Introduction

In a narrative that moves with dreamlike swiftness from India to England to Africa, Nobel Laureate V. S. Naipaul has produced his finest novel to date, a bleakly resonant study of the fraudulent bargains that make up an identity.

The son of a Brahmin ascetic and his lower-caste wife, Willie Chandran grows up sensing the hollowness at the core of his father's self-denial and vowing to live more authentically. That search takes him to the immigrant and literary bohemias of 1950s London, to a facile and unsatisfying career as a writer, and at last to a decaying Portugese colony in East Africa, where he finds a happiness he will then be compelled to betray. Brilliantly orchestrated, at once elegiac and devastating in its portraits of colonial grandeur and pretension, Half a Life represents the pinnacle of Naipaul's career.

Editorial Review

Half a Life finds the veteran Booker and Nobel Prize-winning author V.S. Naipaul on familiar territory, blending autobiography and fiction in an exploration of the "half lives" of individuals brought up in the English colonies and educated in metropolitan cities.

Naipaul's protagonist is Willie Somerset Chandran, named after Somerset Maugham's encounter with Willie's father in the 1930s while traveling "to get material for a novel about spirituality." Willie travels to England for his education, where he becomes "part of the special, passing bohemian-immigrant life of London of the late 1950s." Willie soon realizes that his colonial background allows him to write short stories for well-meaning white liberals, and he begins "to understand that he was free to present himself as he wished" and that he could "remake himself and his past" through his writing. The effect is suffocating rather than liberating, and he marries a vaguely sketched "girl or young woman from an African country," who has read his one published book. Willie begins another "half life" in colonial Mozambique, where he soon tires of the domestic and sexual tedium of plantation life and flees to Germany, mournfully reflecting that "I have been hiding for too long."

This is classic Naipaul, with its effortless dissection of the damaging personal consequences of post-war decolonization, but its virtue seems its primary vice, as the novel feels like a conflation of several earlier Naipaul books, including The Mimic Men and the brilliant A Bend in the River. Consequently, some readers may well find that Half a Life reads more like half a novel. --Jerry Brotton, Amazon.co.uk

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