In September 1971 Graham Greene published his autobiography, A Sort of Life. The Times Literary Supplement took the opportunity to feature a leading article on his work in which it stated that the autobiography ‘reinforces Greene’s theories about the relations between art and life’, and at once added, ‘that is to say, between his art and his life’. The debate about the relationship between an author’s work and his life recurs constantly, but in Greene’s case the questions which are raised are particularly acute, his view of the matter being in marked contrast to that expressed by most of his critics.

The critics frequently affirm that his books are principally about himself. Marie-Béatrice Mesnet, for example, hints at this when she compares his travel book, The Lawless Roads, with his novel, The Power and the Glory, both of which are set in Mexico. ‘His only addition to reality in the novel’, she writes, ‘lies in the characterization of his human material, in his power to conjure up life and the interior history of a man. The entire background is as close to actual fact as possible.’ Still more explicitly, Victor de Pange has claimed: ‘L’oeuvre de Greene peut se lire comme une autobiographic à peine transposee’.

No doubt it is this trend in the criticism of Greene’s work that explains the reaction of the critics to his autobiography, for while they admire the quality of his writing, they confess to a sense of disappointment. They had hoped to learn his secret. Peter Lewis complained outright in the Daily Mail that ‘Many of Graham Greene’s admirers will be disappointed by A Sort of Life, the autobiography which might have thrown light on his secret’.