MIGUEL STREET - 1959
Mariacristina Petillo highlights the difficulties in translating creole into Italian: “firstly, the translator needs to decide how to reproduce the colloquial liveliness of the Creole language used for calypsoes and, secondly, how to translate into Italian the manifold cultural data that all those popular ditties convey.” According to Weiwei Xu, the novel depicts “two kinds of cosmopolitanism: vernacular versus elitist. Through the boy narrator, the novel, which presents the lived cosmopolitan experience arising at a local, micro level, can be read as a Trinidadian example of vernacular cosmopolitanism. However, through the adult narrator who used to be the boy narrator, Naipaul obliterates the cosmopolitan ethos of a hybrid community and reveals a longing for the status conferred by elitist cosmopolitanism in the Enlightenment intellectual tradition.” Aaron Eastley divides the characters into two categories: “mimic men— whom I [Eastley] associate with most of the comedy in the stories— and the pathetic poor— those who represent societal ruin.” Kelly Baker Josephs “looks at how, with the context of a street full of ‘odd’ characters, the performative and political nature of Man-man’s madness foregrounds the instability of a Caribbean at the threshold of a desired yet undetermined future.” Franca Cavagnoli highlights the problems of translating Naipaul’s texts into Italian because it is a challenge “on both a linguistic and a cultural level.” Ben Abbes Hedi highlights Naipaul’s penchant for depicting antagonism and violence in Trinidadian society. Zanyar Kareem Abdul and Rohimmi Noor highlight the tragedy behind the beatings and bullying that happens in the text.