“Foster looked about him, a strange emotion in his heart. He was one of them, and yet he couldn’t feel the way they did, nor share in the kinship they knew. They were going back home. They had a home. It was far away, but they hadn’t forgotten. When they had come to Trinidad they kept some of India hidden in their hearts. They had tried to live in Trinidad as they had lived in India, with their own customs and religion, shutting out the influences of the west. They had built their temples and taught their children the language of the motherland. They had something to return to, they had a country.”
Selvon's second novel, An Island is a World, actually helps explain his first and third novels, particularly his time in London as an influence on The Lonely Londoners. Ramchand's excellent introduction to the novel explains how autobiographical this novel is, so Selvon's relationship with his brother, his service in World War II, and experiences with West Indians in the "Mother Country" shed light on Selvon's personal experiences influencing his fiction. Telling the story of Foster and his brother, Rufus, the novel moves back and forth between the connected families and shifts in setting from Trinidad to London and America, while expressing a certain malaise, as Naipaul said, about the state of the West Indies in the 1950s, colonialism, and the Federation. Per usual, one respects and adores the interracial friendships and relationships, and a deep identification with the island of Trinidad in Selvon's work. Much like Selvon, Foster, though descending from indentured Indians, identifies with Trinidad and its Creole multiracial makeup, and along the way this process of Foster (Selvon) to make sense out of life, experiencing racial prejudice in England, and find a way to make it through the monotony or routine of life in London and Trinidad.
Foster, Rufus, Father and Foster's best friend, Andrews, share similar views on Trinidadian society, the political and social problems, the seemingly inevitable dissolution of Federation, and the rather low status accorded to the West Indies by visiting sailors or seamen from the US and England. Much like Adrian in I Hear Thunder, despite Selvon's undeniable expression of faith in Trinidad as a nation capable of encompassing all of its inhabitants, one can sense the author's lingering fears about the political corruption or lack of meaning in life beyond pleasure, although there is some optimism in this work. In this constant shifting of identity and gradual acceptance of the island as a full world, Selvon also brings to mind fiction by the Naipaul brothers. Indeed, Fireflies came to mind more than once given both novel's tragicomedy aspects, depiction of Trinidad, dysfunctional relationships, and the struggle over its "smallness" or alleged insignificance. Like the Naipaul brothers, Selvon excels writing, with a keen eye for humor, intricate family or personal ties in apparently dysfunctional families, an excellent example from this novel being Johnny's constant state of drunken stupor but finding solace in his grandson, despite attempts to hide his feelings for the child.
In comparison to other Selvon novels, this one is a little lacking in the level of humor one comes to expect. Moreover, there are clunky sentences or missing pronouns here and there, though the combination of Trinidadian vernacular, occasional moments of comedic relief from rather depressing scenarios in which the characters find themselves, and excessive philosophizing on religion and being prove interesting for those who care to delve deeper into Trinidadian history, politics, or colonialism. Furthermore, as an early Selvon novel and part of the flourishing postwar Anglophone Caribbean literature, the novel was prescient on the failure of Federation and a careful nationalist text with a beaming example of the colonial politician, Andrews.
