This collection brings together interviews from a thirty-six-year span and reveals a witty, sometimes scathing talker with a free-ranging curiosity. In early interviews, mostly given to such fellow writers and colleagues as Derek Walcott and Eric Roach, Naipul is clipped, brusque, and clearly impatient with interviewers. More recent interviews, given primarily to journalists rather than literary figures, reveal a more mellow Naipaul, often warm, passionate, and forthcoming about his private life.

This collection brings together interviews from a thirty-six-year span and reveals a witty, sometimes scathing talker with a free-ranging curiosity. In early interviews, mostly given to such fellow writers and colleagues as Derek Walcott and Eric Roach, Naipul is clipped, brusque, and clearly impatient with interviewers. More recent interviews, given primarily to journalists rather than literary figures, reveal a more mellow Naipaul, often warm, passionate, and forthcoming about his private life.

The Nobel Prize-winning author—and "one of literature's great travelers" (Los Angeles Times)—spans continents and centuries to create what is at once an autobiography and a fictional archaeology of colonialism. "Dickensian … a brilliant new prism through which to view (Naipaul's) life and work."—The New York Times “Most of us know the parents or grandparents we come from. But we go back and back, forever: we go back all of us to the very beginning: in our blood and bone and brain we carry the memories of thousands of beings.” So observes the opening narrator of A Way in the World, and it is this conundrum—that the bulk of our inheritance must remain beyond our grasp—which suffuses this extraordinary work of fiction. Returning to the autobiographical mode he so brilliantly explored in The Enigma of Arrival, and writing here in the classic form of linked narrations, Naipaul constructs a story of remarkable resonance and power, remembrance and invention. It is the story of a writer’s lifelong journey towards an understanding of both the simple stuff of inheritance — language, character, family history — and the long interwoven strands of a deeply complicated historical past: “things barely remembered, things released only by the act of writing.” What he writes — and what his release of memory enables us to see — is a series of extended, illuminated moments in the history of Spanish and British imperialism in the Caribbean: Raleigh’s final, shameful expedition to the New World; Francisco Miranda’s disastrous invasion of South America in the eighteenth century; the more subtle aggressions of the mid-twentieth-century English writer Foster Morris; the transforming and distorting peregrinations of Blair, the black Trinidadian revolutionary. Each episode is viewed through the clarifying lens of the narrator’s own post-colonial experience as a Trinidadian of Indian descent who, during the twilight of the Empire, immigrates to England, reinventing himself in order to escape the very history he is intent upon telling.

Traditional Chinese edition of A House for Mr. Biswas by V. S. Naipaul. It is a story of Mr. Biswas's struggle for independence, but more importantly, it is his fight for dignity and a life with meaning. A House for Mr. Biswas is touted as Naipaul's finest novel. In Traditional Chinese. Distributed by Tsai Fong Books, Inc.

The Nobel Prize-winning author gives us – on the basis of his own intensive seventeen month journey across the Asian continent – an unprecedented revelation of the Islamic world. • “A brilliant report…. A book of scathing inquiry and judgment, whose tragic power is being continually reinforced by current events” (Newsweek). With all the narrative power and intellectual authority that have distinguished his earlier books and won him international acclaim (“There can hardly be a writer alive who surpasses him” – Irving Howe, The New York Times Book Review), Naipaul explores the life, the culture, the ferment inside the nations of Islam – in a book that combines the fascinations of the great works of travel literature with the insights of a uniquely sharp, original, and idiosyncratic political mind. He takes us into four countries in the throes of “Islamization” – countries that, in their ardor to build new societies based entirely on the fundamental laws of Islam, have violently rejected the “materialism” of the technologically advanced nations that have long supported them. He brings us close to the people of Islam – how they live and work, the role of faith in their lives, how they see their place in the modern world.

V.S. Naipaul was one of the most influential and controversial writers of the twentieth century. His writings on colonialism and its aftermath, on migration and landscape, and on cultural loss and creativity, were both admired and criticised by a wide global audience. But what of his relationship to the region of his birth? Born in Trinidad, of Indian ancestry, and spending his professional life in England, Naipaul could be dismissive of his Caribbean background. He presented himself as a citizen of nowhere, or else, of the globalized, postcolonial world. However, this obscures his intense competition, fierce disagreements and close collaboration with other Caribbean intellectuals, both as a schoolchild in colonial Trinidad, and as an internationally celebrated author. V.S. Naipaul, Caribbean Writing, and Caribbean Thought looks again at Naipaul's relationship with his birthplace. It shows that that the decolonising Caribbean was the crucible in which Naipaul's style and outlook were formed. Moreover, understanding Naipaul's place in the history of the region's politics and letters sheds new light on the work of celebrated contemporaries, Derek Walcott and Kamau Brathwaite, George Lamming and Maryse Condè, Elsa Goveia and Eric Williams, Sylvia Wynter and C.L.R. James. Literary criticism, intellectual biography, and an essay in the history of ideas, this book offers a new account of Caribbean thought in the decades after independence. It reveals a literary culture of creative vibrancy, in an era of unprecedented change.

Understanding Africa is critical for all concerned with the world today: in what promises to be his final great work of reportage, one of the keenest observers of the continent surveys the effects of belief and religion on the disparate peoples of Africa. The Masque of Africa is Nobel Prize-winning V. S. Naipaul's first major work of non-fiction to be published since his internationally bestselling Beyond Belief. Like all of Naipaul's great works of non-fiction, The Masque of Africa is superficially a book of travels — full of people, stories and landscapes he visits — but it also encompasses a larger narrative and purpose: to judge the effects of belief (whether in indigenous animisms, faiths imposed by other cultures, or even the cults of leaders and mythical history) upon the progress of civilization.