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It constitutes a site of internal danger to the norms of bourgeois-liberal civility. Ruud bwai self-fashioning constitutes a practice of the self by means of which the typically young, working-class male refuses to be a "docile body" available to be worked over by capital, to be worked over by the police, or to be counted by the statistical ideologues of representative democracy.
Rather than submit to these disciplinary regimes the ruud bwai sets out to take hold of the body's energies himself and to impose upon it a new regularity, a new order, a new set of rules and values, a new pattern of pleasures. The same principle accounts for the survival of hyenas in habitats dominated by lions. In The Mimic Men by V. Naipaul, there is an intriguing reference to French Creole in the form of a story-within-a-story set on the fictitious but unmistakably Caribbean island of Isabella.
The ancestor of one of the protagonist's friends, born in Santo Domingo, has a tenuous connection to the French writer Stendhal, whose attention she had briefly captured while studying in Paris. She returns to Isabella and subsequently receives a copy of his "masterpiece" Le Rouge et Le Noir with two paragraphs marked for her attention. There reproduced she finds a conversation in Creole which she remembers having had with the great writer. The transition to Creole is abrupt, sudden. In brackets it is explained that the woman who spoke Creole came from Santo Domingo and was the occupant of a house of questionable repute.
Her existence is summed up in "A little aside in a novel, a sentence in brackets". The ancestor is humiliated and tears up her collection of letters from Stendhal and the book. Generations later, one of her descendants proudly recounts this story to Ralph Singh, his son's schoolfriend.
