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　　In 1975, at the height of Indira Gandhi’s “Emergency,” V. S.

Naipaul returned to India, the country his ancestors had left one

hundred years earlier. Out of that journey he produced this concise

masterpiece: a vibrant, defiantly unsentimental portrait of a

society traumatized by centuries of foreign conquest and immured in

a mythic vision of its past.

Drawing on novels, news reports, political memoirs, and his own

encounters with ordinary Indians–from a supercilious prince to an

engineer c***tructing housing for Bombay’s homeless–Naipaul

captures a vast, mysterious, and agonized continent inaccessible to

foreigners and barely visible to its own people. He sees both the

burgeoning space program and the 5,000 volunteers chanting mantras

to purify a defiled temple; the feudal village autocrat and the

Naxalite revolutionaries who combined Maoist rhetoric with ritual

murder. Relentless in its vision, thrilling in the keenness of its

prose, India: A Wounded Civilization is a work of astonishing

insight and candor.

Foreword

PART ONE：A woUNDED CIVILIZATl0N

An Old Equilibrium

The Shattering World

PART Tw0：A NEw CLAIM ON THE LAND

The Skysc***rs and the Chawls

The House of Grain

PART THREE：NOTIDEAS．BUT OBSESSIONS

A DefeCt of Vision

Synthesis and Mimicry

Paradise Lost

Renaissance or Continuity

　　V. S. Naipaul was born in Trinidad in 1932. He went to England

on a scholarship in 1950. After four years at Oxford he began to

write, and since then he has followed no other profession. He is

the author of more than twenty books of fiction and nonfiction and

the recipient of numerous honors, including the Nobel Prize in

2001, the Booker Prize in 1971, and a knighthood for services to

li***ture in 1990. He lives in Wiltshire, England.

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《薄伽梵歌》说，“尽你该尽之责，哪怕其卑微。不要去管其他人的责任，哪怕其伟大。在自己的职责中死，这是生；在他人的职责中活，这才是死。”

印度的过去已经不能为印度的现在提供灵感。在艺术的景观里，西方太占主导，太多样；印度仍然在模仿和不安，这点只要瞥一眼任何一本印度杂志中的广告和插图就能看出来。失去活着的传统，印度就失去了整合与适应的能力；借鉴别人也是囫囵吞枣。表面上文化延续，舞蹈、音乐和电影生气一片，实际印度却并不完整：整个创造性已死。这是印度为英国时代缩必须付出的代价。这种丧失被这一时代的智识恢复、政治自觉（在印度历史上前所未有）以及政治重组所抵偿。

贾干的溃退是印度教最后的溃退，因为它是从一个我们知道已最终瓦解的世界开始溃退的。实际上，这是一次向荒野的溃退，那里“现实自身的边缘正开始模糊”：这并非像贾干可能认为的那样，是向雅利安历史的回归，而是从文明与创造、重生与生长，溃退到魔法与咒语，是一次退化到非洲漫漫长夜的过程，回到像刚果那种仍挣扎于原始时代的地方，那里即使阿拉伯人和比利时人的奴隶贸易已经过去，往昔岁月仍然被当作是“我们祖先的好日子”被人思慕。这是文明的死亡，是印度教最后的倾塌。

如果一个人能够对人性有种全面的理解，那么他也能正确地理解世界；事物没有特别地对与错，它们只是在平衡着自身。

所有形式地非***，无论大或小、个人或国家，都注定在个人和社会两方面产生一种没有焦躁、没有纷扰地安宁。

“这里不再有道德了，”老人说，“欧洲马基雅维利式的政治已开始触及我们自己的政治，我们将沉沦。”他对自己的政治***视而不见，对他自己甘地主义的服务概念徒然自保，但他对印度的评价倒说对了一半，这其中的缘由他并不明白。“古代情感”、“怀旧记忆”，当这些被甘地唤醒时，印度便走向自由。但由此创造出的印度必将停滞。甘地把印度带出了一种“黑暗年代”，而他的成功则又不可避免地将印度推入了另一个黑暗年代。

媒体评论

　　?Extraordinarily forceful. . . . Naipaul is an elegantly

precise and exacting writer.? ?Newsweek

  　?A deep pleasure to read. . . . Adventurous, inquiring,

observant, penetrating, intelligent.? ?The Washington Post Book

World

  　?Typical Naipaul?brilliantly lucid, terse, with something

hardbitten yet resigned in the emotional background.? ?The New York

Times Book Review

  　-- Review

书籍介绍

In 1975, at the height of Indira Gandhi’s “Emergency,” V. S. Naipaul returned to India, the country his ancestors had left one hundred years earlier. Out of that journey he produced this concise masterpiece: a vibrant, defiantly unsentimental portrait of a society traumatized by centuries of foreign conquest and immured in a mythic vision of its past.

Drawing on novels, news reports, political memoirs, and his own encounters with ordinary Indians–from a supercilious prince to an engineer c***tructing housing for Bombay’s homeless–Naipaul captures a vast, mysterious, and agonized continent inaccessible to foreigners and barely visible to its own people. He sees both the burgeoning space program and the 5,000 volunteers chanting mantras to purify a defiled temple; the feudal village autocrat and the Naxalite revolutionaries who combined Maoist rhetoric with ritual murder. Relentless in its vision, thrilling in the keenness of its prose, India: A Wounded Civilization is a work of astonishing insight and candor.