring came and the true rose leaves didn’t show among the seven-leaved brier stems and the thorny rosebuds didn’t appear, she said nothing; she dropped the subject of the roses and the pruning. It was one of my early lessons in the valley in the idea of change, of things declining from the perfection (as I thought) in which I had found them. And though every May for some years afterwards, when I was there, I looked for those buds in spite of the brier, hoping for magic, this silence about the roses was for me a way of coping with the disappearance of the roses. What was perfection to me would have been decay to the people before me, and hardly conceivable to the first designers or gardeners.
Nothing more about the roses, then. But by this time Pitton had been given his “character.” And increasingly I felt it as odd that this resentment of Pitton as a man with an insufficient grasp of his mysterious craft, a man without the true vocation, should come from people—the Phillipses in the manor, and Bray, Pitton’s immediate neighbor—none of whom could be said to have vocations or trades, people who, for this reason, in this agricultural, nonindustrial part of England were curiously unanchored, floating.
The Phillipses I thought of as people getting by. It was impressive to me, who had lived all my life with anxiety and ambition, to discover that they had no plans for their future, had almost no idea of that future, had planned for nothing, and lived with the assumption that somehow, should things go wrong here, there would always be a kind of job, with quarters, for them somewhere else. It was impressive to me, and I don’t mean it ironically: this readiness for change, for living with what came. But it contained no idea of the vocation or achievement. It contained only this idea of getting by, of lasting, of seeing one’s days out.
And the same was true of Bray, Pitton’s neighbor. Bray was a car-hire man; and though he was more rooted than anyone in the village and was as close to the manor as anyone could be—his father had worked in the manor in the old days—he, who rebuked