Rapacity as the driving force of colonialism and capitalism

Book Review

Title – Savage Beasts
Author- Rani Selvarajah

Publisher – One More Chapter; a division of HarperCollinsPublishers

Within the pages of this memorable novel, ‘Savage Beasts’, by Sri Lankan-origin Rani Selvarajah, a University of Cambridge product, living and working in Great Britain, is an exhilarating narrative of the rapacious greed that drove the British colonial project in its early centuries. Essentially, it is a creative writer’s account of how the global South or East came to be pillaged and reduced to penury by its colonial overlords, although it is presented to us in the form of a gripping story.

As could have been expected, we don’t have in the novel a detailed, prosaic historical account of how parts of the ‘Third World’ came to be subjugated by the Western colonial powers, such as the Dutch and the British, in the mid-eighteenth century; for that is the century in focus. Rather, what we have narrated very engagingly in ‘Savage Beasts’, is an amorous tie that descends into mutual animosity between a Calcutta-based Indian Princess and a handsome young British sailor, with strong blood connections to the ruling hierarchy of the invading British East India Company (VOC), the precursor of full-blown British rule in the East. The relationship starts with a heart-warming romance and ends in betrayal, deceit, thievery, murder and destitution.

The central action in the novel traverses India, Ceylon, South Africa and Britain. The princess, Meena, is duped by the sailor, James, into running away with him from her kingdom in Bengal where her father, the Nawab of Bengal was the ruling despot, to Ceylon, South Africa and lastly Britain, where James’ cruel machinations to use Meena to achieve his material and power ambitions are laid bare.

It is finally revealed that James was mainly interested in wresting from Meena, the Nawab’s military plans to defend his kingdom against the invading British, and to sell these secrets to the British East India Company, which was headed by James’ uncle, the coldly calculating Sir Peter Chilcot, who becomes a symbol of imperial rule in the East in all its harshness and exploitative greed.

Although a ruthless ruler, whose fixation too was power, we are compelled to agree with the Nawab in his assessment of James, when he tells Meena at page 104, early in the story: ‘That man is a charlatan. You may not be able to see it, but he is. All of them are. They come here, treating us like fools, taking what they can at the point of a gun. Traders, merchants. They like to call themselves businessmen when they’re just pirates who think they can make demands of kings.’

The Meena-James relationship at the heart of ‘Savage Beasts’, therefore, becomes an ‘objective correlative’, as it were, if we are to borrow a concept from renowned English poet and literary critic T.S. Eliot, for the central theme in the novel, which is the ruination and impoverishment of its colonies by the British colonizer. That is, the romance and its gradual degeneration into a relationship of mutual hate between the main protagonists becomes a tangible symbol of the novel’s main theme.

The ruination of India by the British colonizer does not take the form of only the physical subjugation and economic exploitation of the ‘Jewel in the Crown’ of the British monarch. It takes the form also of the brazen robbing and pillaging of everything of cultural and spiritual importance to India, including, of course, its dignity.

The episode that bears this out in the novel arrives in its closing chapters when Meena, who is inveigled by James into accompanying him to England, finds to her horror that all the important cultural treasures in her father’s palace had been robbed and stowed away in James’ uncle’s mansion, that is, the VOC chief’s residence. Prior to such pillaging, the Nawab had been savaged by the invaders and left to die on a Calcutta street, we are given to understand.

‘Savage Beasts’ ends on the tragic note of Meena being rendered homeless and destitute. However, she enjoys the satisfaction of exacting ‘blood revenge’ from James, by killing the influential English woman he intended to marry after deserting her. Meena, however, is deeply comforted by the fact that she retains possession of the son, her liaison with James yielded. The enduring mother-son bond, we could say, is the ‘universal in the particular.’

Besides its thematic substance, ‘Savage Beasts’ is also notable for its smoothly flowing and gripping story line. Bolstering its literary merit further is its dramatic and evocative prose style. It is a novel that calls for close and sustained literary appraisal.

– Lynn Ockersz