A sober novel about a tempestuous and tormented soul carrying the burdens of postcolonialism in London. Winner of the W. H. Smith Literary Award.

To the residents of Miguel Street, a derelict corner of Trinidad’s capital, their neighbourhood is a complete world, where everybody is quite different from everybody else. There’s Popo the carpenter, who neglects his livelihood to build “the thing without a name;” Man-man, who goes from running for public office to staging his own crucifixion; Big Foot, the dreaded bully with glass tear ducts; and the lovely Mrs. Hereira, in thrall to her monstrous husband. Their lives (and the legends their neighbours construct around them) are rendered by V. S. Naipaul with Dickensian verve and Chekhovian compassion in this tender, funny novel.

From the Nobel Prize-winning author comes a novel of exile, displacement, and the agonizing cruelty and pain of colonialism, both for those who rule and those who are their victims. “A brilliant novel in every way.… [It] shimmers with artistic certainty.” —The New York Times Book Review Set on a troubled Carribbean island, where “everybody wants to fight his own little war,” where “everyone is a guerrilla,” the novel centers on an Englishman named Roche, once a hero of the South African resistance, who has come to the island – subdued now, almost withdrawn – to work and to help. Soon his English mistress arrives: casually nihilistic, bored, quickly enticed – excited – by fantasies of native power and sexuality, and blindly unaware of any possible consequences of her acts. At once Roche and Jane are drawn into fatal connection with a young guerrilla leader named Jimmy Ahmed, a man driven by his own raging fantasies of power, of perverse sensuality, and of the England he half remembers, half sentimentalizes. Against the larger anguish of the world they inhabit, these three act out a drama of death, hideous sexual violence, and political and spiritual impotence that profoundly reflects the ravages history can make on human lives.

One of the finest living writers in the English language, V. S. Naipaul gives us a tale as wholly unexpected as it is affecting, his first novel since the exultantly acclaimed A Way in the World, published seven years ago. 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 issued from 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. This is what happens as he tries to defeat 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. And this is what happens when he returns with her—carried along, really—to her home in Africa, to live, until the last doomed days of colonialism, yet another life not his own. In a luminous narrative that takes us across three continents, Naipaul explores his great theme of inheritance with an intimacy and directness unsurpassed in his extraordinary body of work. And even as he lays bare the bitter comical ironies of assumed identities, he gives us a poignant spectacle of the enervation peculiar to a borrowed life. In one man’s determined refusal of what he has been given to be, Naipaul reveals the way of all our experience. As Willie comes to see, “Everything goes on a bias. The world should stop, but it goes on.” A masterpiece of economy and emotional nuance, Half a Life is an indelible feat of the imagination.

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.

In the "brilliant novel" (The New York Times) V.S. Naipaul takes us deeply into the life of one man — an Indian who, uprooted by the bloody tides of Third World history, has come to live in an isolated town at the bend of a great river in a newly independent African nation. Naipaul gives us the most convincing and disturbing vision yet of what happens in a place caught between the dangerously alluring modern world and its own tenacious past and traditions.