English writer and composer (1917–1993)
Anthony Burgess (25 February 1917 – 22 November 1993) was an English writer and composer whose novels include the Malayan trilogy, A Clockwork Orange, the Enderby cycle, Nothing Like The Sun, Earthly Powers and The Kingdom Of The Wicked. He also produced critical works on Joyce, Lawrence, Hemingway and Shakespeare, and studies of language and of pornography.
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‘Quite all right, sir. Plenty of time. You have a sleep, sir.’ Hood turned over with his fat bottom towards Nabby Adams. Thank God. Nabby Adams tiptoed over again to the serving-hatch, ordered another, downed it. He began to feel a great deal better. After yet another he felt better still. Poor old Robin Hood wasn’t such a bad type. Stupid, didn’t know a gear-box from a spare tyre, but he meant well. The world generally looked better. The sun shone, the palms shook in the faint breeze, a really lovely Malay girl passed by the window. Proud of carriage, in tight baju and rich sarong, she balanced voluptuous haunches. Her blue-black hair had some sort of a flower in it; how delicate the warm brown of her flat flower-like face. ‘What time is it, Nabby?’....
Sir, we are trying to work because we are having to take the examination in a very brief time from now, but the younger boys are not realizing the importance of our labours and they are creating veritable pandemoniums while we are immersed in our studies. To us who are their lawful and appointed superiors they are giving overmuch insolence, nor are they sufficiently overawed by our frequent threatenings. I would be taking it, sir, as inestimable favour if you would deliver harsh words and verbal punishing to them all, sir, especially the Malay boys, who are severely lacking in due respectfulness and incorrigible to discipline also.
“I should want to go home, like Fenella. I should be so tired of the shambles here, the obscurantism, the colour-prejudice, the laziness and ignorance, as to desire nothing better than a headship in a cold stone country school in England. But I love this country. I feel protective towards it. Sometimes just before dawn breaks, I feel that somehow I enclose it, contain it. I feel that it needs me. This is absurd, because snakes and scorpions are ready to bite me, a drunken Tamil is prepared to knife me, the Chinese in the town would like to spit at me, some day a Malay boy will run amok and try to tear me apart. But it doesn’t matter. I want to live here; I want to be wanted. Despite the sweat, despite the fever, the prickly heat, the mosquitoes, the terrorists, the fools at the bar of the club, despite Fenella.”
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Vorpal had the trick of adding a Malay enclitic to his utterances. This also had power to irritate, especially in the mornings. It irritated Nabby Adams that this should irritate him, but somewhere at the back of his brain was the contempt of the man learned in languages for the silly show-off, jingling the small change of ‘wallah’ and charpoy...
'And make up your mind about what bloody race you belong to. One minute it’s all about being a farmer’s boy in Northamptonshire and the next you’re on about the old days in Calcutta and what the British have done to Mother India and the snake-charmers and the bloody temple-bells. Ah, wake up, for God’s sake. You’re English right enough but you’re forgetting how to speak the bloody language, what with traipsing about with Punjabis and Sikhs and God knows what. You talk Hindustani in your sleep, man. Sort it out, for God’s sake. If you want to put a loincloth on, get cracking, but don’t expect the privileges --’ (the word came out in a wet blurr; the needle stuck for a couple of grooves) ‘the privileges, the privileges…’