Palace of the Peacock

"I had felt the wind rocking me with the oldest uncertainty and desire in the world, the desire to govern or be governed, rule or be ruled for ever."

Guyanese author Wilson Harris's Palace of the Peacock is extraordinarily complex, multi-layered, and perfectly responds to Conrad's Heart of Darkness.  Instead of the Congo, Harris takes us to the jungles of Guyana where Donne and his mixed-race crew pursue Mariella, his woman who left him to stay at the Mission. I had read elsewhere Harris's Hegelian dualism permeates the novel, but as it appears in Harris's prose, its relevance to the impact of colonialism on Guyana becomes ever clearer. Harris intelligently uses the indigenous population and their worldview with respect, too, forming an excellent rebuttal to Conrad. 

Donne and his crew are already dead, existing between life and death on the river (also identified as a river of life, stream of death), a significant theme for the novel's dualism. Alive and dead, heaven and hell, native and non-native, Harris uses dualism to argue for a synthesis of states of binary oppositions, an apt metaphor for colonial society. The 'palace of the peacock' is an astounding symbol for the novel's powerful conclusion, which ends with a seven day search for the indigenous population of Mariella Mission, the laborers Donne exploits and treats cruelly, in spite of his own dark skin. The novel's somewhat ambiguous ending of revelations for the deceased crew are highly suggestive of the colonial society in which Guyana exists. Will they share the land, for example? The ambiguous fate of the Guyanese society is left open to the reader's interpretation, but an optimistic future seems to be the overall message.  

Along the way the world of polar opposites, life and death, peace and conquest lead to trouble among the crew of the vessel. The unstable narration (the unnamed narrator, the Dreamer) mirrors the liminal space occupied by the characters, already dead, as they endeavor to catch up with the Arawaks who flee while dying again in pursuit (and pursued) of their various dreams. Love, race, incest, the search for fortune are some other themes important to the crew. Despite their mixed racial origins, they too perpetuate discriminatory views of the indigenous population, yet rely on an old Arawak woman as their guide along the river. 

Eschewing conventions of the novel form, Harris's first novel can be quite difficult to follow, but it's beautifully written, possesses all of the complex symbolism of Conrad's novel, and avoids any dehumanizing language. As a Caribbean writer of African descent who foregrounds the indigenous population of the region, Harris's novel is also conspicuous as one of the few from the Anglophone Caribbean for including Arawak characters and mythology, an untapped reservoir for Caribbean literature.