In his impressive and successful novel, Hari Kunzru explores the nature of identity. For some people a sense of belonging is very strong, whereas for others such feelings are mere illusion. The former group may cite social group, language, culture or religion as evidence of their stance, while the latter group, perhaps, may cite exactly the same subject matter to prove the opposite. The more politically inclined may even cite our relationship to the means of production as the primary source or personal and social identity. In that case, the way that we make our living provides much of what we perceive as identity, and, in Hari Kunzru's book, The Impressionist works through several quite different lives.
It's not that The Impressionist, the principal character of Hari Kunzru's novel, has no identity. Indeed, The Impressionist has a whole host of them, and all of them are both complex and, at the same time, completely credible. It is those around him who endow him with the trappings that confirm who he is. And he, of course, responds, donning new lives according to each new coat he wears.