MIDDLE PASSAGE, THE(ISBN=9780375708343) 英文原版 夸克云 docx snb kindle pdf 网盘 azw3 下载

In 1960 the government of Trinidad invited V. S. Naipaul to

revisit his native country and record his impressions. In this

classic of modern travel writing he has created a deft and

remarkably prescient portrait of Trinidad and four adjacent

Caribbean societies–countries haunted by the legacies of slavery

and colonialism and so thoroughly defined by the norms of Empire

that they can scarcely believe that the Empire is ending.

In The Middle Passage, Naipaul watches a Trinidadian movie

audience greeting Humphrey Bogart’s appearance with cries of “That

is man!” He ventures into a Trinidad slum so insalubrious that the

locals call it the Gaza Strip. He follows a racially charged

election campaign in British Guiana (now Guyana) and marvels at the

Gallic pretension of Martinique society, which maintains the

fiction that its roads are extensions of France’s routes

nationales. And throughout he relates the ghastly episodes of

the region’s colonial past and shows how they continue to inform

its language, politics, and values. The result is a work of

novelistic vividness and dazzling perspicacity that displays

Naipaul at the peak of his powers.

Map

Foreword to this Edition

MIDDLE  PASSAGE

TRINIDAD

BRITISH  GUIANA

SURINAM

MARTINIQUE

ON TO JAMAICA

……

V. S. Naipaul lives in Wiltshire, England.

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一片空旷。向内陆飞行，首先越过棕色的德梅拉拉河河畔的一片甘蔗田。天地戛然而止，丛林出现了；丛林中有些不规则的小块区域被偷偷摸摸地毁坏了，这反映出一种态度，你渐渐会把这种态度同英属圭亚那联系起来。这里的森林沦为湿地，因为土壤贫瘠，硬木树一旦被伐，就不容易重新种活。几分钟后，飞机越过城镇、田野和林中空地，你身处森林上空，森林茂密、平整、密不透风，偶尔煞风景地冒出一条黑色河流，在阳光照射下闪闪反着光，宛如一条金色或红色的静脉流经一片死绿。森林继续延伸，你不再往外看，直到三四十分钟后，大地一裂而变为丘陵和山谷，再往前是热带大草原，旱季呈现出大理石般的绿色、棕色和赭黄色纹路，夹着划痕般的白色小径、溪流萎缩的河床，两旁是看起来丰美多汁的椰子树。离此不远便是巴西，同样空旷，一片无法理解的广袤无垠。

荒凉土地上的凄凉的人；一个惊讶而无奈地发现自己迷失于一片风景之中的人，这片风景从来都不真实，因为这里永远是被迫而临时的居所；奴隶们从一个大陆被劫持而来，又被抛弃在另一个已经无利可图的大路上，再无别处可逃；我很高兴离开克罗尼，因为这里不光有懒黑人，还有那些经中途航道迢迢而来的人们所面对的满目荒凉。

黑人与白人世界的纠葛是西印度写作的另一个局限，这一局限也毁了美国黑人的写作。美国黑人的主题是他的黑。这不可能是任何严肃文学的基础，而且一旦美国黑人表达了自己的观点，为自己的利益发出了抗议，他也就再没有别的话可说，这种情况一再发生。……他们了解的唯一常规是他们与白人世界的纠葛，这便使他们的作品失去普遍的感染力。这种情境过于独特，读者被排除在作品之外，他受邀旁观，却不能参与。

詹姆斯·蒲柏-轩尼斯（英国传记和游记作者，曾任特立尼达总督赫伯特·杨格的私人秘书）提到”受过教育的非洲裔和他谈的话题同他在英国惯常谈论的一样：书籍、音乐和宗教。而这里的英国人主要谈论网球比分、乡村俱乐部、威士忌、社会地位和汽油。“教育完全是穷人的事，而穷人无一例外都是黑人。

在公路上开车，没人会为了你把远光调成近光，你必须以牙还牙，开大灯闪晕对方，你得学习特立尼达公路上的游戏规则，在令人目眩的灯光中开车，照得对方紧急转向。在无赖社会，暴力和野蛮是可以接受的。

多愁善感和野蛮粗暴共生共存。一个人看到二流电影中一幕感人的母子戏时转过头用嘶哑的声音对你说：“我说孩子，母亲真是伟大。你可只有一个妈啊。”而同一个人，看到贝尔森集中营的场景时竟会发出讥讽的笑声。

编辑推荐

The coolest literary eye and the most lucid prose we

have.??The New York Times Book Review

Belongs in the

same category of travel writing as Lawrence?s books on Italy,

Greene?s on West Africa and Pritchett?s on Spain.? ?New

Statesman

Naipaul travels with the artist?s eye and ear and his observations

are sharply discerning.? ?Evelyn Waugh

Where earlier travelers enthused or recoiled, Mr. Naipaul explains.

His tone is critical but humane, and he tempers his inevitable

indignation with an admirable sense of comedy.? ?The

Observer

 Dazzling reportorial skills and a sharp historical mind.?

?The New York Times -- Review

书籍介绍

In 1960 the government of Trinidad invited V. S. Naipaul to revisit his native country and record his impressions. In this classic of modern travel writing he has created a deft and remarkably prescient portrait of Trinidad and four adjacent Caribbean societies–countries haunted by the legacies of slavery and colonialism and so thoroughly defined by the norms of Empire that they can scarcely believe that the Empire is ending.

In The Middle Passage , Naipaul watches a Trinidadian movie audience greeting Humphrey Bogart’s appearance with cries of “That is man!” He ventures into a Trinidad slum so insalubrious that the locals call it the Gaza Strip. He follows a racially charged election campaign in British Guiana (now Guyana) and marvels at the Gallic pretension of Martinique society, which maintains the fiction that its roads are extensions of France’s routes nationales. And throughout he relates the ghastly episodes of the region’s colonial past and shows how they continue to inform its language, politics, and values. The result is a work of novelistic vividness and dazzling perspicacity that displays Naipaul at the peak of his powers.