{"id":49471,"date":"2022-07-15T10:00:08","date_gmt":"2022-07-15T15:00:08","guid":{"rendered":"https:\/\/www.publicbooks.org\/?p=49471"},"modified":"2026-01-16T20:16:56","modified_gmt":"2026-01-17T02:16:56","slug":"many-into-one-one-into-many-george-lamming-1927-2022","status":"publish","type":"post","link":"https:\/\/www.publicbooks.org\/many-into-one-one-into-many-george-lamming-1927-2022\/","title":{"rendered":"Many into One, One into Many: George Lamming (1927\u20132022)"},"content":{"rendered":"

The great Barbadian novelist, essayist, and activist George Lamming (1927\u20132022) once tackled New World identity by way of Shakespeare\u2019s Tempest<\/em>. \u201cI see the Tempest<\/em> against the background of England\u2019s experiment in colonisation,\u201d he wrote in his scorching 1960 book of essays, The Pleasures of Exile.<\/em> Shakespeare\u2019s sense for Caliban and Ariel\u2019s agony at trying to live both within and without Prospero\u2019s magical speech seemed to Lamming a premonitory echo of life as a colonial subject.<\/p>\n

I\u2019ve taught Lamming\u2019s vision of Shakespeare for twenty years: in Baltimore, at Brandeis University, and most recently at Concord prison in Massachusetts, paired with works by Aime Cesaire<\/a>, Frantz Fanon<\/a>, and Homi Bhabha<\/a>. It\u2019s always Lamming the students want to discuss. Partly for the acuity with which he links Prospero\u2019s shaky dominion on his island to the colonial experiments of Shakespeare\u2019s own day, but also for his blunt reminder that his readers should listen because his account of The Tempest<\/em> and books like it is \u201cbased upon facts of experience.\u201d As Lamming puts it, his interpretation<\/p>\n

is intended as an introduction to a dialogue between you and me. I am the whole world of my accumulated emotional experience, vast areas of which probably remain unexplored \u2026 it will not help to say that I am wrong in the parallels which I have set out to interpret; for I shall reply that my mistake, lived and deeply felt by millions of men like me\u2014proves the positive value of error, it is a value which you must learn \u2026 This book is really no more than a report on one man\u2019s way of seeing.<\/p><\/blockquote>\n

Between 1953 and 1972, Lamming published six novels, along with The Pleasures of Exile<\/em>. Then, aged 44, he was done. A pause that long (half a century!) has consequences. When Lamming passed away in early June, I spent more than a week uneasily scanning the pages of major newspapers. Relief came in the form of a eulogy by Sandra Pouchet Paquet<\/a>, who alongside Supriya Nair<\/a> is probably Lamming\u2019s most generous scholar and champion. Tributes to come (like this one<\/a>) will follow Paquet in praising his pathbreaking 1953 debut, In the Castle of My Skin<\/em><\/a>, a partly autobiographical coming-of-age novel published when Lamming was only 25. Alongside his reputation as a teacher and a firebrand political activist, he will be recalled for his important early friendship with Trinidadian novelist Sam Selvon (his 1956 Lonely Londoners <\/em>makes an apt companion piece to Lamming\u2019s 1954 The Emigrants<\/em>) and with the historian and theorist C. L. R. James, whose Black Jacobins<\/em> had an early supporter in Lamming.<\/p>\n

How else will Lamming go down in the history books? Most praise over the decades has emphasized his push toward solidarity and political unity. Paquet\u2019s obituary argues that Lamming\u2019s work is defined by \u201cthe idea of a unified Caribbean.\u201d This resonates with Simon Gikandi\u2019s 1992 opinion<\/a> that Lamming wrote In the Castle of My Skin <\/em>(which he considers \u201cperhaps the most powerful narrative critique of the psychology of colonialism\u201d) because \u201cnarrative offered a form and a strategy for restoring the West Indian character to history.\u201d<\/p>\n

Richard Wright\u2019s 1953 foreword to the American edition similarly praises Lamming for making one young person\u2019s story into \u201ca symbolic repetition of the story of millions of simple folk who, sprawled over half of the world\u2019s surface and involving more than half of the human race, are today being catapulted out of their peaceful, indigenously earthy lives and into the turbulence and anxiety of the twentieth century.\u201d Finally, in 2009 the celebrated Kenyan novelist Ngugi wa Thiong\u2019o<\/a> sees Lamming documenting \u201cordinary men and women \u2026 with lives governed by a mythic consciousness and local allegiance, to a people for <\/em>themselves, governed by a vision that goes well beyond the boundaries of the village and the Caribbean shores to the outer arena of black and social struggles worldwide.\u201d
\n<\/p>\n

\n
\n

Lamming never lets readers forget that within that one man\u2014as within all of us\u2014is a boiling multitude.<\/p>\n<\/blockquote>\n<\/figure>\n


\nStill, solidarity and cohesion doesn\u2019t entirely sum up the fiction. In a 1972 review<\/a> of Natives of My Person<\/em>, C. L. R. James stressed the loneliness underpinning Lamming\u2019s writing. Unlike Cesaire (who \u201cprojected the simple humanities of African tribal life as a vision of what humanity would achieve\u201d), Lamming believed \u201cThe West Indian has no genuinely native civilization or traditional culture of his own. His rejection of Western civilization is therefore untroubled by any instinctive or traditional burdens or barriers. He can become a part of the civilization, be totally involved, but always as one who is a traveler in a foreign land.\u201d<\/p>\n

I am with James. What really interested Lamming was not the individual merging into the multitude but the multitude emerging within the individual. Out of many, one; true. But within that one, many.<\/p>\n

The first piece I wrote about Lamming made the case<\/a> that in all his novels, Lamming documented the Caribbean failure of \u201cthat sacred gang\u201d of British writers (\u201cDickens, Jane Austen, Kipling \u2026 imported in much the same way that flour and butter are imported from Canada\u201d). I stressed Lamming\u2019s satirical glee in the subversive potential of colonial mimicry, for example, an impassioned debate among schoolboys in In the Castle<\/em> about whether the king actually pressed his face into every British penny.<\/p>\n

Something else strikes me now: the insistent joy that keeps bubbling up behind every such act of failed mimicry, every moment of impersonation. Those boys pretending to see the king\u2019s face in their shiny pennies are not simply abject colonial subjects, they are also developing what Lamming promised in The Pleasures of Exile<\/em>\u2014a report on their own way of seeing. Each of us strives to make sense of the world we inhabit, and as we do, we are filled up with thoughts of others\u2014as Hannah Arendt puts it, the imagination goes visiting.<\/p>\n

Lamming\u2019s fiction is filled with events that seem clear and unambiguous to their central actors as they are happening. Suddenly, however, the camera angle shifts: the same events are viewed from another vantage point. In an early scene from In the Castle of My Skin<\/em>, rich white landlords pay a \u201ccharitable\u201d visit to the impoverished village whose labor sustains them. Everyone is polite or impassive\u2014that is, until the family leaves:<\/p>\n

When the carriage disappeared with the landlord and his family, small boys came out to rehearse the scene. Two took the part of the horses and trotted along to the fore, while another three arranged themselves behind as the landlord and his family had done \u2026 when they had watched the landlord and his friends on the roof of the brick house, they reproduced the scene behind the fence in the open air. They made saucers and cups with a mixture of dirt and water and saliva \u2026 they served tea from the tap of a standing pipe nearby.<\/p><\/blockquote>\n

The old ways are neither copied nor parodied\u2014instead they are picked up, played with, and out of that play (out of dirt and water and saliva) something new emerges.<\/p>\n

Ngugi and Wright both see Lamming aspiring to make many into one. But what I most admire about him is another process, almost the mirror image: the way that other people\u2019s stories are witnessed, retold, assimilated\u2014and metamorphosed. We all contain multitudes.<\/p>\n

\n

The epigraph to In the Castle of My Skin <\/em>(\u201cSomething startles where I thought I was safe\u201d) comes from Walt Whitman. Lamming takes heart from Whitman\u2019s embrace of the sometimes paradoxical multiplicity that comes with giving one another room, with hearing and assimilating others\u2019 viewpoints: \u201cDo I contradict myself? Very well then I contradict myself, (I am large, I contain multitudes).\u201d There is even a subtle lesson in the names of Lamming\u2019s first and last novels. As phrases, both In the Castle of My Skin <\/em>and Natives of My Person<\/em> allude to the complex interior state of the speaker. Both configure that interior as a populous place, shot through with other voices, other lives.<\/p>\n

Natives of My Person<\/em>, a torqued retelling of the post-Columbus era of European exploration and land grabs, concludes with a poignant scene between the wives of characters who have staked their lives on a mad venture westward. Two of them ponder their oddly mixed feelings of abandonment and vicarious connection. What they settle on is a sense that their real life is somehow being lived elsewhere, in another\u2019s body.<\/p>\n

\n

SURGEON\u2019S WIFE: It was what I had to do. He was a piece of my person.<\/p>\n

STEWARD\u2019S WIFE: It is the same. My husband had become that too: a native of my person. Whenever there is a crisis, we must choose against our interests.<\/p>\n<\/blockquote>\n

In order to live, people require the feeling that their life is bound up with those beyond themselves\u2014even though both Surgeon and Steward are dead by the moment in the novel at which their wives assert they are living through them.<\/p>\n\n

\n\n
Related readings<\/div>\n\n
\n\n
\n
\n \"\"<\/a> <\/figure>\n <\/div>\n\n
\n\n
\n Interviews<\/a>\n <\/div>\n\n
\n An Uncommon, Unconquerable Mind: Our Friend, Julius S. Scott III (1955\u20132021)<\/a>\n <\/h5>\n\n
\n \n \"N. <\/a>\n \n N. D. B. Connolly <\/a>\n <\/div>\n \n <\/div>\n <\/div>\n <\/div>\n\n \n

Lamming raged against the smug imperial notion that the \u201csacred gang\u201d from England could simply shove their ideas and their words down Caribbean throats. Let no one island think it can beam itself out to every other place on earth, turning culture into one-way traffic. However, Lamming did not think that simple rupture was the solution. He never forgot that each of us does in fact live by borrowing others\u2019 ideas, breathing others\u2019 air.<\/p>\n

I wish I knew why the novels ceased after 1972; think of what another fifty years might have brought. Still, \u201cone man\u2019s way of seeing\u201d may be the best phrase to sum up the two decades of fiction he did give us. Lamming never lets readers forget that within that one man\u2014as within all of us\u2014is a boiling multitude. By reporting what he sees, Lamming gives tongue to that contradictory crowd inside him. They make worthy opponents to colonialism\u2019s \u201csacred gang.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

Lamming never lets readers forget that within that one man\u2014as within all of us\u2014is a boiling multitude.<\/p>\n","protected":false},"author":13,"featured_media":49559,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1],"tags":[2217,54,132,17,877,20],"pbpartner":[],"section":[],"pbseries":[],"class_list":["post-49471","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-essays","tag-barbados","tag-caribbean","tag-colonialism","tag-fiction","tag-in-memoriam","tag-literature"],"acf":[],"yoast_head":"\nMany into One, One into Many: George Lamming (1927\u20132022) - Public Books<\/title>\n<meta name=\"description\" content=\"Lamming never lets readers forget that within that one man\u2014as within all of us\u2014is a boiling multitude.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.publicbooks.org\/many-into-one-one-into-many-george-lamming-1927-2022\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Many into One, One into Many: George Lamming (1927\u20132022) - Public Books\" \/>\n<meta property=\"og:description\" content=\"In Lamming\u2019s fiction, old ways are neither copied nor are they parodied. 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