By Naipaul, V. S.; Naipaul, Vidiadhar Surajprasad; Naipaul, Vidiadhar S
"Over the process his stunning fifty-year profession, V.S. Naipaul's writing has been characterised through a dedication to fact. In A Writer's humans he brings readability and event to an exploration of the methods we predict, see and suppose. the diversity of this e-book displays an mind deeply engaged with the demanding situations of assimilation confronted via the 'serious traveller', one for whom there may be no unmarried international view. Naipaul writes in regards to the classical international what now we have retained from it, what we now have forgotten - and the newer previous. Figures as varied as Mahatma Gandhi, Derek Walcott and Gustave Flaubert come below his compassionate scrutiny, as do his personal early years in Trinidad, the silences in his kin background and the jobs performed by way of Anthony Powell and Francis Wyndham in his first encounters with literary culture."--Jacket. Read more...
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Additional resources for A writer's people : ways of looking and feeling
He said goodbye then, at the front door of his house in Somerset, and he said so with a certain ceremony that let me know that this was to be our last meeting. So indeed it was, though he continued to see other people. Six years later he died. I was asked by a television news programme to be interviewed about him. I agreed willingly but then, in the studio, found to my dismay that I had very little to say about his writing. I had to bluff; it couldn’t have been a very good item on the evening news.
He told me one morning in a cafe in central Port of Spain how poems came to him. He did so in a very full and generous way, but what he said was complicated and I couldn’t understand. I had looked at a few of the later poems. They did not stir me, though the poet might have said they were profounder than the early poems I knew. The island landscape was there again, but the simple old idea of its “beauty” was dropped; the imagery and the language were more tormented; meaning was elusive. I began to feel—as I used to feel in the old days about all poetry—I was not equipped to deal with this poet.
The poet I cherished was the user of language, the maker of startling images, intricate and profound, a man only two years older than I was, but already at eighteen or nineteen a kind of master, casting a retrospective glow on things I had known six or seven or eight years before. In 1955 I used everything that he sent to the Voices, though it was clear that six years after his book the first flush of his inspiration had gone, and he was now marking time, writing to keep his hand in, looking for a way ahead.