A writer's people : ways of looking and feeling by Naipaul, V. S.; Naipaul, Vidiadhar Surajprasad; Naipaul,

By Naipaul, V. S.; Naipaul, Vidiadhar Surajprasad; Naipaul, Vidiadhar S

"Over the process his incredible fifty-year occupation, V.S. Naipaul's writing has been characterised through a dedication to fact. In A Writer's humans he brings readability and adventure to an exploration of the methods we expect, see and believe. the variety of this publication displays an mind deeply engaged with the demanding situations of assimilation confronted via the 'serious traveller', one for whom there could be no unmarried global view. Read more...


displays an mind engaged with the demanding situations of assimilation confronted by way of the 'serious traveller', one for whom there may be no unmarried global view. This booklet brings readability and adventure to an Read more...

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I lost my way in the longer poems; I thought what was being said prosy and difficult and I stumbled over the poetic diction. I left those poems to one side and concentrated on the ones I liked; the poet and his book, short as it was, did not suffer. Henry Swanzy had opened my eyes to the beauty and often the mystery of some of Walcott’s opening lines. So now I could savour the ambiguity of Inspire modesty by means of nightly verses, the first poem in the collection, where the modesty could be sexual or poetic, and the verses could also be prayers; the riddle of I with legs crossed against the daylight watch; the delicious word-play of a poem about the recent burning down of Castries, the capital of St.

He doesn’t really tell us why: the fair girl is not really cause enough. The day you suddenly realised you were black. Too innocent really, not to say disingenuous, in 1947 or 1948, a time of segregation and the beginning of apartheid; and perhaps, but only perhaps, that moment of realisation was when he embraced the idea of the black children. It is actually possible to feel that without the black idea, the pool of distress, always available, in which the poet could refresh himself, the unpeopled landscape would be insupportable.

This rescued me from destitution. I got eight guineas a week minus deductions, and I was required to attend for three half-days a week. In fact, I went in every day, for the excitement, the company of the people at the BBC, and to get away from my two-room lodgings (with shared bathroom) in the Irish area of Kilburn, at the back of the great brick wall of the Gaumont State cinema, said to be the biggest cinema in the country. I got to know the Caribbean Voices archive. I got to know a lot more about Henry’s talents as an editor.

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