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“I found a pattern in my behavior that had been repeating itself for years, decades even. Bad choices were my specialty, and if something honest and decent came along, I would shun it or run the other way.”

With striking intimacy and candor, Eric Clapton tells the story of his eventful and inspiring life in this poignant and honest autobiography. More than a rock star, he is an icon, a living embodiment of the history of rock music. Well known for his reserve in a profession marked by self-promotion, flamboyance, and spin, he now chronicles, for the first time, his remarkable personal and professional journeys.

Born illegitimate in 1945 and raised by his grandparents, Eric never knew his father and, until the age of nine, believed his actual mother to be his sister. In his early teens his solace was the guitar, and his incredible talent would make him a cult hero in the clubs of Britain and inspire devoted fans to scrawl “Clapton is God” on the walls of London’s Underground. With the formation of Cream, the world's first supergroup, he became a worldwide superstar, but conflicting personalities tore the band apart within two years. His stints in Blind Faith, in Delaney and Bonnie and Friends, and in Derek and the Dominos were also short-lived but yielded some of the most enduring songs in history, including the classic “Layla.”

During the late sixties he played as a guest with Jimi Hendrix and Bob Dylan, as well as the Beatles, the Rolling Stones, and longtime friend George Harrison. It was while working with the latter that he fell for George’s wife, Pattie Boyd, a seemingly unrequited love that led him to the depths of despair, self-imposed seclusion, and drug addiction. By the early seventies he had overcome his addiction and released the bestselling album 461 Ocean Boulevard , with its massive hit “I Shot the Sheriff.” He followed that with the platinum album Slowhand , which included “Wonderful Tonight,” the touching love song to Pattie, whom he finally married at the end of 1979. A short time later, however, Eric had replaced heroin with alcohol as his preferred vice, following a pattern of behavior that not only was detrimental to his music but contributed to the eventual breakup of his marriage.

In the eighties he would battle and begin his recovery from alcoholism and become a father. But just as his life was coming together, he was struck by a terrible blow: His beloved four-year-old son, Conor, died in a freak accident. At an earlier time Eric might have coped with this tragedy by fleeing into a world of addiction. But now a much stronger man, he took refuge in music, responding with the achingly beautiful “Tears in Heaven.”

Clapton is the powerfully written story of a survivor, a man who has achieved the pinnacle of success despite extraordinary demons. It is one of the most compelling memoirs of our time.

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另一件激动人心的事就是到达那些陌生之地，身临其境地去感受它们，然后离开。

事实上，当时的我太较劲了，如果别人演奏的不是纯正的布鲁斯，我就会横挑鼻子竖挑眼，这种态度可能和我的知识分子情结有关。我那会儿读波德尔的译本，看凯鲁亚克和金斯堡等美国作家的书，对法国和日本电影趋之若鹜。我开始越来越看不起流行音乐。

我深信世界杯的每场比赛都是假球。凡是这种攸关重大利益的事情，我都相信阴谋论，包括政治。

上帝给了你这些天赋，如果你不用，他就会把它收回。

人们总说他们能清楚记得肯尼迪总统遇刺时自己正在哪儿，自己正在干什么，可我却记不得了。但我清楚记得，巴迪·霍利死时，自己正在赶往操场的路上。我记得如此清楚。到处都变得跟墓园似的，大家都说不出话来，每个人都是那么地震惊。在当时所有的音乐英雄中，巴迪·霍利是最平易近人的一位，而且满身真功夫。他其貌不扬，从不装逼，但无疑是个货真价实的吉他手，而更靠谱的是，他还戴眼镜。他就是我们中的一员。他的突然离世给我们造成了极大的影响，之后有人说音乐死了。而对我来说，音乐之门却砰然打开。

最值得信赖的信仰传递方式就是音乐——它不会真的被操纵，或者被泛政治化，稍有异化就会被立即看出来。

书籍介绍

“I found a pattern in my behavior that had been repeating itself for years, decades even. Bad choices were my specialty, and if something honest and decent came along, I would shun it or run the other way.”

With striking intimacy and candor, Eric Clapton tells the story of his eventful and inspiring life in this poignant and honest autobiography. More than a rock star, he is an icon, a living embodiment of the history of rock music. Well known for his reserve in a profession marked by self-promotion, flamboyance, and spin, he now chronicles, for the first time, his remarkable personal and professional journeys.

Born illegitimate in 1945 and raised by his grandparents, Eric never knew his father and, until the age of nine, believed his actual mother to be his sister. In his early teens his solace was the guitar, and his incredible talent would make him a cult hero in the clubs of Britain and inspire devoted fans to scrawl “Clapton is God” on the walls of London’s Underground. With the formation of Cream, the world's first supergroup, he became a worldwide superstar, but conflicting personalities tore the band apart within two years. His stints in Blind Faith, in Delaney and Bonnie and Friends, and in Derek and the Dominos were also short-lived but yielded some of the most enduring songs in history, including the classic “Layla.”

During the late sixties he played as a guest with Jimi Hendrix and Bob Dylan, as well as the Beatles, the Rolling Stones, and longtime friend George Harrison. It was while working with the latter that he fell for George’s wife, Pattie Boyd, a seemingly unrequited love that led him to the depths of despair, self-imposed seclusion, and drug addiction. By the early seventies he had overcome his addiction and released the bestselling album 461 Ocean Boulevard , with its massive hit “I Shot the Sheriff.” He followed that with the platinum album Slowhand , which included “Wonderful Tonight,” the touching love song to Pattie, whom he finally married at the end of 1979. A short time later, however, Eric had replaced heroin with alcohol as his preferred vice, following a pattern of behavior that not only was detrimental to his music but contributed to the eventual breakup of his marriage.

In the eighties he would battle and begin his recovery from alcoholism and become a father. But just as his life was coming together, he was struck by a terrible blow: His beloved four-year-old son, Conor, died in a freak accident. At an earlier time Eric might have coped with this tragedy by fleeing into a world of addiction. But now a much stronger man, he took refuge in music, responding with the achingly beautiful “Tears in Heaven.”

Clapton is the powerfully written story of a survivor, a man who has achieved the pinnacle of success despite extraordinary demons. It is one of the most compelling memoirs of our time.

• 作者： 发布时间：2023-02-23 15:41:41

  我是半路自学，幸得看老师的书，颇有兴趣，结合易经，天干地支五行去深入学习，只望家人免受疾病痛苦，平安健康。

• 作者：繁清 发布时间：2022-09-17 17:30:22

  没用

• 作者：ZZMZ 发布时间：2017-08-04 00:34:24

• 作者：海陆热风 发布时间：2017-10-29 15:32:00

  纸质，排版都属一般，唯独这封面倒是一股盛唐之风，甚是美观。

• 作者：七月 发布时间：2022-07-09 19:01:25

  遗忘之地的女孩，当时看稿子看到潸然泪下，可能是艾琳最成熟的一部作品。

• 作者：王大安 发布时间：2024-01-24 14:03:23

  隐喻的概念很不错，但内容有点表面化了。看了三章，看不下去了，有教练故事，也有类似心灵鸡汤的叙述，于我而言，没有看到新东西；另一方面，强调了某种信念，就是脑海里的视觉化沟通，当人将想法、情绪、念头视觉化后，会发现有不一样的东西出来，也会有本书所说的生命转化力。

• 天堂十字路口

  作者：Winter 发布时间：2014-01-31 21:34:20

• 《南方都市报》书评

  作者：昆 鸟 发布时间：2011-09-13 14:56:47

  在我摇滚神龛上，一直是鲍勃•迪伦、派蒂•史密斯、地下丝绒和涅槃一系，摇滚乐吸引我的地方一直是它的观念性和先锋精神。我得承认，我是个乐感很差的摇迷，我喜欢的是摇滚乐那股子永不合作、永远挑战主流审美、永远拒绝体系化的劲头，美学上我是阿多诺的信徒。金属乐的大行其道就让我极为反感和失望，因为后来的金属乐过于圆熟了。凡是中规中矩的，都被我打入冷宫，在我看来，这有悖于摇滚精神。

      初听克莱普顿，让人觉得匠气、沉闷，甚至有种讨好听者耳朵的甜俗。在布鲁斯音乐家当中，我也没把他放在多高的位置上，他没有B.B.金那种错落随意，也没有史蒂威•雷•沃恩那种热辣滚烫，也不像早先的罗伯特•约翰逊（克莱普顿的布鲁斯偶像）等三角洲布鲁斯大师那样简朴直接。不管他的生活有多么不着调，在我的听觉里，克莱普顿一度都是温吞的、让人提不起精神的，甚至是毫无个性的。他给我的印象只是一个吉他高手而已，高手在我词典里等于平庸加勤奋。而在对自己的音乐天赋彻底失望之后，我觉得终于听懂一点音乐了，之前我不是在听音乐，而是在给自己找精神坐标。而克莱普顿这个我一直看不上的摇滚乐小人物，竟然开始变得高大起来了。他那看似温吞的演奏听起来竟然那么耐人寻味，其中浸透的细腻而深沉的情感我以前竟没有听出来。

      在翻译完克莱普顿的自传之后，我给它取了个矫情的书名——《天堂十字路口》。因为在这本书中，我们读不出一代吉他大师旁若无人的自信，也没有摇滚烈士的慷慨陈词。我们看到的是一个一直在寻找道路，一直在自我建构的男人，即使有那么一点沾沾自喜，那也都化作了对命运的赤诚感恩。用孙孟晋的话来说，“从上帝到平民，克莱普顿走通了人生。”他从孤僻的男孩，变成叱咤乐坛的吉他上帝，同时也在毒品和酒精中迷失多年，深陷声色犬马之中，历尽百劫，最后终于回归家庭，变成一个内敛而从容的男人，从自卑到自纵自毁，再到自我修复和自我接纳，读完《天堂十字路口》，不免让人想起《神曲》中但丁穿越地狱与天堂之旅。而这一过程中，一直陪伴着他的，就是音乐，他音乐中那种隐微而深厚的情感，正来源于此，他的音乐和生命是合二为一的。

  克莱普顿的音乐之中是没有观念的，其中倾注的是情感和生命。这本自传和他的音乐一样，是一部个体生命的编年史，一部不用任何修饰也不用任何阐释就足以让人读出强烈的命运感的编年史。从作为一个人的生活经历方面讲，克莱普顿可谓命途多舛。他的父亲是二战时在英国短暂落脚的加拿大士兵，母亲15岁怀上他，父亲便不知去向。他出生之后，母亲也含羞离开了家乡雷普利，他跟着外祖母长大，一直认为她就是自己的母亲。作为私生子的克莱普顿9岁时已经察知自己的身世，而母亲回到故乡雷普利时却拒绝与他相认，尽管这也是出于一种保护。这给一个男孩造成的心理阴影是难以想象的。年幼的克莱普顿表现出了很高的美术天赋，后进入了金斯顿艺术学校，可这时他忽然迷上了音乐，自此整日抱着一把破吉他，学业荒废，最终被赶出了学校。这是克莱普顿人生中的第一次幸运，也是最大的幸运，他称之为“仪式”。仅仅通过观看酒吧表演、跟着唱片练习，克莱普顿竟飞速成长为伦敦最优秀的吉他手之一，这是多大的造化啊。可能谁也想不到，克莱普顿的辉煌竟然足足持续了半个世纪，足够好几代天王枯荣代谢，而克莱普顿的活力至今不减。无论是在“新兵”、“布鲁斯破坏者”、“奶油”、“盲目的信仰”，还是在后来的单飞生涯之中，他都取得了了不起的成就，十九座格莱美奖、三度入主摇滚名人堂的殊荣真是羡煞旁人。但是，就在他的音乐事业取得井喷式成功的同时，个人生活却飞快地分崩离析，吸毒、酗酒几乎将他的身体和精神全部摧毁，对披头士吉他手哈里森的老婆博伊德的狂恋也让他一度走到了崩溃的边缘。在经历了一连串错乱的爱情之后，他终于有了第一个孩子，这个孩子却在四岁时坠楼夭亡，那时的克莱普顿已经年近五十，他强忍悲痛，写下了名曲《天堂的眼泪》。这大概也是一种造化，命运之所以永远是崇高的，正因为我们永远参不透它，我们既不能说它没有善意，也不能说它全无恶意，既与良知无关，也不把我们的智慧和搏斗放在眼里。与其说克莱普顿选择了布鲁斯，不如说布鲁斯选择了克莱普顿，因为布鲁斯的精神内核正是痛苦和忧伤。

  但这并不是一本诉苦的书，克莱普顿自己并不强调这些，倒是在我们这些读书人，容易怀着对大师的崇敬，给那些原本平静的文字罩上一层悲剧性的庄严。实际上，这本书里很多段落，就像一个老者在讲自己年少时的趣事，尽管这些事可能是残酷的。比如年轻时和几个哥们开车漫游欧洲时的离奇遭遇，被一个巫婆似的女人纠缠数年的经历，为我们呈现了这位布鲁斯大师可爱甚至可笑的性格面向，单纯、随性、脆弱、充满好奇、有点怕事，在他的刻苦、倔强和坚韧等英雄式的品质背后，透出了凡人的血肉。

  克莱普顿在书中记录的不仅仅是个人生活，《纽约邮报》称这本书为“一本壮丽的摇滚史诗”，我想读完这本书的人也会感同身受。克莱普顿出道之日，正是摇滚乐方兴未艾之季，那时候摇滚乐变现出来的活力，涌现的传奇人物，让人惊叹，而英国的伦敦，也是摇滚狂潮的主要策源地之一。“当时，有一种强烈的归属感，在那些前嬉皮、披头族的时代，仿佛一切都只与音乐有关。吸毒的很少，酒喝得也不凶。”克莱普顿很少对时代发表总体看法，但这一句还是写出了60年代初的整体氛围。那时的英国，天才扎堆出现，且不说披头士和滚石这种殿堂级别的乐队成员，就说克莱普顿参加过的“新兵”乐队。这个乐队有三任吉他手都将彪炳摇滚史，克莱普顿之外，是杰夫•贝克和吉米•佩奇，这支乐队也成了“齐柏林飞艇”的前身。这种情况对克莱普顿来说既是一种幸运，又是一种无奈。幸运的是，刚刚出道就可以和这些未来的大师们切磋技艺，或者同台演出；无奈的是，他一直感到自己的乐队处于披头士和滚石的阴影之下，即使伦敦和纽约的大街上到处都是“克莱普顿是上帝”的涂鸦，克莱普顿字里行间依然流露着明显的嫉妒情绪。想想那个时代吧，美国有鲍勃•迪伦、贝兹、大门、吉米•亨德里克斯，英国有披头士、滚石、谁人、动物。最可贵的是，当时的摇滚乐，出来一个是一个，全都个性和创造力十足，很难找到风格雷同的乐队；同时，巴迪•盖伊等老一代布鲁斯大师依然活跃。浸淫在这样的环境之中，想不出色都不行。可是没过几年，一大批天才就开始陨落，布莱恩•琼斯、吉米•亨德里克斯、吉姆•莫里森、詹妮丝•乔普林等人挨个死去。1970年9月17日，克莱普顿在伦敦西区买了一把白色的左手吉他，准备在晚上送给吉米•亨德里克斯，因为他知道吉米晚上会到吕克昂剧院看演出，但是吉米没去，第二天，克莱普顿就收到了吉米的死讯。克莱普顿知道吉米虽然是左撇子，但从不用左手琴，而是把右手琴颠倒过来弹，这把左手琴看来吉他之神也无福消受，想到这个，让人忍不住要相信世事的谶纬玄机了。他还见证了布鲁斯吉他天才史蒂威•雷•沃恩的死。当时四架飞机同时起飞，竟然没人发觉史蒂威乘坐的那一架没有飞回酒店，第二天一帮人才知道飞机失事。

  恐怖小说之王史蒂芬•金这样描述这本书：“在这本书中，有他（克莱普顿）的深情和睿智，还带着幸存者式的残酷幽默……一本勋章之书。”克莱普顿的确是幸存者，也是那个黄金年代走出来的老遗民，仿佛是一个前朝的重臣，写着春秋往事；一个海难过后的老水手，用他不疾不徐的语速做着虔诚的祷告。