Mapping Global Literary DecadenceJeet Thayil's The Book of Chocolate Saints Robert Stilling (bio) In Oscar Wilde's 1891 novel The Picture of Dorian Gray, Lady Henry persuades Dorian to attend her parties by telling him: "You must come. I can't afford orchids, but I spare no expense in foreigners. They make one's room look so picturesque."1 The moment illustrates how in late-Victorian decadent literature, the "foreign" is so often appreciated to the extent that it is rare, commodified, decorative, and domesticated. Foreigners, arranged like flowers, do not create beauty so much as they add to an overall aesthetic impression. And yet, Wilde's novel, being written by an Irishman in London, also illustrates the open-ended possibilities for cross-cultural identification that decadent literature makes possible.2 Upon reading the "poisonous" book given to him by Lord Henry and seeing himself in its protagonist, Dorian realizes that "one had ancestors in literature, as well as in one's own race." With this realization, the "whole of recorded history" becomes available to Dorian as if it were "the record of his own life." That history, however, proves to be a tale of vice, extravagance, and tyranny. The figures Dorian identifies with are Roman emperors Tiberius, Caligula, Domitian, Nero, and Elagabalus, "those strange terrible figures that had passed across the stage of the world and made sin so marvellous and evil so full of subtlety."3 Fin-de-siècle decadent literature is made of such tensions between cosmopolitan xenophilia and exoticism, between aesthetic genealogies that lie beyond the confines of race and nation, and extravagances underpinned by imperial brutality. It is precisely because of these tensions [End Page 145] that decadent literary strategies remain vital for contemporary postcolonial and diasporic writers. By engaging with a literary movement that seems hopelessly entangled with exoticism and orientalism, writers and artists such as Jeet Thayil, Shola Von Reinhold, Yinka Shonibare, Hanif Kureishi, Anita Desai, Bernardine Evaristo, and others, turn such tropes on their head, extending the cultural relevance of fin-de-siècle literature into the twenty-first century.4 If Lady Henry spares no "expense" in foreigners, contemporary writers presume a world literary market in which, as Sarah Brouillette notes, "particularity and difference" have themselves become commodities.5 These writers therefore redeploy decadent literary strategies to satirize the systems of consecration by which literary value is established. Contemporary decadent writing offers a vision of the literary field based not on the classics of "world literature," an idea that, as Aamir Mufti has argued, arose in conjunction with the project of orientalism, but one based on counter-canons of marginalized and peripheral artists who nevertheless stake a claim to global visibility and recognition.6 In tracing the ongoing entanglement of dominant cultural institutions with the legacies of colonialism, contemporary decadent writing demonstrates how literature of the previous fin de siècle has gained resonance among those who whom Lady Henry might have invited to the party, but not included in the conversation, scrambling the origins and trajectories of decadent literature in the process. To illustrate this point, I turn to Jeet Thayil's 2018 novel The Book of Chocolate Saints, which tells the story of Newton Xavier, a painter, poet, and aging enfant terrible of the Bombay art scene.7 Xavier is known for painting dark-skinned portraits of Christian saints who have been whitewashed in the blond, blue-eyed annals of art history. The novel thus satirizes how acts of canonization, be it religious, literary, or artistic, bestow whiteness and erase color. Thayil's related novels Narcopolis (2012) and Low (2020) further highlight the entanglement of elite cultural institutions with the wealth accumulated through the opium trade in India and China.8 Given the pervasive orientalism of fin-de-siècle literature, for an Indian writer to engage with decadence is to risk self-exoticization and "re-Orientalization" by appealing to Western stereotypes of addiction [End Page 146] and destitution.9 But to embrace decadence is also to reveal how the deliriously dystopian forms of "post-millennial" Indian writing in English are rooted in an earlier fin de siècle apocalypticism, just as the "social damages" wrought...