Code-Switching and linking the margins

Imagine for a second that all the Anglo-Saxon pieces literary natures were lined up one by one chronologically. We start off with Chaucers characters and move our way up to Wildes dandies, and then up to Marlow who is framed in the background by a few tribesmen in the Congo, and then suddenly we have Mr. Biswas.For the most part Colonialist literature has contained gabardine characters as their center with the inclusion of some distant races as support.The subjects of colonialism were barred entry to the privileged sphere of Colonial literature by their inability to conform to Colonialists cultural practices their expression of culture twain in language and custom did not meet with the stringent and racist codes required for literature. V.S. Naipaul, who was originally consigned to the fellowship of commonwealth writer, by the British press, has managed to place the subjects of Anglo-Saxons colonialism, into the same derriereon with their oppressors. Marlow, muddling his way u p the river, now sits adjacent to Mr. Biswas who curses in his Creole English struggling to pay off debt.Unlike Mr. Biswas, Naipauls avow writing is often steeped in the vernacular of his Oxford education, unless he faithfully records the breaches with colonial grammatical rules done extensive code-switching making low-caste Indian Christian converts into literary forms as accessible as the characters found in other canonical Western literary texts.Naipauls use of variable orthography to make patois more accessible,(Empire 41) in code-switching takes people marginalized by colonialisms hegemonic operationes and renders them in the center as literary subjects. This process frees the joins of Naipauls novel which have been silenced by colonial insistence on proper grammar in communication and the reality of their remoteness geographically. For instance, The novels protagonist, Mr. Biswas, communicates in an English that often enunciates verbs as the beginnings of sentences such as when he says, Feel how the car sitting nice on the road?Feel it, Anand? Savi? (Naipaul 278) or Is the sort of place you could build up. (Naipaul 138). Not exactly the language of Shakespeare, but Mr. Biswas is a literary character enfolded in Naipauls own inventive and colonialist language. By draping Biswas in grammatically perfect sentences, Naipaul has managed to break syllabus bearers refuting the position of colonialist characters as seconds as they are in Conrad, but still maintaining a narrative voice that bridges the gap between subject and ruler.Mr. Biswas doesnt speak in the language of fine literature, but his speaking, refutes the privileged position of a standard code in the language.(Empire 40). Biswas is expressing himself in a Creole that prefers the communicatory placements of Bengali, he is refusing to adopt the thought processes included in proper English grammar.Naipauls use of code-switching allows Mr. Biswas expressions to be placed in canonical literatur e and by extensions it sheds light on cultural otherness, Mr. Biswas does not regard in the proper forms of colonial English, he still spews out thoughts like a proper brahman only using English as his form.Biswas sayings reveal a cultural otherness that English cant express, thinking in terms of verbs first or his constant negation of articles such as a and the, are all indicators of the culture that lies beneath his speech, but which English cannot bring to light.