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发信人: linyu (灵雨), 信区: Reading
标 题: Re: 2001年度诺贝尔文学奖获得者维·苏·奈保尔 ┅
发信站: 荔园晨风BBS站 (Mon Nov 12 12:01:44 2001), 转信
你觉得前面那篇小说是垃圾吗？对这种很“诗性”的哲理化的小说是要细细
体味的。现我将瑞典文学院为奈保尔所作的授奖辞转贴在此，或许有助于你
理解他的小说艺术。
2001年度诺贝尔文学奖授奖辞
（根据诺贝尔文学奖官方网站发稿翻译。）
2001年的诺贝尔文学奖授予英国籍特立尼达作家奈保尔，为表彰他“将逼真的
叙事艺术和严正的观察能力结合于作品之中，驱使我们去认识那被掩盖的历史的存
在。”
奈保尔是个文学的旅人，他真正的家永远只在自己体内，在他那不可模仿的话
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音中。特立独行于各种文学流派和主义之外，他将所有文学形式尽皆融入自我的风
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
格，小说和非小说文体的传统界限在他的作品里已不再重要。
奈保尔的文学疆域远远逾出特立尼达这个西印度洋的小岛，他最初的母题；而
今他将印度、非洲、南北美洲、亚洲的伊斯兰国家以及英国尽揽怀中。作为康拉德
的继承者，他担负起为帝国命运编年记史的职责，而那是部道德史：即帝国究竟对
人类做了什么。他的叙述的权威来自他的记忆，他记住了他人所遗忘的，那被征服
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
者的历史。
~~~~~~~~
他处女作《神秘的理发师》(The MysticMasseur)中滑稽的传奇与《米格尔大
街》(MiguelStreet)中的短小故事，把契诃夫与特立尼达民间歌曲搅拌在一起，奠
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
定了他幽默作家和街道生活讲述者的名声。但在《比沃斯先生的房子》(AHouse
for Mr.Biswas)这本奇特的书中，他迈开大步，在书中建立了一个独立而完整的世
界，因此可以在里面发现帝国边缘的一个微型的印度和他父亲封闭的生活的一幕幕
场景。当边缘人的形象也占据了伟大的文学的一角，他便已颠覆了通常的视角，摧
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
毁了读者内心那自我保护的冷漠感。这是他以后一系列作品的原则，尽管其中有越
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
来越强的纪实感，书中的人物并未因此而失去色彩。小说家言、自传和纪实交织于
奈保尔的作品中，而且很难说清哪个才是主导要素。
在他的杰作《抵达之迷》(The Enigma ofArrival)中，奈保尔仿佛一位人类学
家，探访了英国的真相，前去考察了丛林深处与世隔绝的一些土著部落。他带着明
显是短视和随意的眼光，描绘了古老的殖民地文明悄然塌陷的冷漠画面，以及其欧
洲近邻的衰败。
奈保尔注意到小说作为一种文体，缺乏汪洋恣肆包揽无遗的气概。小说先假设
了一个圣洁的人类世界，而后伴随着征服的是这个世界的破裂。当他开始写作《失
落仙境》(TheLoss of ElDorado)，他体验到小说的这个缺陷。在阅读过浩瀚的文
献资料后，他写下了特立尼达可怕的殖民历史。他发现细节和声音的真实是必须抓
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紧的，同时在以文学形式叙述他的材料之时，他又必须回避纯粹的虚构。他的游记
的情节转折处必定会有目击者作证，这一点在他对东伊斯兰国家的力作《信仰之外
》(BeyondBelief)一书中得到有力的体现。作者通过听觉的敏锐，找到了情感的倾
泻口。
奈保尔是位现代的哲人，他继承了《老实人》与《波斯人信札》开创的传统。
~~~~~~~~~~~~~~
以一种值得敬佩的清醒的文风，他把愤怒转变成明察秋毫的本领，让事件说出自身
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
内在的可笑之处。
~~~~~~~~~~~~~~
Original Text:
The Nobel Prize in Literature 2001
V.S. Naipaul
The Nobel Prize in Literature for 2001 is awarded to the
Britishwriter, born in Trinidad, V.S. Naipaul
“for having united perceptive narrative and incorruptible
scrutinyin works that compel us to see the presence of
suppressedhistories”.
V.S. Naipaul is a literary circumnavigator, only ever really
athome in himself, in his inimitable voice. Singularly unaffected
byliterary fashion and models he has wrought existing genres into astyle
of his own, in which the customary distinctions betweenfiction and
non-fiction are of subordinate importance.
Naipaul’s literary domain has extended far beyond the West
Indianisland of Trinidad, his first subject, and now encompasses India,
Africa, America from south to north, the Islamic countries of Asiaand,
not least, England. Naipaul is Conrad’s heir as the annalistof the
destinies of empires in the moral sense: what they do tohuman beings.
His authority as a narrator is grounded in his memoryof what others have
forgotten, the history of the vanquished.
The farcical yarns in his first work, The Mystic Masseur, and
theshort stories in Miguel Street with their blend of Chekhov andcalypso
established Naipaul as a humorist and a portrayer of streetlife. He
took a giant stride with A House for Mr. Biswas, one ofthose singular
novels that seem to constitute their own completeuniverses, in this case
a miniature India on the periphery of theBritish Empire, the scene of
his father’s circumscribed existence.In allowing peripheral figures
their place in the momentousness ofgreat literature, Naipaul reverses
normal perspectives and deniesreaders at the centre their protective
detachment. This principlewas made to serve in a series of novels in
which, despite theincreasingly documentary tone, the characters did
not thereforebecome less colourful. Fictional narratives,
autobiography anddocumentaries have merged in Naipaul’s writing without
it alwaysbeing possible to say which element dominates.
In his masterpiece The Enigma of Arrival Naipaul visits the
realityof England like an anthropologist studying some hitherto
unexplorednative tribe deep in the jungle. With apparently short-sighted
andrandom observations he creates an unrelenting image of the
placidcollapse of the old colonial ruling culture and the demise
ofEuropean neighbourhoods.
Naipaul has drawn attention to the novel’s lack of universality asa
form, that it presupposes an inviolate human world of the kindthat
has been shattered for conquered peoples. He began toexperience the
inadequacy of fiction while he was working on TheLoss of El Dorado, in
which after extensive study of the archiveshe described the appalling
colonial history of Trinidad. He foundthat he had to cling to the
authenticity of the details and thevoices and abstain from mere
fictionalisation while at the sametime continuing to render his material
in the form of literature.His travel books allow witnesses to testify
at every turn, notleast in his powerful description of the eastern
regions of theIslamic world, Beyond Belief. The author’s empathy
findsexpression in the acuity of his ear.
Naipaul is a modern philosophe, carrying on the tradition
thatstarted originally with Lettres persanes and Candide. In a
vigilantstyle, which has been deservedly admired, he transforms rage
intoprecision and allows events to speak with their own inherent irony.
The Swedish Academy
【 在 neversorry (PoorGuy.com) 的大作中提到: 】
: 可我也始终觉得一个能获诺贝尔文学奖的人的文章
: 总也不大可能一篇是经典一篇是垃圾吧？：）
: 【 在 Akira (套鼓卖咗啦~冇得玩啦~) 的大作中提到: 】
: : 他得奖，但是未必是这个小说得奖啊！
--
西子寻遗殿
昭君觅故村
前世 今生
※ 修改:·linyu 於 Nov 12 12:05:32 修改本文·[FROM: 203.93.19.1]
※ 来源:·荔园晨风BBS站 bbs.szu.edu.cn·[FROM: 203.93.19.1]
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