Homi affirmative reconstruction, seeing the possibility of regeneration,

Homi Bhabha demonstrates that colonial discourse produces modes of
resistance and undermining within its own logic, because these ambivalent
attitudes toward colonial natives have led to an imitation that becomes rather
“threat” rather than “likeness,” and which gives birth to a
rupture rather than a consolidation. This is because the replication process is
never perfect or complete, and the final product is not the true image of the
original, but a distortion of it, due to the different context in which it manifests
itself. He suggests that colonial authority becomes hybrid and ambivalent
through this process of replication, and as such gives the subject himself the
opportunity to undermine his master’s speech.

Postcolonial literature had to distance themselves from indigenous
cultures to reconfigure them retrospectively. What Naipaul does, however, while
most writers produce an affirmative reconstruction, seeing the possibility of
regeneration, he practices the laborious dissection of a cultural picture in
which optimism seems to be an invention, and the diagnosis seems to be that of
a complex of dependence never recognized and assumed and, as such, without any
chance of improvement. This chaotic and drifting world, physically fragmented
and schizophrenic, is the universe that Magesters
presents.

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the prototype of the uprooted colonial is present, pendulating between
the world of the island, paralyzed by the acquired and internalized prejudices,
and London, the “city of the magical powers”,
where he hopes to givemeaning to that world he left behind. The text is built on some key concepts, narratively
translated by the presence of recurring terms, such a semantic nucleus is
contamination, and it appears everywhere in the novel by words from the same
area: “defiled,” “corrupt,” ” infested, “”
perverted, “” fraud, “” counterfeit The island is
perverted before the British colonization – the ultimate defilement – through
its history, which is one of slaves and racial incongruities. Ralph Singh’s
success in business is also a “tainted” gift that can only give rise
to an artificial and ephemeral city called Crippleville, his marriage bears the
mark of fraud even after it ends, London itself becomes “matte”,
hotels through which they pass are “sordid”. The narrator is
confronted with a universe that is not a stand-alone universe, because the only
thing that validates it is the contamination that generated it. A world that
exists only through devastating contact with another.

The protagonist meticulously analyzes all the places,
people and phenomena that he sees face to face and tries to retrospectively
reinvent his island. These attempts, however, only result in the finding that
the world is governed by chaos and, subsequently, an obsessive search for the
restorative order.

This is the inner chaos that Singh is talking about. These are the mechanisms of that world to
which they cannot belong. Identity is no longer split between the indigenous
cultural monolith and the superior, forbidden white model. His dislocation can only be done in relation to a
place he has never felt to be with another, far away, regarded as a place of
refuge, but which, once known, appears to be just as counterfeit . Life on the
island has nothing of the magical aura, a little sweet, of other colonial texts. Isabella is not the realm of childhood
immersed in myth and fertile dances, it is not the space of love, nor the
comfort offered by the familiar space, the feeling of complicity of the
innocence born of the sharing of traditions on the blacks, the outsiders can
not understand them. The island is in a relationship between the artifact and
the

imported feelings.
On the one hand, they naturally come from the Empire: the story of Singh’s
uncle, Cecil, who grows adored by the Coca-Cola empire, the beautiful image of
the child who remembers that on the first day of school he gave the apple an
apple In the island, only the oranges, My first memory of school is of
taking an apple to the teacher. This puzzles me. We had no apples on Isabella.
It must have been an orange; yet my memory insists on the apple. The editing is
clearly at fault, but the edited version is all I have. (“The Mimic
Men”, 90)

 the endless
landscapes and distant worlds described in books, encounters with characters as
typical of Europe or Canada reveal other and other views and histories they
assume without having ever lived.

Paradoxically, her own culture also seems to be
imported. Tradition is virtually non-existent, as it has been reduced to a
series of domestic rituals whose meanings are no longer known by those who
practice them. The only affective relationship he has with the Indian culture
and his “Aryan” ancestors is built, ironically, all the books. The
child, and later the young Singh, can not dream “the prince among the Aryan horsemen advancing towards
the end of an unconquerable world, noses “after discovering this image by
studying the ancient and” dusty “texts in the college library, rather
with the interest of a Western student.

The result is the acute sense of vacuum, omnipresent in the text. A
consequence of this unstructured self is that the character seeks his identity fulfilment
by creating a number of social roles. Another recurring notion in the novel is
precisely that of the role, accompanied by the explanation repeatedly given by
the character, that “man
is just the reflection he discovers in the eyes of others.” Singh
assumes these roles ironically, and failure is always predictable, because
conscious designing in the role is always accompanied by the awareness that the
role does not belong to him and, as such, can only represent it temporarily and
imperfectly. So she will not succeed as a husband, neither as a politician nor
as a friend. But the role the protagonist insists most often on is the dandy,
the extravagant and exotic character of the colonies. And this is a double
failure. He does not succeed to be colonial enough for those in England, and
neither for those on the island. This fact brings with it an overwhelming sense
of inadequacy In any context.

The world dealt with by Naipaul with so much detail and lucidity is one
of derision, incapable of breaking away from the grotesque and destined not to
miraculous rebirths, but to stagnation and extinction in this cultural amalgam
that it cannot understand and consequently cannot interpret and use. in his
view, the Third World nations are not and cannot become the cultural
challengers of the West, because from this temporal contact, all that these
people have mastered have been fixed formulas from which they cannot or will
not to split. Naipaul’s
heroes are not capable of that play of meaning and undermining by imitation.
This is the amendment the writer adds to postcolonial theory. Imitation can
become a weapon only in the hands of people who are aware of the world’s
history and of themselves. Otherwise, their “monkey” only carries the
infinities of ridiculousness, because they remain captive to their status as
imitators, they are the unwise witches, court madmen who have no telling truth
– simple “mimic men”.