A rather curious scene, unscripted, once took place in the wings of a London theater at the same time as the scheduled performance was being presented on the actual stage, before an audience. What happened was this: an actor refused to come on stage for his allocated role. Action was suspended. A fellow actor tried to persuade him to emerge, but he stubbornly shook his head. Then a struggle ensued. The second actor had hoped that, suddenly exposed to the audience in full glare of the spotlight, the reluctant actor would have no choice but to rejoin the cast. And so he tried to take the delinquent actor by surprise, pulling him suddenly toward the stage. He did not fully succeed, so a brief but untidy struggle began. The unwilling actor was completely taken aback and deeply embarrassed—some of that tussle was quite visible to a part of the audience.

As new literatures in English emerge all over the world, literature in English is increasingly multicultural, but the criticism of these literatures has not fully come to terms with this multiculturalism. Specifically, a work read across cultures is likely to be at least partially unintelligible to some of its readers, and critics have seen this as a factor necessarily limiting the readership of these works. But intelligibility and meaningfulness are not synonymous. This essay analyzes moments of difficulty in four such multicultural texts, by Narayan, Kingston, Anaya, and Ihimaera, showing on Gricean lines that meaning can be created precisely by the struggle to make sense of the unintelligible. The work done in that process can lead to a deeper understanding of the text, and the reader who must do that work is therefore not excluded from a full understanding.