Chapter 2 asks how one constructs a tradition and transforms an available genre in the absence of one’s own. An essay on the flower “jasmine,” triggered by a remark that in the tropics one did not know what the daffodils in Wordsworth’s heavily anthologized poem meant, is the starting point of this chapter. How to connect language to thought and how to reconcile a language with an absent tradition takes Naipaul to a search for an appropriate genre that would function as creative structural plinths to his Trinidadian social comedies. At Oxford he had translated the picaresque novel Lazarillo de Tormes but had failed to find a publisher for it. Now he turns to the picaresque genre and its more immediate expressions in Joyce and Steinbeck as a vehicle for his representation of an essentially Trinidadian picaroon society. In the act, Naipaul consciously deconstructs the regulatory nature of the law of genre with its very opposite, its tendency towards disorder. The chapter examines Naipaul’s early works beginning with Miguel Street (1959), his first written work albeit third published, as well as the cinematic adaptation of The Mystic Masseur.

The conclusions discuss the historiographical preference shown to the Trojan and biblical origin stories, and the motif of Merovingian decline following the death of Dagobert as a consequence of the Dionysian influence on the historiographical tradition. It discusses the different solutions proposed forthe transfer of royal power in AD 751, and the need to contend with the charged legacy of this event. Different responses to Carolingian ascent began to emerge in the tenth century, as Carolingian power diminished and then was supplanted by the Capetians. The chapter concludes with a discussion of genre and its effects on our understanding of the sources and the intent of the authors.

The chapter provides an overview of literary predecessors whose influence is evident across Mailer’s work, but perhaps most notably in his early work: John Dos Passos, James T. Farrell, William Faulkner, D. H. Lawrence, Henry Miller, Theodore Dreiser, Herman Melville, John Steinbeck, Thomas Wolfe, and Leo Tolstoy, among others.