奈保尔小说在线阅读

『壹』 语文阅读奈保尔的《没有名字的东西》中我眼中的波普与众人眼中的波普有什么不同，你如何看待 快点我加分

“我”眼中的波普热情、健谈、具有诗人气质，后来变得嚣张，令人害怕；众人眼中的波普傲慢、无用、不受欢迎，后来变成了英雄.表现了理想世界（儿童世界）与现实生活（成人世界）价值观的不同取向

『贰』 求：《奈保尔家书》奈保尔 的3000字读后感~

坐公车，从住的家晃悠到报社，翻阅《奈保尔家书》。一本来往于英国牛津与西印度特立尼达的父子书信集。听父亲讲自己始终热爱的写作生涯。他一直默默无闻，做着报纸的记者编辑工作，却始终热爱文学，热爱写作。他也告诉儿子，不要放任自己默默无闻，但是如果默默无闻了也没关系，只要在做自己的事就可以了。儿子还在牛津，没看到儿子成为作家，没看到自己的小说出版，他就撒手离开。但他对儿子，一直有着不可动摇的信心，并宽仁地说：“不要怕当艺术家。”儿子早熟地很，从他19岁年纪却能写出如此明透的信就可明了。翻书时，想到大一时和同学们密集的来信。其中有一个是后桌，来的信当时不已为然，直到年后翻阅，方才明白其远比自己成熟，当时想得已深密。这位早熟少年，方向始终明确，成为一名作家。之后他果真做到名满天下，得了诺贝尔文学奖。不过求学的道路不乏阴云，他为神经焦虑症所困扰，为贫困所累。还有哮喘。最主要，是对前途的不确定。看着这些一来一往的信，早上的公车之旅变的漫长而安宁。所有的感觉，为这穿梭时空的信笺敞开。愿你的道路漫长。愿我一直怀有勇气。

《奈保尔家书》是2022年诺贝尔文学奖获得者V . S . 奈保尔与其父亲（老奈保尔）和姐姐（卡姆拉）三人之间的通信集。时间起始为1949年至1957年。三个通信者分处三地，奈保尔在英国牛津，老奈保尔在家乡特立尼达（西印度群岛的一个英属岛国），卡姆拉在印度。这不是一本小说，但完全可以当“书信体小说”来阅读。也就是说，这本家书在风格上与我们以往熟知的那些家书（如《傅雷家书》、《曾国藩家书》）是不一样的，它在叙述语言和形式结构上都具备“小说”的诸多元素。除了前面说到的书信体小说，我还认为，它也具备成长小说和家族编年史小说的形态。而且更奇妙的是，作为一部“小说”的《奈保尔家书》，并非作者有预见、有目的的刻意而为。因为事实上，家书的三位作者，从他们开始给对方写第一封信的时候，就只有一个单纯的目的，那就是写信，真实地写信，跟我们所有人写信的目的没什么区别。只是由于写信人的个人因素，即：三人都爱好文学，其中老奈保尔和小奈保尔都立志成为一个作家，他们在写信的时候，自然而然地喜欢呈现细节，喜欢刻画人物，喜欢将身边发生的事件讲述给对方听，无意中便成就了一部由三人共同“累积”而成的“小说”。
如果我们把《奈保尔家书》当成一部“小说”来看待，那么，它也有可以归纳的“故事梗概”：在特立尼达，一个叫奈保尔的中年男人，职业是报纸编辑和记者，业余写写小说，梦想有朝一日成为一名作家。他有七个子女，女儿卡姆拉在印度求学，儿子维多（即V.S.奈保尔）在英国牛津求学。这一家人并不富裕，有时还显得比较拮据。姐弟俩在外求学，靠的是政府资助的奖学金。老奈保尔勤奋工作，承担着供养家庭的责任。在为实现自己的文学梦想而努力的同时，更看出儿子维多身上的文学天赋，希望他将来成为一个大作家。而维多也对此充满自信，野心勃勃地为这一目标做着准备。至于卡姆拉，她除了要完成自己的学业，也像父亲一样，对弟弟维多的作家梦极其重视，时常给予勉励和鞭策。他们频繁地给对方写信，除了表达思恋之情，告知生活讯息之外，更多的是在那种艰难的生存环境中，通过这些书信，彼此支撑，相互安慰。

我是在2022年的诺贝尔文学奖公布之后，才知道奈保尔这个作家的。所以，我最先读到的是他的长篇小说《河湾》，其次是《米格尔街》和《毕斯沃斯先生的房子》。《河湾》开头的一句话（“世界如其所是。人微不足道，人听凭自己微不足道，人在这世界上没有位置。”）就把我吸引了，这句突兀的完全不像小说语言的话，让我为之一震。而这句话结束之后，马上就进入到十分具体的故事讲述，这种突兀的叙述转折，又让我为之一震。从那时起，我对能够以这种方式开始一部小说的作家，对他是如何做到这一点的，以及他经历了怎样的写作过程，就怀抱了十分强烈的兴趣。之后不久，我的朋友韩东在给我的一封电子邮件中，也提到了自己最近正在阅读奈保尔。他提到了《河湾》和《米格尔街》，并尤其推崇《米格尔街》。就我所知，写作朋友中，还有顾前和吉木狼格，对《米格尔街》也是爱不释手，如遇“故交”。这就更让我想要知道，这位仿佛从天外掉进汉语世界的小说家，他打动和启发我们的这些东西，从何而来？以及，它们是怎样修炼而成的？

现在，这本《奈保尔家书》似乎可以解开这些谜团了。至少在我个人来说，这部家书除了让我有阅读“小说”的乐趣之外，也为我再次阅读《米格尔街》及《毕斯沃斯先生的房子》提供了难得的注脚。奈保尔到达英国之后不久，就在给父亲和姐姐的家书中提出让他们给他邮寄香烟的要求，因为英国的香烟卖得很贵。尔后，“寄烟”这一细节反复地在三人的通信中出现，关于寄烟的方法，程序；关于海关对烟草的严格规定和高额的关税，等等。总之，它看上去是一件小事，但又是一件很麻烦的事。而我从“寄烟”这件事的反复纠葛中，生出许多的感慨，其中的一个感慨就是，作家不是在天上修炼而来的，而是在日常生活中磨练而成的。当然，《奈保尔家书》可以引申的意义远远不止于此，只是这篇文章所要求的篇幅，已经不容许我罗嗦下去了。

从1952年开始，奈保尔经常性地陷入抑郁状态，他这样跟父亲分析自己的症状：“我当然知道令我一蹶不振的缘由：孤独，情感交流匮乏。你们应该了解，一个男人不是一段被运送到国外的木头，在上面锯两个凹槽，就当作了接受教育的标志。不，不是这样，他的要求远不止于此，他有感情，他有思想。有些人，哎，他们的所思所感超出常人，因此，他们备受煎熬……”这套理论听起来不陌生，回溯起来它似乎是如奈保尔般事业有成的人事后聊以自负的先见。但不容置疑的是，写下这些话的的确是个艰难而困惑的孩子。他的出路只有两条：一是纯粹的文学艺术世界，二就是父亲和家人。值得注意的是，在儿子一次次流露出这种自命的时候，父亲从来没有加以阻止，哪怕是一点点劝诫都没有，也就是说，他几乎从不试图对儿子的性格做出任何校正，至多做些小小的提醒：“你不再是个两三岁大的黄口小儿了……要学会控制自己的情绪。”

老奈保尔教育子女的方式中最突出的一点（不一定是最好的一点），正如评论家詹姆斯•伍德敏锐指出的那样，“与众多望子成龙的父母不同，他从不让爱子心中承受愧疚之情。”而是从来有求必应，顺水推舟，很少违逆儿子的主见。这看似简单的习惯，实际上却是不易做到的——试想，有哪位家长能够承受一种与儿子完全平等的地位？有哪位家长能在经济拮据的情况下给予孩子以充分信任，不去对他大手大脚的消费行为做些许干涉呢？在特立尼达，奈保尔一家的经济并不宽裕，若不是母亲家有几位有钱的亲戚，父亲很难供养得起七个子女。偏偏这些没文化的亲戚都被奈保尔瞧不起，在英国，能够接济他的近亲远亲无不遭到奈保尔的挖苦和排斥，造成的结果之一，便是在求学生涯的后半程，满欧洲旅游、花钱如流水的奈保尔的生活捉襟见肘，父亲的书信再也不像开始时那样跟他大谈创作，而是家庭的经济状况，谈能够给他多少经济支援——“你必须慎之又慎地对待花钱问题”。从1952年到次年去世，父亲汇款给儿子的频率日益加快，却不见他对不太体恤家庭的儿子有多少埋怨。

但这理应是一种最容易产生的埋怨，因为在常人看来，这种“愧疚”是做子女的理应承受的，否则就是举孝不足。在这位把自己纯然当作儿子的“文友”的父亲的看护下，奈保尔艰难地追求环境的认同和接受，把其间的每一桩骄傲和烦恼、每一次振奋与沉沦实践到底。他从父亲那里得到的看似只是钱和写作上的一点建议，但是，若非父亲有意无意的不介入，奈保尔恐怕无法把自己全然独立的视野维护完整至终。这对于一位很早显露出资质的小说家而言，实是一笔可贵的财富。

老奈保尔猝然去世的那段情节，《奈保尔家书》犹如一本手法老练的小说，只用寥寥四封相关的短信和一封电报打发掉故事的高潮；那封儿子发回家里的电报，则天然地适合扮演“书眼”的角色：“他是我心目中最值得尊敬的人/一切就此终结/我对他感激不尽/振作起来/我爱你们。”对一些批评家认为的奈保尔的最佳作品《抵达之谜》（1987），英国名作家萨尔曼•拉什迪尖锐地指出，这本书里通篇看不到一个“爱”字。对于一个刻意背对阳光，从自己的影子看世界的作家而言，或许也只有《家书》能成为他全部作品中唯一的例外，哪怕它是一本“合著”。（

『叁』 如何评价奈保尔的《世间之路》

这部作品将真实与虚构、想象巧妙结合进行重新叙述，体现奈保尔不为世俗左右的、让弱势的曾经消失的历虫重现的独特历史观。

『肆』 诺贝尔文学奖得主奈保尔生前作品有何特点

8月11日，诺贝尔文学奖得主、英国印度裔作家V・S・奈保尔去世，享年85岁，当天其家人公布了该消息，这天距离他86岁生日还有不到一周。

中国作家阿来曾这样评价奈保尔，“笔调活泼幽默，描写简练传神，有豁达的命运感叹。但没有通常我们以为一个离开母国的作家笔下泛滥的乡愁。也没有作为一个弱势族群作家常常要表演给别人的特别的风习与文化元素。因此之故，我就爱上了他”。

『伍』 求《千万不要丢下我》（石黑一雄）txt中文小说

《别让我走》：克隆人的悲伤童话

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2022-1-21 12:07:22
这不是一部惊悚片，这是一个童话

《别让我走》根据日记英国小说家石黑一雄的作品改编，巧合的是，影片的编剧奠亚愚力予克斯雪·嘉兰很早就想写一个类似题材的剧本，而在黑石一雄的小说问世后，亚历克斯在结合小说，才最后完成了《别让我走》的剧本。导演马克·罗曼尼克早就尝试过相关题材的电影，2022年的《逃出克隆岛》讲述了一置批克福隆母人养为盈生朱存所作的挣扎。相比《逃出克隆岛》浓重的商业气息，马克·罗曼尼克在《别让我走》中用诗一般的英国田园美景和充满梦幻的配乐去掩盖影片原本应该有的悲伤主色调。电影带有些许的科幻色彩，一群从小生活在一起的孩子，当他们渐渐长大以后才发现自己的存在是为了“捐献”，捐献器官，捐献生命，他们仿佛变成了克隆人，虽然外表不一样，思想也不一样，但是确实被培养出来完成同一件事，就是捐献自己。他们能够保留的只是自己的感情，他们也想逃走，但是却不知道逃去哪里，因为这是一个关于克隆人的童话，童话故事里总有许多应该做但是却无从下手的问题，为什么白雪公主要去吃那个苹果？为什么灰姑娘不去捡回水晶鞋？为什么美人鱼不早一点告诉王子一切？因为这是童话，童话要有一个起因，还要有一个不得不这样做的理由，就是宿命。所以注定要捐献器官的孩子们没有逃跑的终点，他们注定要变成别人身体里的一部分，因为这是童话故事里的宿命。

克隆人的故事，不一样的结局

电影沿用了小说中以主人公凯西的视角作为主要视角的表现手法，尽管故事有一个科幻的大背景，但是实际上故事里更多的还是关于感情和命运的描写，三个从小一起长大的朋友在自我认识互相相处的过程中，渐渐发现生活与周遭的异样与畸形，就像电影的名字一样“Never Let Me Go”《别让我走》，别让我离开美好的同年，我不愿意走出安稳的小时候，不愿意离开田园般的生活，不愿意忘记坚固不变的友谊。如果说《逃出克隆岛》用的是一种打打杀杀的硬性破坏去解放克隆人的生活，那《别让我走》更多是用内心的孤独与彷徨去让主人公面对现实，面对自我的选择。在剧中饰演第一视角“凯西”的是今年冉冉升起的新星凯瑞·穆丽根，她和凯拉·奈特莉在《傲慢与偏见》中就有合作，2022年的一部《成长教育》让凯瑞·穆丽根走进大众视野，男主角安德鲁·加菲尔德的名字在2022年也变得不再陌生，一部《社交网络》已经足够填满他的名气，而且他还是“新晋蜘蛛侠”。两位新人搭档凯拉·奈特莉，还有这样一个电影，在磨练了演员演技的同时，也磨练了观众的世界观。

黑石一雄的犀利，马克·罗曼尼克的文艺

原著作者石黑一雄与.奈保尔、拉什迪并称“英国移民文学三雄”，迄今出版六部长篇小说，其作品已被翻译成三十多种语言。他的每部长篇小说都曾获欧美的文学奖项，在《别让我走》中黑石一雄的思想十分的犀利，他用一种交织着批判与迷离的世界观完成了一部关于“捐献的命运”的小说，恐怖但是又不乏美感。小说描写的背景世界很沉重，原本关于克隆和捐献的话题就十分严肃，再加上友情和爱情的点缀，这一类的小说总是有一种让人看了有一种想说但是却说不出的感觉，小说被评为“十年来最精彩的小说之一”，但是马克·罗曼尼克的电影和小说不同之处就在于影片并不是一部恐怖惊悚电影，电影用一种文艺片的方式去处理整个故事，虽然可能会磨灭掉小说中现实的部分，但是影片里灰蒙蒙的天和主人公素色的着装还是很有力得表现了阴霾的气氛。

（原载2022年1月上《电影故事》）

『陆』 可以告知一下关于奈保尔的小说<毕斯沃斯先生的房子>的详细内容和评价吗

奈保尔的长篇小说《毕斯沃斯先生的房子》,琐琐碎碎,但写来却感人至深,就是因为人物被写活了,作家的一切想法都被写到了人物中去了,不是被动地由作家自己去说。

本文以其代表作《毕斯沃斯先生的房子》为例,通过对小说主人公毕斯沃斯先生悲喜交加的人生故事的解读,揭橥作者对寻绎“自我”意义的个体的悲悯情怀。对他们生命价值的张扬和肯定。以及作品所蕴涵的超地域性的人类关怀

『柒』 急求英国当代作家V.S.奈保尔(Vidiadhar.Surajprasad.Naipaul)的生平简介和其的主要观点

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

Generally considered the leading novelist of the English-speaking Caribbean, winner of the Nobel Prize in literature 2022. 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 (2022) 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 2022 Naipaul announced that MAGIC SEEDS (2022), 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 (2022); Naipaul's Truth: The Making of a Writer by Lillian Feder (2022) - 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 2022, 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, 2022 - Elämän kuva (suom. Juhani Lindholm)
* THE WRITER AND THE WORLD, 2022
* MAGIC SEEDS, 2022 - Lumotut siemenet (suom. Juhani Lindholm)

『捌』 奈保尔的印度游记 指的是《印度三部曲》读过的人回答

《幽黯国度:记忆与现实交错的印度之旅》(新版)(印度三部曲之一)讲述的是奈保尔首次踏访印度－父祖辈的家园。从孟买、德里、加尔各答，再到外祖父的故乡，这个有着暖味身份的“异乡人”与“过客”，见到的是无处不在的贫困与丑陋，感受到的是震惊、愤怒、疏离、鄙夷与失落。春了一贯的冷嘲热讽与孤傲尖酸中，后殖民情境中的印度乱象是那么的令人无奈与绝望。这一年的印度之旅其实也是企图探询自己的历史与身份认同的内心之旅，而收获却是看到：印度属于黑夜－一个已经死亡的世界，一段漫长的旅程。

『玖』 奈保尔哪一年出版第一部小说

维·苏·奈保尔（V.S.Naipaul，1932～），英国作家。出生在特立尼达，是印度婆罗门的后裔。11岁开始热爱文学，1950年他到英国牛津大学专攻文学。1953年出版第一部小说，1953年成为自由撰稿人，1954～1956年担任BBC“加勒比之声”的主持人，1957～1961年担任《新政治家》杂志的专栏撰稿人。他创作的主要作品有：小说《米格尔大街》（1959，获萨默塞特·毛姆奖）、《比斯瓦斯先生的房间》（1961，20世纪100部最佳英文小说之一）、《在自由的过度》（1971，获布克奖）、《河湾》（1979，2022年度诺贝尔文学奖获奖作品）以及游记随笔《在信徒们中间》（1981）、《寻觅中心》（1984）、《超越信仰》（1998）等。1993年，他成为英国戴维·柯翰文学奖的首位获奖者。