奈保爾小說在線閱讀

『壹』 語文閱讀奈保爾的《沒有名字的東西》中我眼中的波普與眾人眼中的波普有什麼不同，你如何看待 快點我加分

「我」眼中的波普熱情、健談、具有詩人氣質，後來變得囂張，令人害怕；眾人眼中的波普傲慢、無用、不受歡迎，後來變成了英雄.表現了理想世界（兒童世界）與現實生活（成人世界）價值觀的不同取向

『貳』 求：《奈保爾家書》奈保爾 的3000字讀後感~

坐公車，從住的家晃悠到報社，翻閱《奈保爾家書》。一本來往於英國牛津與西印度特立尼達的父子書信集。聽父親講自己始終熱愛的寫作生涯。他一直默默無聞，做著報紙的記者編輯工作，卻始終熱愛文學，熱愛寫作。他也告訴兒子，不要放任自己默默無聞，但是如果默默無聞了也沒關系，只要在做自己的事就可以了。兒子還在牛津，沒看到兒子成為作家，沒看到自己的小說出版，他就撒手離開。但他對兒子，一直有著不可動搖的信心，並寬仁地說：「不要怕當藝術家。」兒子早熟地很，從他19歲年紀卻能寫出如此明透的信就可明了。翻書時，想到大一時和同學們密集的來信。其中有一個是後桌，來的信當時不已為然，直到年後翻閱，方才明白其遠比自己成熟，當時想得已深密。這位早熟少年，方向始終明確，成為一名作家。之後他果真做到名滿天下，得了諾貝爾文學獎。不過求學的道路不乏陰雲，他為神經焦慮症所困擾，為貧困所累。還有哮喘。最主要，是對前途的不確定。看著這些一來一往的信，早上的公車之旅變的漫長而安寧。所有的感覺，為這穿梭時空的信箋敞開。願你的道路漫長。願我一直懷有勇氣。

《奈保爾家書》是2001年諾貝爾文學獎獲得者V . S . 奈保爾與其父親（老奈保爾）和姐姐（卡姆拉）三人之間的通信集。時間起始為1949年至1957年。三個通信者分處三地，奈保爾在英國牛津，老奈保爾在家鄉特立尼達（西印度群島的一個英屬島國），卡姆拉在印度。這不是一本小說，但完全可以當「書信體小說」來閱讀。也就是說，這本家書在風格上與我們以往熟知的那些家書（如《傅雷家書》、《曾國藩家書》）是不一樣的，它在敘述語言和形式結構上都具備「小說」的諸多元素。除了前面說到的書信體小說，我還認為，它也具備成長小說和家族編年史小說的形態。而且更奇妙的是，作為一部「小說」的《奈保爾家書》，並非作者有預見、有目的的刻意而為。因為事實上，家書的三位作者，從他們開始給對方寫第一封信的時候，就只有一個單純的目的，那就是寫信，真實地寫信，跟我們所有人寫信的目的沒什麼區別。只是由於寫信人的個人因素，即：三人都愛好文學，其中老奈保爾和小奈保爾都立志成為一個作家，他們在寫信的時候，自然而然地喜歡呈現細節，喜歡刻畫人物，喜歡將身邊發生的事件講述給對方聽，無意中便成就了一部由三人共同「累積」而成的「小說」。
如果我們把《奈保爾家書》當成一部「小說」來看待，那麼，它也有可以歸納的「故事梗概」：在特立尼達，一個叫奈保爾的中年男人，職業是報紙編輯和記者，業余寫寫小說，夢想有朝一日成為一名作家。他有七個子女，女兒卡姆拉在印度求學，兒子維多（即V.S.奈保爾）在英國牛津求學。這一家人並不富裕，有時還顯得比較拮據。姐弟倆在外求學，靠的是政府資助的獎學金。老奈保爾勤奮工作，承擔著供養家庭的責任。在為實現自己的文學夢想而努力的同時，更看出兒子維多身上的文學天賦，希望他將來成為一個大作家。而維多也對此充滿自信，野心勃勃地為這一目標做著准備。至於卡姆拉，她除了要完成自己的學業，也像父親一樣，對弟弟維多的作家夢極其重視，時常給予勉勵和鞭策。他們頻繁地給對方寫信，除了表達思戀之情，告知生活訊息之外，更多的是在那種艱難的生存環境中，通過這些書信，彼此支撐，相互安慰。

我是在2001年的諾貝爾文學獎公布之後，才知道奈保爾這個作家的。所以，我最先讀到的是他的長篇小說《河灣》，其次是《米格爾街》和《畢斯沃斯先生的房子》。《河灣》開頭的一句話（「世界如其所是。人微不足道，人聽憑自己微不足道，人在這世界上沒有位置。」）就把我吸引了，這句突兀的完全不像小說語言的話，讓我為之一震。而這句話結束之後，馬上就進入到十分具體的故事講述，這種突兀的敘述轉折，又讓我為之一震。從那時起，我對能夠以這種方式開始一部小說的作家，對他是如何做到這一點的，以及他經歷了怎樣的寫作過程，就懷抱了十分強烈的興趣。之後不久，我的朋友韓東在給我的一封電子郵件中，也提到了自己最近正在閱讀奈保爾。他提到了《河灣》和《米格爾街》，並尤其推崇《米格爾街》。就我所知，寫作朋友中，還有顧前和吉木狼格，對《米格爾街》也是愛不釋手，如遇「故交」。這就更讓我想要知道，這位彷彿從天外掉進漢語世界的小說家，他打動和啟發我們的這些東西，從何而來？以及，它們是怎樣修煉而成的？

現在，這本《奈保爾家書》似乎可以解開這些謎團了。至少在我個人來說，這部家書除了讓我有閱讀「小說」的樂趣之外，也為我再次閱讀《米格爾街》及《畢斯沃斯先生的房子》提供了難得的注腳。奈保爾到達英國之後不久，就在給父親和姐姐的家書中提出讓他們給他郵寄香煙的要求，因為英國的香煙賣得很貴。爾後，「寄煙」這一細節反復地在三人的通信中出現，關於寄煙的方法，程序；關於海關對煙草的嚴格規定和高額的關稅，等等。總之，它看上去是一件小事，但又是一件很麻煩的事。而我從「寄煙」這件事的反復糾葛中，生出許多的感慨，其中的一個感慨就是，作家不是在天上修煉而來的，而是在日常生活中磨練而成的。當然，《奈保爾家書》可以引申的意義遠遠不止於此，只是這篇文章所要求的篇幅，已經不容許我羅嗦下去了。

從1952年開始，奈保爾經常性地陷入抑鬱狀態，他這樣跟父親分析自己的症狀：「我當然知道令我一蹶不振的緣由：孤獨，情感交流匱乏。你們應該了解，一個男人不是一段被運送到國外的木頭，在上面鋸兩個凹槽，就當作了接受教育的標志。不，不是這樣，他的要求遠不止於此，他有感情，他有思想。有些人，哎，他們的所思所感超出常人，因此，他們備受煎熬……」這套理論聽起來不陌生，回溯起來它似乎是如奈保爾般事業有成的人事後聊以自負的先見。但不容置疑的是，寫下這些話的的確是個艱難而困惑的孩子。他的出路只有兩條：一是純粹的文學藝術世界，二就是父親和家人。值得注意的是，在兒子一次次流露出這種自命的時候，父親從來沒有加以阻止，哪怕是一點點勸誡都沒有，也就是說，他幾乎從不試圖對兒子的性格做出任何校正，至多做些小小的提醒：「你不再是個兩三歲大的黃口小兒了……要學會控制自己的情緒。」

老奈保爾教育子女的方式中最突出的一點（不一定是最好的一點），正如評論家詹姆斯•伍德敏銳指出的那樣，「與眾多望子成龍的父母不同，他從不讓愛子心中承受愧疚之情。」而是從來有求必應，順水推舟，很少違逆兒子的主見。這看似簡單的習慣，實際上卻是不易做到的——試想，有哪位家長能夠承受一種與兒子完全平等的地位？有哪位家長能在經濟拮據的情況下給予孩子以充分信任，不去對他大手大腳的消費行為做些許干涉呢？在特立尼達，奈保爾一家的經濟並不寬裕，若不是母親家有幾位有錢的親戚，父親很難供養得起七個子女。偏偏這些沒文化的親戚都被奈保爾瞧不起，在英國，能夠接濟他的近親遠親無不遭到奈保爾的挖苦和排斥，造成的結果之一，便是在求學生涯的後半程，滿歐洲旅遊、花錢如流水的奈保爾的生活捉襟見肘，父親的書信再也不像開始時那樣跟他大談創作，而是家庭的經濟狀況，談能夠給他多少經濟支援——「你必須慎之又慎地對待花錢問題」。從1952年到次年去世，父親匯款給兒子的頻率日益加快，卻不見他對不太體恤家庭的兒子有多少埋怨。

但這理應是一種最容易產生的埋怨，因為在常人看來，這種「愧疚」是做子女的理應承受的，否則就是舉孝不足。在這位把自己純然當作兒子的「文友」的父親的看護下，奈保爾艱難地追求環境的認同和接受，把其間的每一樁驕傲和煩惱、每一次振奮與沉淪實踐到底。他從父親那裡得到的看似只是錢和寫作上的一點建議，但是，若非父親有意無意的不介入，奈保爾恐怕無法把自己全然獨立的視野維護完整至終。這對於一位很早顯露出資質的小說家而言，實是一筆可貴的財富。

老奈保爾猝然去世的那段情節，《奈保爾家書》猶如一本手法老練的小說，只用寥寥四封相關的簡訊和一封電報打發掉故事的高潮；那封兒子發回家裡的電報，則天然地適合扮演「書眼」的角色：「他是我心目中最值得尊敬的人/一切就此終結/我對他感激不盡/振作起來/我愛你們。」對一些批評家認為的奈保爾的最佳作品《抵達之謎》（1987），英國名作家薩爾曼•拉什迪尖銳地指出，這本書里通篇看不到一個「愛」字。對於一個刻意背對陽光，從自己的影子看世界的作家而言，或許也只有《家書》能成為他全部作品中唯一的例外，哪怕它是一本「合著」。（

『叄』 如何評價奈保爾的《世間之路》

這部作品將真實與虛構、想像巧妙結合進行重新敘述，體現奈保爾不為世俗左右的、讓弱勢的曾經消失的歷蟲重現的獨特歷史觀。

『肆』 諾貝爾文學獎得主奈保爾生前作品有何特點

8月11日，諾貝爾文學獎得主、英國印度裔作家V・S・奈保爾去世，享年85歲，當天其家人公布了該消息，這天距離他86歲生日還有不到一周。

中國作家阿來曾這樣評價奈保爾，「筆調活潑幽默，描寫簡練傳神，有豁達的命運感嘆。但沒有通常我們以為一個離開母國的作家筆下泛濫的鄉愁。也沒有作為一個弱勢族群作家常常要表演給別人的特別的風習與文化元素。因此之故，我就愛上了他」。

『伍』 求《千萬不要丟下我》（石黑一雄）txt中文小說

《別讓我走》：克隆人的悲傷童話

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2011-1-21 12:07:22
這不是一部驚悚片，這是一個童話

《別讓我走》根據日記英國小說家石黑一雄的作品改編，巧合的是，影片的編劇奠亞愚力予克斯雪·嘉蘭很早就想寫一個類似題材的劇本，而在黑石一雄的小說問世後，亞歷克斯在結合小說，才最後完成了《別讓我走》的劇本。導演馬克·羅曼尼克早就嘗試過相關題材的電影，2005年的《逃出克隆島》講述了一置批克福隆母人養為盈生朱存所作的掙扎。相比《逃出克隆島》濃重的商業氣息，馬克·羅曼尼克在《別讓我走》中用詩一般的英國田園美景和充滿夢幻的配樂去掩蓋影片原本應該有的悲傷主色調。電影帶有些許的科幻色彩，一群從小生活在一起的孩子，當他們漸漸長大以後才發現自己的存在是為了「捐獻」，捐獻器官，捐獻生命，他們彷彿變成了克隆人，雖然外表不一樣，思想也不一樣，但是確實被培養出來完成同一件事，就是捐獻自己。他們能夠保留的只是自己的感情，他們也想逃走，但是卻不知道逃去哪裡，因為這是一個關於克隆人的童話，童話故事裡總有許多應該做但是卻無從下手的問題，為什麼白雪公主要去吃那個蘋果？為什麼灰姑娘不去撿回水晶鞋？為什麼美人魚不早一點告訴王子一切？因為這是童話，童話要有一個起因，還要有一個不得不這樣做的理由，就是宿命。所以註定要捐獻器官的孩子們沒有逃跑的終點，他們註定要變成別人身體里的一部分，因為這是童話故事裡的宿命。

克隆人的故事，不一樣的結局

電影沿用了小說中以主人公凱西的視角作為主要視角的表現手法，盡管故事有一個科幻的大背景，但是實際上故事裡更多的還是關於感情和命運的描寫，三個從小一起長大的朋友在自我認識互相相處的過程中，漸漸發現生活與周遭的異樣與畸形，就像電影的名字一樣「Never Let Me Go」《別讓我走》，別讓我離開美好的同年，我不願意走出安穩的小時候，不願意離開田園般的生活，不願意忘記堅固不變的友誼。如果說《逃出克隆島》用的是一種打打殺殺的硬性破壞去解放克隆人的生活，那《別讓我走》更多是用內心的孤獨與彷徨去讓主人公面對現實，面對自我的選擇。在劇中飾演第一視角「凱西」的是今年冉冉升起的新星凱瑞·穆麗根，她和凱拉·奈特莉在《傲慢與偏見》中就有合作，2009年的一部《成長教育》讓凱瑞·穆麗根走進大眾視野，男主角安德魯·加菲爾德的名字在2010年也變得不再陌生，一部《社交網路》已經足夠填滿他的名氣，而且他還是「新晉蜘蛛俠」。兩位新人搭檔凱拉·奈特莉，還有這樣一個電影，在磨練了演員演技的同時，也磨練了觀眾的世界觀。

黑石一雄的犀利，馬克·羅曼尼克的文藝

原著作者石黑一雄與.奈保爾、拉什迪並稱「英國移民文學三雄」，迄今出版六部長篇小說，其作品已被翻譯成三十多種語言。他的每部長篇小說都曾獲歐美的文學獎項，在《別讓我走》中黑石一雄的思想十分的犀利，他用一種交織著批判與迷離的世界觀完成了一部關於「捐獻的命運」的小說，恐怖但是又不乏美感。小說描寫的背景世界很沉重，原本關於克隆和捐獻的話題就十分嚴肅，再加上友情和愛情的點綴，這一類的小說總是有一種讓人看了有一種想說但是卻說不出的感覺，小說被評為「十年來最精彩的小說之一」，但是馬克·羅曼尼克的電影和小說不同之處就在於影片並不是一部恐怖驚悚電影，電影用一種文藝片的方式去處理整個故事，雖然可能會磨滅掉小說中現實的部分，但是影片里灰濛蒙的天和主人公素色的著裝還是很有力得表現了陰霾的氣氛。

（原載2011年1月上《電影故事》）

『陸』 可以告知一下關於奈保爾的小說<畢斯沃斯先生的房子>的詳細內容和評價嗎

奈保爾的長篇小說《畢斯沃斯先生的房子》,瑣瑣碎碎,但寫來卻感人至深,就是因為人物被寫活了,作家的一切想法都被寫到了人物中去了,不是被動地由作家自己去說。

本文以其代表作《畢斯沃斯先生的房子》為例,通過對小說主人公畢斯沃斯先生悲喜交加的人生故事的解讀,揭櫫作者對尋繹「自我」意義的個體的悲憫情懷。對他們生命價值的張揚和肯定。以及作品所蘊涵的超地域性的人類關懷

『柒』 急求英國當代作家V.S.奈保爾(Vidiadhar.Surajprasad.Naipaul)的生平簡介和其的主要觀點

Sir V(idiadhar) S(urajprasad) Naipaul (1932-)

Generally considered the leading novelist of the English-speaking Caribbean, winner of the Nobel Prize in literature 2001. Naipaul's writings dealt with the cultural confusion of the Third World and the problem of an outsider, a feature of his own experience as an Indian in the West Indies, a West Indian in England, and a nomadic intellectual in a postcolonial world. Naipaul has also arisen much controversy because of his politically incorrect views of the "half-made societies." He has constantly refused to avoid unwelcome topics, characterizing his role as a writer "to look and to look again, to re-look and rethink."

"The facts about Columbus have always been known. In his own writings and in all his actions his egoism is like an exposed deformity; he condemns himself. But the heroic gloss, which is not even his own, has come down through the centuries." (from 'Columbus and Crusoe', in The Overcrowded Barracoon, 1972)

Vidiadhar Surajprasad Naipaul was born in a small town in Trinidad into a family of Indian Brahmin origin. His father, Seepersad Naipaul, was a correspondent for the Trinidad Guardian. He also published short stories. When Naipaul was six the family moved to Port of Spain, the capital. Seepersad Naipaul died of a heart attack in 1953 without witnessing the success of his son as a writer. He had encouraged Naipaul in his writing aspirations, telling him in a letter: "Don't be scared of being an artist. D. H. Lawrence was an artist through and through; and, for the time being at any rate, you should think as Lawrence. Remember what he used to say, 'Art for my sake.'" At the age of 18 he had written his first novel which was rejected by the publisher.

Naipaul was ecated at Queen's Royal College, Port of Spain, and in 1950 he won a scholarship to Oxford. In 1949, after having some pictures of himself taken for his application to the university, Naipaul wrote to his elder sister: "I never knew my face was fat. The picture said so. I looked at the Asiatic on the paper and thought that an Indian from India could look no more Indian than I did... I had hoped to send up a striking intellectual pose to the University people, but look what they have got." After a nervous breakdown he tried to commit suicide, but luckily the gas meter ran out. While at Oxford he met Patricia Hale; they married in 1955. She died in 1996 and Naipaul married Nadira Alvi, a divorced Pakistani journalist.

On graation Naipaul started his career as a freelance writer. During this period Naipaul felt himself rootless, but found his voice as a writer in the mid-1950s, when he started to examine his own Trinidadian background. From 1954 to 1956 Naipaul was a broadcaster for the BBC's Caribbean Voices, and between the years 1957 and 1961 he was a regular fiction reviewer for the New Statesman.

Naipaul published his first books in the late 1950s, but they did not make much money for him or his publisher, André Deutsch Limited. However, he knew his value as a writer and refused to write a review for The Times Literary Supplement for their usual fee. Naipaul's novel THE MYSTIC MASSEUR (1957), about a bright young man, who dreams of becoming a famous writer, was adapted for the screen by Ismail Merchant.

MIGUEL STREET (1959) was a farewell to Port of Spain, Trinidad. The colorful characters of the sketches include Bogart, who got his name from the film Casablanca, B. Wordsworth who sells his poetry for four cents, and Man-man who in a real mystery to the people of Miguel Street. The narrator is a boy who grows up, starts to earn his own money and finally goes abroad to study. "I left them all and walked briskly towards the aeroplane, not looking back, looking only at my shadow before me, a dancing dwarf on the tarmac." In later works Naipaul gave up comedic tones but in 1960 Charles Poore could write in his review of the book: "A comparison with "Porgy and Bess" has been suggested. The parallel has at least the merit of reminding us that the whole world is one. In that hospitable mood we might also remember Mark Twain's tales of life on the Mississippi. But Miguel Street, in Trinidad, is not really very much like Catfish Row, nor are reminders of nineteenth-century Missouri prevalent. What is true and, if you will, significant about Mr. Naipaul's book is that it presents a world of its own excellently." (The New York Times, May 5, 1960)

In 1961 appeared A HOUSE FOR MR BISWAS, often regarded as his masterpiece, which tells the tragicomic story of the search for independence and identity of a Brahmin Indian living in Trinidad. The protagonist, Mohun Biswas, was partly modelled after the author's father. Naipaul has said about this character and his father: "My father was a profounder man in every way. And his wounds are deeper than the other man can say. It's based on him, but it couldn't be the real man." Biswas has been unlucky from his birth, but all he wants is a house of his own - it is the solid basis of his existence. The story, which fuses social comedy and pathos, follows his struggle in variety of jobs, from sign painter to journalist, to his final triumph. Later Naipaul returned to his father in BETWEEN FATHER AND SON (1999), a record of their correspondence in the early 1950s.

In 1961 Naipaul received a grant from the Trinidad government to travel in the Caribbean. His first non-fiction book was THE MIDDLE PASSAGE (1962), in which he described his first revisiting of the West Indies. Its examination of racial tensions made black West Indians call Naipaul a 'racist.' From the wide period of travels in the 1960s and early 1970s in India, South-America, Africa, Iran, Pakistan, Malaysia and the USA, Naipaul proced among others INDIA: A WOUNDED CIVILIZATION (1977), and A BEND IN THE RIVER (1979), a pessimistic novel about Africa, proclaiming the corruptibility of mankind. The story is set in a country very like Zaïre or Uganda. Salim, the narrator is a Muslim, whose family, Indian traders, has lived in Africa hundreds of years. Salim sets up a shop in a town on the bend of the river and gains success, which has no future in a country ruled by the Big Man, president for life. Again Naipaul's protagonist is an outsider, who realizes that his way of life is almost at its end and eventually he must give up everything. "The bush runs itself. But there is no place to go," says Selim's friend Ferdinand, when he rescues Selim from a jail. "The bush" is Naipaul metaphor for the country and the whole third world. "Africa has no culture," Naipaul has said. Derek Walcott, the West Indian poet who won the Nobel prize for literature in 1992, noted: "If Naipaul's attitude toward Negroes, with its nasty little sneers... was turned on Jews, for example, how many people would praise him for his frankness?"

Since 1950 Naipaul has lived in Britain, but traveled extensively. His essays and travel writings are often negative, unsentimental explorations of West Indian society as in THE MIDDLE PASSAGE (1962). "The steel band used to be regarded as a high manifestation of West Indian culture, but it was a sound I detested." AMONG THE BELIEVERS: AN ISLAMIC JOURNEY (1981) was accused by Muslim readers of narrow and selective vision of Islam. Naipaul searches the sources of the new Islam - and the ideological rage. "Islam sanctified rage - rage about the faith, political rage: one could be like the other. And more than once on this journey I had met sensitive men who were ready to contemplate great convulsions." (from Among the Believers) Naipaul's latest travel books include BEYOND BELIEF: ISLAMIC EXCURSIONS AMONG THE CONVERTED PEOPLES (1998), intimate portraits from his journeys to the non-Arab Islamic countries of Indonesia, Iran, Pakistan, and Malaysia. Naipaul tries to understand the fundamentalist fervour that have marked the Western image of the region. "There probably has been no imperialism like that of Islam and the Arabs," he writes. In Iran he meets war veterans, who express their disillusionment and their sense of being manipulated by the mullahs, and in Indonesia he meets his former friend, who opposed the Suharto regime, and later became an establishment figure, an advocate of an Islamicist future. On his first visit to India since he was awarded the Nobel Prize, Naipaul said: "We are not here to celebrate the antiquity of literature in India, but to celebrate modern writing."

In his semi-autobiographical novel THE ENIGMA OF ARRIVAL (1987) Naipaul depicts a writer of Caribbean origin, who finds joys of homecoming in England after wandering years - ring which world stopped being a colony for him. Central themes in Naipaul's works are damaging effects of colonialism upon the people of the Third World, but he doesn't believe in the imported ideas of revolutionaries or the ability of the former colonies to avoid mistakes made by the Western consumer societies. As a writer he has been compared to Joseph Conrad because of similar pessimistic portrayal of human nature and the themes of exile and alienation. "Barbarism in India is very powerful because it has a religious side," he once stated. In the essay 'Conrad's Darkness' (pub. in THE RETURN OF EVA PERON, 1980) Naipaul sees his own background as "one of the Conradian dark places of the earth."

In the 1990s Naipaul concentrated on non-fiction. In 1994 appeared his long-awaited novel, A WAY IN THE WORLD, an autobiography and a fictional history of colonialism, presenting stories from the times of Sir Walter Raleigh to the nineteenth-century revolutionary Franciso Miranda. In HALF A LIFE (2001) the protagonist is Willie Somerset Chandran, born in India in the 1930s. His second name he has got from the English writer Somerset Maugham, who has met his father. Willie moves to London, drifts in bohemian circles, publishes a book, marries Ana, a woman of mixed African descent, and moves with her to Africa, to her family estate. Willie has problems to come in terms with himself, as the son of a Brahman, who has married an "untouchable." His father is a rebel who ends at a monastery. Willie rebels against his own background and the wishes of his father, with whom he has more in common than he admits. In his wife's home country, in which colonial system is breaking down, Willie is also an outsider. After eighteen years he decides to leave her, and find his true identity. He has lived half a life, a shadow life, but Naipaul doesn't tell will happen to him. Willie's existential search continues and the rest of his story is left open.

Willie's decision parallels with the history of the relationship between the American writer Paul Theroux and Naipaul. Theroux depicted his decades long friendship with Naipaul in Sir Vidia's Shadow (1998). In this angry and unforgiving book Theroux eventually is rejected by Naipaul and he realizes he has come out Naipaul's shadow, he is free. Theroux considered earlier the older writer as his mentor but the friendship ended in breakup, which Theroux sealed with his bitter accusations. "I had admired his talent. After a while I admired nothing else. Finally I began to wonder about his talent, seriously to wonder, and doubted it when I found myself skipping pages in his more recent books. In the past I would have said the fault was mine. Now I knew that he could be the monomaniac in print that he was in person." (from Sir Vidia's Shadow) - Among Naipaul's several literary awards is the Booker Prize for IN A FREE STATE (1971). He was knighted in 1989 and in 1993 he won the first David Cohen British Literature Prize for "lifetime achievement by a living British writer". Naipaul's manuscripts and extensive archives have been deposited in the University of Tulsa. At a speech in October 2004 Naipaul announced that MAGIC SEEDS (2004), the sequel to Half a Life, may be his last novel. "I have no faith in the survival of the novel," he said.

FOR FURTHER READING: V.S. Naipaul: a Critical Introction by L. White (1975); Critical Perspectives on V.S. Naipal, ed. by R.D. Hamner (1977); V.S. Naipaul by Selwyn S. Cudjoe (1988); The Novels of V.S. Naipaul by Sashi Kamra (1990); On the Margins by Timothy F. Weiss (1992); London Calling: V.S. Naipaul, Postcolonial Mandarin by Rob Nixon (1992); V.S. Naipaul by Brice King (1993); Self and Colonial Desire by Wimal Dissanayake (1993); V.S. Naipaul by Fawzia Mustafa (1995); Conversations with V.S. Naipaul, ed. by Feroza Jussawalla (1997); Sir Vidia's Shadow: A Friendship Across Five Continents by Paul Theroux (1998); Stet: an editor's life by Diana Athill (2000); Naipaul's Truth: The Making of a Writer by Lillian Feder (2000) - See also: Derek Walcott - Shiva Naipaul (Shivadhar Srivinasa Naipaul, 1945-1985), brother of V.S. Naipaul. Studied at Oxford and graated with a degree in Chinese. Naipaul then worked as a journalist. His first novel, Fireflies, appeared in 1970. After the second novel, The Chip-Chip Gatherers (1973), Naipaul started his career as a travel writer, publishing many articles in the Spectator. Naipaul died suddenly of a heart-attack at the age of forty. In his memory the Spectator founded Shiva Naipaul Prize, awarded each year for a travel essay by a writer under thirty-five. - Works: North and South: An African Journey (1978); Black and White (1980), A Hot Country (1983); Beyond the Dragon's Mouth (1984); Unfinished Journey (1986): Man of Mystery (1995).

Selected works:

* THE MYSTIC MASSEUR, 1957 - Täysinoppinut hieroja (suom. Seppo Loponen) - film 2001, dir. by Ismail Merchant, screenplay by Caryl Phillips, starring Aasif Mandvi, Om Puri, Ayesha Dharker, James Fox
* THE SUFFRAGE OF ELVIRA, 1958
* MIGUEL STREET, 1959 - Miguel-kan väkeä (suom. Seppo Loponen)
* A HOUSE FOR MR BISWAS, 1961 - Talo mr Biswasille (suom. Seppo Loponen)
* THE MIDDLE PASSAGE, 1962
* MR STONE AND THE KNIGHT'S COMPANION, 1963
* AND AREA OF DARKNESS, 1964
* A FLAG ON THE ISLAND, 1967
* THE MIMIC MEN, 1967 - Vallan hinta (suom. Paavo Lehtonen)
* THE LOSS OF ELDORADO, 1969
* IN A FREE STATE, 1971 - Vapaassa maassa (suom. Sakari Ahlb鋍k)
* THE OVERCROWDED BARRACOON AND OTHER ARTICLES, 1972
* GUERILLAS, 1975 - Gerillat (suom. Seppo Loponen)
* INDIA: A WOUNDED CIVILIZATION, 1977
* A BEND IN THE RIVER, 1979 - Joki tekee mutkan (suom. Seppo Loponen)
* A CONGO DIARY, 1980
* THE RETURN OF EVA PERÓN, 1980
* AMONG THE BELIEVERS: AN ISLAMIC JOURNEY, 1981 - Matka islamin maailmaan (suom. Raija Mattila)
* FINDING THE CENTRE, 1984
* THE ENIGMA OF ARRIVAL, 1987 - Saapumisen arvoitus (suom. Erkki Haglund)
* A TURN IN THE SOUTH, 1989
* INDIA: A MILLION MUTINIES NOW, 1990
* HOMELESS BY CHOICE, 1992 (with R. Jhabvala and S. Rushdie)
* BOMBAY, 1994 (with Raghubir Singh)
* A WAY IN THE WORLD, 1994
* BEYOND BELIEF, 1998 - Islamin äärillä (suom. Arto H鋓l�)
* BETWEEN FATHER AND SON: Family Letters, edited by Gillon Aitken, 1999
* HALF A LIFE, 2001 - Elämän kuva (suom. Juhani Lindholm)
* THE WRITER AND THE WORLD, 2002
* MAGIC SEEDS, 2004 - Lumotut siemenet (suom. Juhani Lindholm)

『捌』 奈保爾的印度游記 指的是《印度三部曲》讀過的人回答

《幽黯國度:記憶與現實交錯的印度之旅》(新版)(印度三部曲之一)講述的是奈保爾首次踏訪印度－父祖輩的家園。從孟買、德里、加爾各答，再到外祖父的故鄉，這個有著暖味身份的「異鄉人」與「過客」，見到的是無處不在的貧困與醜陋，感受到的是震驚、憤怒、疏離、鄙夷與失落。春了一貫的冷嘲熱諷與孤傲尖酸中，後殖民情境中的印度亂象是那麼的令人無奈與絕望。這一年的印度之旅其實也是企圖探詢自己的歷史與身份認同的內心之旅，而收獲卻是看到：印度屬於黑夜－一個已經死亡的世界，一段漫長的旅程。

『玖』 奈保爾哪一年出版第一部小說

維·蘇·奈保爾（V.S.Naipaul，1932～），英國作家。出生在特立尼達，是印度婆羅門的後裔。11歲開始熱愛文學，1950年他到英國牛津大學專攻文學。1953年出版第一部小說，1953年成為自由撰稿人，1954～1956年擔任BBC「加勒比之聲」的主持人，1957～1961年擔任《新政治家》雜志的專欄撰稿人。他創作的主要作品有：小說《米格爾大街》（1959，獲薩默塞特·毛姆獎）、《比斯瓦斯先生的房間》（1961，20世紀100部最佳英文小說之一）、《在自由的過度》（1971，獲布克獎）、《河灣》（1979，2001年度諾貝爾文學獎獲獎作品）以及游記隨筆《在信徒們中間》（1981）、《尋覓中心》（1984）、《超越信仰》（1998）等。1993年，他成為英國戴維·柯翰文學獎的首位獲獎者。