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Half a Life
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Half a Life Paperback - 2002

by V. S. Naipaul

Half a Life" finds the veteran Booker and Nobel Prize-winning author 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.


About this book

Half a Life is the story of Willie Chandran, whose father, heeding the call of Mahatma Gandhi, turned his back on his Brahmin heritage and married a woman of low caste–a disastrous union he would live to regret, as he would the children that were a product of it. When Willie reaches manhood, his flight from the travails of his mixed birth takes him from India to London, where, in the shabby haunts of immigrants and literary bohemians of the 1950s, he contrives a new identity. He buries his self-doubt in sexual adventures and in the struggle to become a writer–strivings that bring him to the brink of exhaustion, from which he is rescued, to his amazement, only by the love of a good woman.

 Together they return to her home to live out the last doomed days of colonialism, while Willie remains a passive bystander in yet another life that is not his own. (Summary from Publisher-Random House)


From the publisher

NATIONAL BESTSELLER - In a narrative that moves with dreamlike swiftness from India to England to Africa, the Nobel Prize-winning author produced his finest novel, a bleakly resonant study of the fraudulent bargains that make up an identity. "A masterpiece." --Los Angeles Times Book Review

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.

From the jacket flap

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.

First Edition Identification


Picador published the First UK Edition, First Impression-First Printing in London, 2001.


Alfred A. Knopf published the First US Edition, First Printing in New York, 2001.


Details

  • Title Half a Life
  • Author V. S. Naipaul
  • Binding Paperback
  • Edition Reprint
  • Pages 224
  • Volumes 1
  • Language ENG
  • Publisher Vintage, New York, New York, U.S.A.
  • Date October 8, 2002
  • ISBN 9780375707285 / 037570728X
  • Weight 0.53 lbs (0.24 kg)
  • Dimensions 7.96 x 5.16 x 0.6 in (20.22 x 13.11 x 1.52 cm)
  • Themes
    • Cultural Region: African
    • Cultural Region: British
    • Ethnic Orientation: Indian
  • Library of Congress subjects London (England), Psychological fiction
  • Dewey Decimal Code FIC

Excerpt

1

A Visit from Somerset Maugham

*

Willie Chandran asked his father one day, "Why is my middle name Somerset? The boys at school have just found out, and they are mocking me."

His father said without joy, "You were named after a great English writer. I am sure you have seen his books about the house."

"But I haven't read them. Did you admire him so much?"

"I am not sure. Listen, and make up your own mind."

And this was the story Willie Chandran's father began to tell. It took a long time. The story changed as Willie grew up. Things were added, and by the time Willie left India to go to England this was the story he had heard.

*

The writer (Willie Chandran's father said) came to India to get material for a novel about spirituality. This was in the 1930s. The principal of the maharaja's college brought him to me. I was doing penance for something I had done, and I was living as a mendicant in the outer courtyard of the big temple. It was a very public place, and that was why I had chosen it. My enemies among the maharaja's officials were hounding me, and I felt safer there in the temple courtyard, with the crowds coming and going, than in my office. I was in a state of nerves because of this persecution, and to calm myself I had also taken a vow of silence. This had won me a certain amount of local respect, even renown. People would come to look at me being silent and some would bring me gifts. The state authorities had to respect my vow, and my first thought when I saw the principal with the little old white fellow was that it was a plot to make me talk. This made me very obstinate. People knew that something was afoot and they stood around to watch the encounter. I knew they were on my side. I didn't say anything. The principal and the writer did all the talking. They talked about me and they looked at me while they talked, and I sat and looked through them like someone deaf and blind, and the crowd looked at all three of us.

That was how it began. I said nothing to the great man. It's hard to credit now, but I don't believe I had heard about him when I first saw him. The English literature I knew about was Browning and Shelley and people like that, whom I had studied at the university, for the year or so I was there, before I foolishly gave up English education in response to the mahatma's call, and unfitted myself for life, while watching my friends and enemies growing in prosperity and regard. That, though, is something else. I will tell you about it some other time.

Now I want to go back to the writer. You must believe that I had said nothing to him at all. But then, perhaps eighteen months later, in the travel book the writer brought out there were two or three pages about me. There was a lot more about the temple and the crowds and the clothes they were wearing, and the gifts of coconut and flour and rice they had brought, and the afternoon light on the old stones of the courtyard. Everything the maharaja's headmaster had told him was there, and a few other things besides. Clearly the headmaster had tried to win the admiration of the writer by saying very good things about my various vows of denial. There were also a few lines, perhaps a whole paragraph, describing--in the way he had described the stones and the afternoon light--the serenity and smoothness of my skin.

That was how I became famous. Not in India, where there is a lot of jealousy, but abroad. And the jealousy turned to rage when the writer's famous novel came out during the war, and foreign critics began to see in me the spiritual source of The Razor's Edge.

My persecution stopped. The writer--to the general surprise, an anti-imperialist--had, in his first Indian book, the book of travel notes, written flatteringly of the maharaja and his state and his officials, including the principal of the college. So the attitude of everybody changed. They pretended to see me as the writer had seen me: the man of high caste, high in the maharaja's revenue service, from a line of people who had performed sacred rituals for the ruler, turning his back on a glittering career, and living as a mendicant on the alms of the poorest of the poor.

It became hard for me to step out of that role. One day the maharaja himself sent me his good wishes by one of the palace secretaries. This worried me a lot. I had been hoping that after a time there might be other religious excitements in the city, and I would be allowed to go away, and work out my own way of life. But when during an important religious festival the maharaja himself came barebacked in the hot afternoon sun as a kind of penitent and with his own hand made me offerings of coconuts and cloth which a liveried courtier--a scoundrel whom I knew only too well--had brought, I recognised that breaking out had become impossible, and I settled down to live the strange life that fate had bestowed on me.

I began to attract visitors from abroad. They were principally friends of the famous writer. They came from England to �nd what the writer had found. They came with letters from the writer. Sometimes they came with letters from the maharaja's high officials. Sometimes they came with letters from people who had previously visited me. Some of them were writers, and months or weeks after they had visited there were little articles about their visits in the London magazines. With these visitors I went over this new version of my life so often that I became quite at ease with it. Sometimes we talked about the people who had visited, and the people with me would say with satisfaction, "I know him. He's a very good friend." Or words like that. So that for five months, from November to March, the time of our winter or "cold weather," as the English people said, to distinguish the Indian season from the English season, I felt I had become a social figure, someone at the periphery of a little foreign web of acquaintances and gossip.

It sometimes happens that when you make a slip of the tongue you don't want to correct it. You try to pretend that what you said was what you meant. And then it often happens that you begin to see that there is some truth in your error. You begin to see, for instance, that to subtract from someone's good name can also be said to detract from that name. In some such way, contemplating the strange life that had been forced on me by that meeting with the great English writer, I began to see that it was a way of life that for some years I had been dreaming of: the wish to renounce, hide, run away from the mess I had made of my life.

I must go back. We come from a line of priests. We were attached to a certain temple. I do not know when the temple was built or which ruler built it or for how long we have been attached to it; we are not people with that kind of knowledge. We of the temple priesthood and our families made a community. At one time I suppose we would have been a very rich and prosperous community, served in various ways by the people whom we served. But when the Muslims conquered the land we all became poor. The people we served could no longer support us. Things became worse when the British came. There was law, but the population increased. There were far too many of us in the temple community. This was what my grandfather told me. All the complicated rules of the community held, but there was actually very little to eat. People became thin and weak and fell ill easily. What a fate for our priestly community! I didn't like hearing the stories my grandfather told of that time, in the 1890s.

My grandfather was skin and bones when he decided he had to leave the temple and the community. He thought he would go to the big town where the maharaja's palace was and where there was a famous temple. He made such preparations as he could, saving up little portions of rice and flour and oil, and putting aside one small coin and then another. He told no one anything. When the day came he got up very early, in the dark, and began to walk to where the railway station was. It was very many miles away. He walked for three days. He walked among people who were very poor. He was more wretched than most of them, but there were people who saw that he was a starving young priest and offered him alms and shelter. At last he came to the railway station. He told me that he was by this time so frightened and lost, so close to the end of his strength and courage, that he was noticing nothing of the world outside. The train came in the afternoon. He had a memory of crowd and noise, and then it was night. He had never travelled by train before, but all the time he was looking inward.

In the morning they came to the big town. He asked his way to the big temple and he stayed there, moving about the temple courtyard to avoid the sun. In the evening, after the temple prayers, there was a distribution of consecrated food. He was not left out of that. It was not a great deal, but it was more than he had been living on. He tried to behave as though he were a pilgrim. No one asked questions, and that was the way he lived for the first few days. But then he was noticed. He was questioned. He told his story. The temple officials didn't throw him out. It was one of these officials, a kindly man, who suggested to my grandfather that he could become a letter-writer. He provided the simple equipment, the pen and nibs and ink and paper, and my grandfather went and sat with the other letter-writers on the pavement outside the courts near the maharaja's palace.

Most of the letter-writers there wrote in English. They did petitions of various sorts for people, and helped with various government forms. My grandfather knew no English. He knew Hindi and the language of his region. There were many people in the town who had run away from the famine area and wanted to get news to their families. So there was work for my grandfather and no one was jealous of him. People were also attracted to him because of the priestly clothes he wore. He was able after a while to make a fair living. He gave up skulking about the temple courtyard in the evenings. He found a proper room, and he sent for his family. With his letter-writing work, and with his friendships at the temple, he got to know more and more people, and so in time he was able to get a respectable job as a clerk in the maharaja's palace.

That kind of job was secure. The pay wasn't very good, but nobody ever got dismissed, and people treated you with regard. My father fell easily into that way of life. He learned English and got his diplomas from the secondary school, and was soon much higher in the government than his father. He became one of the maharaja's secretaries. There were very many of those. They wore an impressive livery, and in the town they were treated like little gods. I believe my father wished me to continue in that way, to continue the climb he had begun. For my father it was as though he had rediscovered something of the security of the temple community from which my grandfather had had to flee.

But there was some little imp of rebellion in me. Perhaps I had heard my grandfather tell too often of his flight and his fear of the unknown, only looking inward during those terrible days and not able to see what was around him. My grandfather grew angrier as he grew older. He said then that in his temple community they had been very foolish. They had seen the disaster coming but had done nothing about it. He himself, he said, had left it to the last moment to run away; which was why, when he came to the big town, he had had to skulk about the temple courtyard like a half-starved animal. These were terrible words for him to use. His anger infected me. I began to have some idea that this life we were all living in the big town around the maharaja and his palace couldn't last, that this security was also false. When I thought like that I could panic, because I couldn't see what I could do to protect myself against that breakdown.

I suppose I was ripe for political action. India was full of politics. But the independence movement didn't exist in the maharaja's state. It was illegal. And though we knew of the great names and the great doings outside we saw them at a distance.

I was now at the university. The plan was that I should get a BA degree and then perhaps get a scholarship from the maharaja to do medicine or engineering. Then I was to marry the daughter of the principal of the maharaja's college. All of that was settled. I let it happen, but felt detached from it. I became idler and idler at the university. I didn't understand the BA course. I didn't understand The Mayor of Casterbridge. I couldn't understand the people or the story and didn't know what period the book was set in. Shakespeare was better, but I didn't know what to make of Shelley and Keats and Wordsworth. When I read those poets I wanted to say, "But this is just a pack of lies. No one feels like that." The professor made us copy down his notes. He dictated them, pages and pages, and what I mainly remember is that, because he was dictating notes and wanted them to be brief, and because he wanted us to copy down these notes exactly, he never spoke the name Wordsworth. He always said W, speaking just the initial, never Wordsworth. W did this, W wrote that...


From the Hardcover edition.

Media reviews

"A masterpiece of implicitness . . . explicitly concerned with drawing out the metaphysical-private while keeping it embedded in society and history . . . The ironies in Half a Life wind like a fugue into infinity . . . Identity is an enigma . . . To make that sentiment breathe in the mouth of a living character, and then rise from the page with silent laughter, is a beautiful completion: the mark of a genius and a cause of unending delight." — Lee Siegel, Los Angeles Times Book Review

"As disquieting as anything [Naipaul] has ever written . . . His terse prose works, as always, to imply a world in a phrase." — Michael Gorra, New York Times Book Review

"A troubling novel, genuinely moving . . . disturbing in all the right ways . . . the scenes of social encounters are brilliant, set against the twilight of colonial rule . . . A stunning book, three continents, three journeys, the evergreen themes of caste and class, of growing up." — Betsy Willeford, Miami Herald

"Naipaul's style is so frank it seems intimate, and the awful characters are studied and well crafted. Behind the matter-of-fact style is a cuttingly ironic view of human relations . . . When Naipaul talks, we listen." — Diane Mehta, The Atlantic Monthly

"Naipaul is a master of English prose, and the prose of Half a Life is as clean and cold as a knife." — J. M. Coetzee, New York Review of Books

"'Half a Life,' the fierce new novel by V. S. Naipaul, the new Nobel laureate, is one of those rare books that stands as both a small masterpiece in its own right and as a potent distillation of the author's work to date . . . It deftly combines Dickensian delight in character with political and social observation . . . while recounting with uncommon elegance and acerbity the coming of age of its hero, Willie Chandran ... Mr. Naipaul endows his story with the heightened power of a fable. With 'Half a Life' he has given us a powerful tale of one man's journey from childhood to middle age while at the same time creating a resonant parable about the convulsions of modern history, both the dying of old inequities and the rise of new illusions, and their spiritual legacy of homelessness and dislocation." — Michiko Kakutani, New York Times

"As sly and funny as anything Naipaul has written . . . He is still mining his richest obsessions . . . The classic that his new novel calls to mind is Voltaire's Candide. There is the same mocking simplicity of style, the same heartless elegance of design . . . Nobody who enjoys seeing English beautifully controlled should miss this novel." — John Carey, Sunday Times

"A surprise and a pleasure . . . here, at last, is a work of pure imagination, though the themes are characteristic in their complex peculiarity . . . Naipaul has produced the most complex and demanding body of work of any post-war British writer . . . In sentences of great precision and balance, Naipaul reanimates the dilemmas of the late and post-colonial experience . . . He reminds us again of what a fine and unusual writer he is . . . In the canon of contemporary British writing he is without peer: a cold, clear-eyed prophet, a scourge of sentimentality, irrationalism and lazy left-liberal prejudices. Read him." — Jason Cowley, The Observer Review

"Naipaul writes a prose as clean as a stripped wand, but however plain the language, the ideas it delivers are not. . . . He is still peerless as a deviser of the shocking icon. He builds a scene of metaphysical loss as compelling as any Renaissance canvas of the expulsion from paradise." — Paula Burnett, The Independent

"No writer has written more tellingly about the vocation of writing than V. S. Naipaul. . . . this new novel, Half a Life, shows us that Naipaul's absorption in how he came to be a writer is still fresh. . . . The pages about London glow, and bear comparison with anything that Naipaul has done . . . Almost casually, but beautifully, achieved . . . Captures in miniature the exceptional trajectory of Naipaul's oeuvre-the figure of the father, the life of the writer, and, finally, an enquiry into the origins of the colonial landscape itself." — Amit Chaudhuri, Times Literary Supplement

"The foremost literary interpreter of the third world for a British and American readership." — Maya Jaggi, The Guardian

"Genuinely powerful in a deeply politically incorrect way." — Jonathan Bate, Daily Telegraph

"Fresh . . . A novel with a purpose . . . Through the evocation of three continents and several decades, without calling on public events and purely through the narrative of a life, V. S. Naipaul gives us a moral tale which captures the evanescence of our times." — Farrukh Dhondy, Literary Review

"Read it for its beautifully controlled English." — The Sunday Times

"One of the world's greatest living novelists . . . A writer whose world-view has been characterised by rigorous inquiry . . . A fascinating study . . . Naipaul has thankfully lost none of his grace, style, or storytelling power in this beautiful novel." — Stuart Price, Independent

"Like a series of musical variations, the novel that follows [the first lines] never departs from them in essence . . . This is brilliant, affecting stuff: the novel's melancholy drama is played out on the furthest margins of fiction, where things are recollected rather than observed." — Rachel Cusk, Evening Standard

"Naipaul's first novel in six years is another installment in the extended fictional autobiography. . . . [This novel] may tell us more about the essential Naipaul than he has ever heretofore revealed. . . . The work of a master who has rarely, if ever, written better." — Kirkus Reviews (starred review)


From the Hardcover edition.

Citations

  • BookPage, 11/01/2002, Page 19
  • New York Times, 11/03/2002, Page 28

About the author

V.S. NAIPAUL was born in Trinidad in 1932. He came to England on a scholarship in 1950. He spent four years at University College, Oxford, and began to write, in London, in 1954. He pursued no other profession. His novels include A House for Mr Biswas, The Mimic Men, Guerrillas, A Bend in the River, and The Enigma of Arrival. In 1971 he was awarded the Booker Prize for In a Free State. His works of nonfiction, equally acclaimed, include Among the Believers, Beyond Belief, The Masque of Africa, and a trio of books about India: An Area of Darkness, India: A Wounded Civilization and India: A Million Mutinies Now. In 1990, V.S. Naipaul received a knighthood for services to literature; in 1993, he was the first recipient of the David Cohen British Literature Prize. He received the Nobel Prize in Literature in 2001. He died in 2018.
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