The tone of the autobiography is somewhat aloof, and we get a good reason why that might be the case, because in his long description of his time in England, he explains the process by which he gains new levels of awareness of self. In that passage, Naipaul describes the subtle evolution of his own opinion, and he notices the uncanny similarity between the evolution of his novel which he's working on and his perception of the landscape. The effect is a higher state of awareness, and he suddenly notices that he has been seeing reality through a filter of his subconscious opinions as a writer.
This strange blending of reality and art continues in different ways. For instance, when the latter half of the novel removes Naipaul from his pastoral home to the busy, hyper city of New York City, to the land of jazz and noise, he doesn't suddenly forget nature. Instead, he realizes that this is the human animal in its natural habitat. He likens the human's complicated legal and business lives as a kind of social dance, not unlike the other animals at all.
The effect of his observations is that Naipaul is something of a religious mystic by the time he ends the account. His meta-cognition has achieved a point where his experience of life is constantly analyzed from many points of view at once, making him into something of a non-person. But perhaps the transcendence of the individual is also part of the human animal dance.
